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Author: Subject: last night and the night before that...

Ultimate Peach





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  posted on 2/8/2007 at 09:09 AM
were 2 of the most awesome nights of my life. here is a review from a local publication.

http://www.news.com.au/couriermail/story/0,23739,21185843-7642,00.html

all I can add to this is that Derek was absolutely unbelievable. I was stunned after the first night but his playing last night was just way beyond words. his solos in 'little queen of spades' and 'cocaine' just about tore the roof off. all I was hearing on the way out was 'who was the guy with the blond hair?' 'what about the guy with the pony tail' etc etc...I can't tell you how stoked I am that aussie audiences have finally been exposed to Derek's talent and that he absolutely nailed it. fair dinkum.

for me it was a dream come true. I've seen Clapton before and maybe would not have gone to see him this time [long drive/exe tix/younsters etc etc] but there was no way I was not going to see Derek. when I heard those first unmistakeable notes ring out man the smile on my face was just bursting out like that is Derek playing live right in front me. I still cannot believe it. prolly the highlight of the 2 nights was during Layla on the second night. Clapton had his back turned to Derek during the coda. I realised this was the 'essence' of what Duane and Eric did and now I was hearing it again, live with the same spiritual beauty and soul that the original recording had grasped, Derek spoke Duane last night...

I think it is no coincidence that the night after I see Derek my wife says to me 'guess who is on the cover of rolling stone'? I say who? she says guess. I say no idea. she says you saw him last night. I say 'Clapton' she says no. Derek Trucks. I choke on my toast.

 

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Zen Peach



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  posted on 2/8/2007 at 09:11 AM

 

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  posted on 2/8/2007 at 09:30 AM
you are sooooooooo right!!!----heard the sydney show---just perfect

 

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Zen Peach



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  posted on 2/8/2007 at 09:43 AM
Eric WHO?

 

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  posted on 2/8/2007 at 11:37 AM
"Eric WHO?"

ah....er....well, Eric, the one who Derek was NAMED after, that's who.........heard Derek say it himself on a "Breakfast with the Arts" Sunday morning interview.

 

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  posted on 2/8/2007 at 12:33 PM
quote:
ah....er....well, Eric, the one who Derek was NAMED after, that's who....heard Derek say it himself on a "Breakfast with the Arts" Sunday morning interview.

True story - was his dad Chris's favorite band and I hear that it was an emotional experience for father and son when Derek was able to invite his dad to sit down and break bread with Clapton.

Garry - loved your review! Thanks for sharing this and the local publication ... the following excerpt gave me goose-bumps.

quote:
with Stainton playing that timeless piano coda with Clapton and Trucks weaving and shimmering, doing honour to the glories Allman and Clapton captured in those moments of magic in a Miami recording studio 36 years ago.



 

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  posted on 2/8/2007 at 01:28 PM
Nice sig pic Gerry...is that Z-Land?

 

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  posted on 2/8/2007 at 01:38 PM
don't forget this magazine coming out!

Seems to me this is a review of the "Famous" Berklee show (10-26-2006) See Sue we are not mad this was an incredible night!!! And we were there!



Derek Trucks and Susan Tedeschi
First Family of Modern Blues
By Frank-John Hadley

When the extended Trucks family hit the road this past fall, the future of blues guitar traveled with them. They were a modern-day blues caravan on their East Coast tour as guitarist Derek Trucks, his guitar-playing/singing wife, Susan Tedeschi, and their bands played to sold-out large venues from New England down into the Deep South. Also along for the tour were the couple’s two preschool-age children, Charlie and Sophia, as well as Trucks’ mother (for babysitting duty).

