bartblog 420.1.2
To say that I want more after last night is an absolute understatement. After seeing the fireside sessions a few times over the summer I was slowly becoming acquainted with seeing this version of the band I referred to as "TTB Lite". Even with half the band missing they still delivered a show that, as usual, brought me to tears. No matter how many times I saw them though there was an undeniable void left in certain songs where without the horns or singers I was left to fill in the blanks with my own imagination.
Fast forward to Friday night's show...HO LEE SHIT. One of my first thoughts after seeing "TTB Lite" was "Wow, Derek's really friggin getting down to make up for the lack of horns and what not." I was wrong. The man wasn't making up for a lack of anything, but rather was simply just doing what Derek Trucks does...pushing the limits.
Opening the show with that "Learn How To Love" lick kicked off what was sure to be a rocking penultimate Beacon run show. "Let Me Get By" is another one of those TTB staples which is conducive to a happy sing along with the crowd. Then hits the bass line paired with the smooth drum intro of "I'm Gonna Be There" from their latest studio album Signs. This song grooves in its own time zone, and has almost a Issac Hayes STAX type vibe. We all threw our hands in the air for "Laugh About It" (per Susan's request). One thing I noticed at this point especially with the original tunes is the fresh horn and vocal arrangements compared to past tours. Up next came "Outside Woman Blues'' a Cream rocker, my first time seeing them play this and I was floored. So much power and energy comes from that stage. I'm not sure there's another band out there that does as much justice to their covers as TTB does. Set one closed with Nina Simone's version of "I Wish I Knew How It Would Feel To Be Free". Now this song is one where the hairs on my neck not only stand up, but they also start doing a little dance. After the first two verses when they modulated up and Derek spearheaded out of the modulation into a solo that could be described as a hawk taking off from a high peak and flying down for its prey miles below, but with exact precision he nails it. Mark Rivers and Alecia Chakour at the end of this one took every person inside the Beacon that night to church with their call and response at the end of this tune. Took us right into setbreak where most of us had to ask an usher for help picking up our jaws off the floor from what just had taken place.
After about a half hour chatting with my fellow swamp family the lights came down in the Beacon for the second set. The band walks out and Derek and Mike Mattison take a seat, pull out some acoustics. Falcon on the cocktail kit, Brandon Boone on the upright bass. This was a real treat for everyone in attendance. We went from a show in one of NYC's most historic theater's to being down in the backyard on any given weeknight just listening to some good tunes with the vibe of this acoustic set. Susan headed vocals on the song "Protect My Child" where the backup vocals just hit a little different. Total gospel vibe. This led way to a rite of passage whenever TTB plays at the Beacon...paying homage to the Allman Brothers Band, with an awesome acoustic rendition of the Elmore James tune, "Done Somebody Wrong". This concluded the acoustic set and the band assembled back to their usual positions. One of the highlights for the crowd was definitely the "Angel From Montgomery" into the CSNY song "Helpless". When Susan turned to the band and inverted the Montgomery chords most of us thought we were in for a "Angel> Sugaree" mashup but what proceeded is a testament to how this band is managing to keep it fresh over ten years into playing together.
This gave way to the sit-in of the evening. NYC native, Tash Neal, from the London Souls and currently touring as Tash & MJT. Another one of those songs where Susan just goes above and beyond, "The Sky Is Crying" featured an extended Tedeschi solo channeling her inner Buddy Guy. Tash definitely pushed the crowd towards a peak with his solo starting it off by staying on one note for almost an entire 12 bars which in my opinion is badass. When one guitarist on the stage pushes the envelope you know Mr. Trucks is going to absolutely SEND IT. Send it he did, this man is just doing things with his guitar that are unheard by man.
Alright so the real reason I wrote this entire review was so I could talk about this specific version of "I Want More". The newest addition to the band, drummer Isaac Eady made himself KNOWN on this one. As usual this song kicked off with those drums driving through you like a 18-wheeler about to miss the deadline. They progress through this song swimmingly as they do, leading right to the guitarmony part between husband and wife. Then right out of this part Derek Trucks just absolutely blew my perception of reality with six strings (five by the end of the tune). After this solo he took down the heat and brought the band to a low simmer. Allowing bassist Brandon Boone his chance to strut his stuff. Strut his stuff he did. Pitch bends, build ups, a tone reminiscent of Berry Oakley at Fillmore East, this bass solo had everything you needed. Right as the crowd was trying to clap to the beat Derek turned up and brought in some much welcomed rhythm behind the bass which subdued the clapping from the crowd (thank you Derek). Post bass solo we have approached a rift. It's almost time...then boom like a lightning strike in the darkest of nights, out of nowhere, we get our "Soul Sacrifice" tease. Which led to Derek playing the head to this raucous Santana tune. Now like I've said I've seen this medley before but never like this. Derek usually plays the head and then hands off to the drums, not this time. He soared, and soared, higher like Coltrane vamping on "A Love Supreme". This is some gourmet stuff we're all fortunate enough to witness. I dare say we still haven't reached the peak of this jam yet. They return to the "Soul Sacrifice" hits and then we have our drum solo. As mentioned before Isaac Eady gave it a name during this one. Him and Falcon are just absolutely simpatico on the 1's and 2s. What I loved the most was the unscriptedness of this specific drum solo. They intertwined so perfectly. I compare it to when you're in a turning lane in your car and you see the blinkers of the two cars in front of you they don't always match up, but if you keep looking even if for a second they will match up and it will be extremely satisfying. These two were woven together throughout this solo. Playing off each other's claves it was a real treat to witness.
Now as I mentioned before when anyone on this stage gets down, Mr Trucks is sure to deliver. For one of the final times of the night that's what he did. Words don't do it justice, facial expressions might, but you just had to hear it for yourself. This man is so comfortable with a guitar in his hands it's like Picasso with a paintbrush, Frank Lloyd Wright with a pencil, or Wayne Gretzky with a hockey stick and puck. We are truly blessed to live in an age where such a supreme talent exists and shares their gift with us all. Ten years at the Beacon, here's to ten more. Thank you to TTB band and crew, Beacon squad for allowing these shows to happen. It's not autumn in NYC without TTB!