Funk Fest: Dr. John Brings Us a Taste of Nawlins

Dr. John & the Lower 911 w/ John Fohl
Birchmere, Alexandria, Virginia, August 30

Recommended beverage for this show:
Flying Dog IPA (careful, it’s 8.4% ABV)

The good doctor, in his purple suit and with gators on his socks, shuffled on stage aided by his walking stick. But when he sat down at the piano, the 69-year-old Malcolm Rebennack, known as Dr. John, was full of energy as he opened the show with “Save our Wetlands,” from his 2009 and latest release, City that Care Forgot. The whole album is a cry for help for his beloved native city, New Orleans, which is still riddled with problems and injustices five years after Katrina , in a state still reeling from the BP oil spill.

Backed by the Lower 911 band (bassist Dave Barard is from the 9^th ward), Dr. John alternated between piano, B-3, and guitar while singing in his deep, bluesy voice, which at times sounded eerily reminiscent of Van Morrison. Much of his set was upbeat, with folks swaying and clapping in their seats. Although the concert hall is seated, by mid set, Dr. John beckoned the crowd to stand and dance during one of his classics, “Right Place, Wrong Time,” and everyone complied.

Dr. John played a good bit from his latest album and tossed in a couple from his 2008 release “Tribal.” But he also went back a few decades with such songs as “Let the Good Times Roll” and “I Been Hoodoo’d.” And, what Dr. John show would be complete without some Professor Longhair thrown in? His third song was the infectious “Tipitina.”

Opening act John Fohl also hailed from Nawlins and warmed up the crowd with his rockabilly guitar and soulful vocals. One fun instrumental he included was an old Fess tune called “Rum and CocaCola.”

It was a great night of boogie-woogie-style blues and jazz.

Rodrigo y Gabriela Rock Out at Wolf Trap

Rodrigo y Gabriela,
Wolf Trap-Filene Center, August 24

Recommended beverage: A nice bottle of rioja on the lawn,
or any nice wine (from a bottle, preferably)
photo courtesy of Jan Louis Argilagos

Rodrigo y Gabriela, fingers flying across their acoustic guitars, showed how two guitarists alone on stage, playing all instrumental, can captivate a crowd. Their music, mired in flamenco with an unmistakable rock / heavy metal influence, had fans clapping, cheering, and thoroughly engaged throughout their long set.

Rodrigo Sanchez and Gabriela Quinetro are two friends who met while playing in a heavy metal band in Mexico City. Now back in Mexico, they recently spent years living in Dublin, Ireland, perfecting their worldbeat sounds. There, they got discovered and hit the charts. Their repertoire includes originals inspired by their musical heroes, from Hendrix to Santana to Spanish guitarist Paco De Lucia—such as those found on their latest album, titled, 11:11. Their concerts also include a few cover tunes, from Pink Floyd to Metallica.

Live, one is struck by the raw energy of Rodrigo y Gabriela’s music. Latin, Middle Eastern, and other world rhythms infuse their sound. And Gabriela’s percussive talents add to that energy. Such songs as “Buster Voodoo” from their latest album and “Diablo Rojo” show off Gabriela’s beats, as she taps the fret boards and guitar body while furiously strumming away.

Opening band Xavier Rudd was the perfect complement to this show. Hailing from South Wales, Australia, their music also ran the worldbeat gamut, incorporating blues, reggae, folk, and funk. It may have been the first time I have ever seen a didgeridoo successfully used in rock music. Touring to support their latest album, Koonyum Sun, Xavier Rudd is definitely a band to watch.

Sounds Around Town - DC

Mingo Fishtrap at the Kennedy Center's Millennium Stage
August 16

For years, the Kennedy Center has brought free hour-long, weekday concerts to its Millennium Stage, exposing a growing number of [us poor] concert lovers to music from around the world.