On this chilly, overcast day in late October, it took a few hours for their two tour buses—one owned by the Trucks, the other rented back home in Jacksonville, Fla.—to streak down the interstate from their previous concert in Albany, N.Y., to Boston. Trucks and Tedeschi had plenty of time to get the kids and grandma settled into the hotel, and then they headed over to the Berklee Performance Center to do a sound check. A few days into their first co-headlining tour, the musicians were well-rested and pumped-up for the gig. Tedeschi was performing for her hometown crowd at her alma mater. “Dennis Montgomery III, who teaches here at Berklee, made me feel like I had a gift and gave me confidence that changed my life,” Tedeschi said.

Yet the stress of the road still weighed on Trucks. “Your schedule is so nonexistent on the road that you feel like you’re always camping,” Trucks, 27, said. “You roll your bag into a hotel and then you run out to the venue. Between the Eric Clapton tour, the Allman Brothers, my solo group and Susan’s group, this year’s been tough. The last day of this tour we play in Washington, D.C., and the next day the Clapton band flies to Japan. So this is a working vacation.” (laughs)

For a “vacation,” Trucks and Tedeschi weren’t slacking on stage. This night the Derek Trucks Band opened the concert. “With Susan being from Boston and going to Berklee, it’s a no-brainer who goes on first,” Trucks said.

Right from the first bars of the Meters’ trance-chant “Look-Ka Py Py,” Trucks made it known he’s a blues guitarist of a different stamp. The former boy wonder used his Gibson SG guitar and glass Coricidin bottle slide to jolt members of the audience like Epinephrine shots. His heavy workout on strings spoke the blues of Elmore James and Mississippi Fred McDowell loud and clear but ultimately expressed his own individualized musical parlance with its inventive synthesis of blues, 1960s Blue Note and Impulse jazz, Southern rock, jam band improv, tradition-fixated soul, r&b, gospel, reggae and folk, along with the riveting music of Africa and southern Asia.

“Right now music is at a rough patch,” Trucks had said earlier in response to how he had found their niche in the music industry. “There’s not much of a scene going on. There are bands out there doing it, people come out and it’s like a seed of hope, and within a year of any success, they change their tune, change their whole purpose of what they do. With my band, we’re fortunate to be able to play what we play, be as eccentric and esoteric as we want to. We still have a core audience that seems to keep enough fuel in the bus to keep us moving down the road. There’s the whole family aspect of it, whether it’s within my band, within Susan’s or within the Allmans. It’s nice when you can keep that trudging along.”

Further along in his set, as Trucks took his time in his solo on “Key To The Highway,” he got closer than anyone in his generation to the blues truth underlining the Big Bill Broonzy classic. His version—crisp and clear in articulation—achieved a sweet lyricism cut from the same cloth as the late Duane Allman, whose role Trucks fills in the current edition of the Allman Brothers and in Clapton’s touring band. However, Allman never brought free-flows of inspiration to John Coltrane’s version of “Greensleeves,” the standard Piedmont folk blues “Crow Jane” or Nusrat Fateh Ali Khan’s “Sahib Teri Bandi” as Trucks does in concert.

Through a sixth sense heightened over five years of marriage, Trucks matched the affirmations and grievances of his guitar playing to those of Tedeschi’s strong tenor on “Walking Blues” and other songs they performed as a duo between band sets. Guitar emulates voice and vice versa. They communicate volumes of warmth, proficiency, risk-taking, poise and sauciness. Their blues sounded new and spontaneous, something exceedingly rare these days. For their efforts, the packed house—balding seniors in faded Allman Brothers T-shirts, 30-ish guitar fanatics, dreadlocked jam band fans and garden variety college students who admire Tedeschi as their parents had admired Bonnie Raitt leaped to their feet in a thunderous ovation. It was neo-blues as unifier.

Next up on the bill was Tedeschi. Fronting her band on self-penned tunes and covers from the likes of Koko Taylor and Ray Charles, she proved to be an unusually good guitarist in her own right. Genuine compassion for the Chicago blues of Jimmy Rogers and the Texas blues/r&b of Johnny “Guitar” Watson pulsed through her lead and rhythm parts. A dozen years past the anonymity of Boston blues club jams, and eight years since hitting mainstream celebrity with her 1998 album, Just Won’t Burn (Tone-Cool), she succeeded as the nonpareil pop-blues singer who delves deep into soul and gospel with her own personality and sense of style. Her latest album, Hope And Desire (Verve Forecast), received a Grammy nomination.

Before this gig, in a spacious room backstage, Trucks and Tedeschi reported that there was a good chance they’d be barnstorming the rest of the country via bus in 2007. Laughing, Trucks rolled his eyes in exaggerated exasperation over the thought of more traveling.

 

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  posted on 2/8/2007 at 01:38 PM
quote:
don't forget this magazine coming out!

Seems to me this is a review of the "Famous" Berklee show (10-26-2006) See Sue we are not mad this was an incredible night!!! And we were there!

that was a great night...

 

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  posted on 2/8/2007 at 01:50 PM
and my copy of it is coming soon!

 

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Zen Peach



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  posted on 2/8/2007 at 02:00 PM
quote:
don't forget this magazine coming out!
Thanks, Eric! Great article!

 

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  posted on 2/8/2007 at 02:04 PM
Article..... you should have seen the show!



I was third row in front of Derek thanks to Susea!

 

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  posted on 2/8/2007 at 02:08 PM
Tedeschi and Trucks’ sounds marry well

Saturday, October 28, 2006

It’s no accident that guitar virtuoso Derek Trucks has been touring as a member of both Eric Clapton’s and the Allman Brothers’ bands: His instrumental mastery is something to behold. By playing alongside such legendary elders, Trucks has learned to let his abilities shine by trimming the fat.

Before a packed house Thursday night at Berklee Performance Center with his own band, co-headlining with his Beantown-bred wife, Norwell native and Berklee alumna Susan Tedeschi, Trucks showed off by holding back: Less was more.

Though his touring outfit may get tossed into the jam-band pool, that’s just guilt by association. Trucks and his cohorts carefully avoided the overindulgences that mar the jam-band experience by making careful musical choices, while never sounding overrehearsed.

The celebratory ‘‘Joyful Noise” set an uplifting tone that lasted the entire set. Drawing on blues, jazz, soul and African and Indian seasoning, Trucks’ guitar playing can sound so much like a soulman singing that at times he and vocalist Mike Mattison seemed to be crooning duets. Keyboardist Kofi Burbridge took several fantastic flute solos, further distinguishing the band’s sound.

Tedeschi looked radiant in a brown crushed-velvet dress with sequined trim and high heels. She joined her husband’s band for a glorious run through Derek & the Dominos’ ‘‘Anyday”during which she and Mattison created magnificent harmonies; with Trucks riffing behind them, it was enough to raise the little hairs. The set ended with a Band classic, ‘‘The Weight,” complete with a playful guitar-vocal call-and-response between the rock ’n’ roll power couple.

Tedeschi’s set was equally enchanting. She may be the only white woman in rock who can pull off convincing covers of Sly & The Family Stone’s ‘‘You Can Make it if You Try,” Otis Redding’s ‘‘Security,” Stevie Wonder’s ‘‘Loving You Is Sweeter Than Ever” (made famous by the Four Tops), Ray Charles’ ‘‘Tired of My Tears” and Fontella Bass’ ‘‘Rescue Me” B-side, ‘‘Soul of a Man.”

Furthermore, Tedeschi’s self-penned material stood up well next to the classic soul. ‘‘Just Won’t Burn” was saturated with brooding earnestness, building to pinnacle after pinnacle of tension thanks to Ron Holloway’s sax, William Green’s Hammond B3 organ and her own stealthy guitar solo.

Tedeschi closed with John Prine’s ‘‘Angel From Montgomery,” which she dedicated to her grandfather in the audience. He had every reason to be proud.

Derek Trucks Band and The Susan Tedeschi Band. At Berklee Performance Center, Thursday night.

 

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