On Monday, an American band was featured, one who admittedly felt a little overwhelmed by the chandeliers and overall grandeur of the great hall. The eight-piece band, called Mingo Fishtrap, hails from Austin. They blend soul and funk, with strong undertones of Motown. Bandleader Roger Blevins, Jr. got the crowd clapping and even singing along and a few folks were swing dancing in the aisles. There was unmistakable New Orleans influence in Mingo's music, perhaps partly because Blevin's dad, also the bass player, comes from there. The bluesy grooves and stellar horn section made for one great hour. And I'm craving more...


Shannon McNally & Hot Sauce
Jammin Java, Vienna, VA
August 17

There were two highlights that night: one was Nashville (via Australia) opening act Anne McCue (pictured, right). The other was Eric Deaton, McNally's guitarist, who played some fine Mississippi juke-joint blues. He got to showcase a tune from his new CD, Smile at Trouble, recorded with Kinney Kimbrough on drums. In fact, Deaton had studied under Kinney's father, Junior, and RL Burnside, and the Mississippi country blues just flowed right outta him.

McNally and band played a fine evening of blues, though McNally's vocals were not consistent. She livened up and seemed to gain some strength later in the set. She and her husband, who's also her drummer, Wallace Lester, have settled in Mississippi, since Hurricane Katrina precluded their return to New Orleans.

Cullum, Kelly Kick Off 56th Newport Jazz Festival

International Tennis Hall of Fame, Newport, RI
Friday, August 6
photo courtesy of Jim Carty

To kick off the Newport Jazz Festival, British jazz sensation Jamie Cullum and Boston’s young and talented Grace Kelly played a Friday night gig at the International Tennis Hall of Fame in downtown Newport. Kelly, an 18-year-old saxophonist and vocalist, kept her set pretty tame and traditional, despite her untraditional attire (very short black leather skirt). Her quintet opened with “Summertime” followed by “101” that she wrote for her album, Mood Changes. She also gave the crowd a teaser of yet-to-be recorded material she has written.

The soft-spoken Kelly sang with a sweet voice, her set sticking mostly to the classics. Her quintet did a straightforward version of Ellington’s “Caravan” and Miles Davis’s “Round Midnight,” a nice homage to Davis whose album by that title was inspired by the earlier Newport fests in the 1950s. Kelly ended her set with a new composition she wrote called “Searching for Peace.” Later, she relaxed some and cut loose on a guest appearance during Jamie Cullum’s set.

Cullum emerged full of energy, waving a tennis racket in honor of the concert’s location, and played a nearly two-hour set. He opened with a jazz standard, Cole Porter’s “It’s Just One of Those Things,” which he covered on his latest album, his fourth, titled The Pursuit. He then played “Get Your Way,” a soulful, more pop tune that ended with him standing on, then jumping off, the piano. He assured any nervous folks in the crowd that he’s light as a feather and wasn’t damaging the piano.

His weekend performances in Newport were the last of his American tour and, he told the crowd, the band had to overcome some instrument issues that led to the borrowing of a bass and saxophonist playing keyboard because his horn was broken. But on they played, from the standards to Cullum’s originals, to some covers from other musical genres that he puts a jazzy spin on such as “Please Don’t Stop the Music” first popularized by Michael Jackson and Radiohead’s “High and Dry.”

Cullum thanked Newport Jazz Fest founder George Wein who first brought him to play at this fest in 2004 and whose clout also had gotten Cullum a gig at Carnegie Hall. He seemed quite at home among the jazz lovers in Newport. “I’m glad we can talk jazz,” he told the crowd. “Jazz people have the most open ears of any other music fans.”

He then introduced perhaps the most poignant song of the evening by lauding one of his inspirations. “Harry Connick, [Jr.] showed me you can be a rock star and a jazz star at the same time.” And with that he played, “Do You Know What It Means to Miss New Orleans,” which he said was the first tune he ever heard Connick play, a song Connick had recorded with another Nawlins legend, Dr. John.

Cullum did what he does best, helping a younger generation get in touch with jazz classics while showing his originality and talent. One highlight was a cover of Stephen Sondheim’s “Not While I’m Around,” which featured some particularly beautiful jazz piano. Cullum, as did Kelly before him, also played a version of “Caravan,” performing it with his band in the aisle.

Grace Kelly joined Cullum on stage during “These are the Days,” a lovely tune from Cullum's first album in which he played on a Wurlitzer while Kelly played sax riffs in a call-and-response. Interestingly, Cullum’s set that night and the next day at the Fest omitted his new single, “Wheels,” and another popular original he usually performs live, “Photograph.” But he did play an eclectic, crowd-pleasing set.

At the end, he worked the crowd into a frenzy, getting everyone to their feet dancing to “Mixtape” from his latest disc. He then slowed it down with his cover of Jimi Hendrix’s “Wind Cries Mary.” And the crowd was then sufficiently jazzed up for the two-day fest that would begin the next day.

Newport Jazz Fest 2010

Carefusion Newport Jazz Festival Newport, Rhode Island August 7 and 8, 2010

Under picture-perfect skies in Newport, Rhode Island, thousands of jazz fans enjoyed a weekend of first-rate music performed by a mix of jazz veterans and rising stars. The festival took place at Ft. Adams Park, the largest coastal fortification in the country, as yachts, sailboats and even kayaks dotted the harbor filled with music lovers enjoying the main stage music.

For two days, music flowed from the main stage and the two side stages, nestled inside the old fort walls, as musicians collaborated on the classics and showcased new compositions. There were string quartets and horn sections and gorgeous solos across the park. Sunday was the more crowded day; it was also hotter and more humid.

On Saturday, a gentle breeze blew as fingers were flying across guitars, fiddle, and bass on the side stage where Mark O’Connor’s Hot Swing string quartet played. They closed their set with a fun, lively original composition, titled, “Pickles on the Elbow.” Then, sauntering over to the Quad Stage, jazz lovers were treated to George Wein’s Newport All-Stars, who included clarinetist Anat Cohen, guitarist Howard Alden, and trumpeter Randy Sandke. Wein, who founded the Newport Jazz Festival back in 1954, played piano and occasionally sang. Each of his All-Stars took turns at solos and duets that were mind-blowing. Their whole set was magical.

Then over to the main stage, Chick Corea and his Freedom Band played some bebopping jazz. Corea is no stranger to this fest nor is his drummer, the great Roy Haynes. A highlight of their set was a version of “Monk’s Dream” that would’ve made Thelonious proud.

Saturday’s main stage headliner was British jazz-pop star Jamie Cullum who finished up his U.S. tour that day. Much of his set echoed that of the night before though he switched it up a bit, tossing in a couple of gems toward the end, notably, “All at Sea,” a gorgeous ballad he wrote for his first album, and “Gran Torino.” He also played “If I Ruled the World,” a Tony Bennett song that he put his own spin on and calls "his grandma's favorite."

While Sunday’s main stage featured the likes of Herbie Hancock and Chris Botti, another major highlight hit that stage late afternoon: trumpeter Wynton Marsalis. For half of his set, he and his band were joined by the legendary pianist Dave Brubeck. Marsalis introduced him as “the very essence of American greatness,” someone “who brings his integrity with him.” He added when Brubeck emerged, “if my daddy knew I was in here with you, he’d want me to make you as comfortable as possible.” It was a treat to watch their interaction. Marsalis and Brubeck each seemed utterly humbled by the other’s presence.

Marsalis, Brubeck, and band proceeded to perform Brubeck’s “Blues for Newport” followed by a Marsalis-Brubeck duet of “These Foolish Things.” They and the band also played a swingin’ “Take the A Train.” Then, George Wein emerged and led the crowd in singing “happy birthday” to Brubeck, who turns 90 in December.

One outstanding feature of this Fest was how well the old complimented the new both in selections played and the musicians themselves. Sticking to the classics while adding fresh perspectives while paying homage to jazz veterans and highlighting up-and-coming artists really offered something for everyone of all ages.