Lyle Lovett - redding, Ca. 6/21/05
Lyle Lovett and His Large Band – Redding, Ca 6/21/05This originally ran in the Redding Record Searchlight in June of 2005
I have seen many great shows at the Redding Civic Auditorium over the past 20 some odd years and last night’s Lyle Lovett show was definitely the best of them. This is remarkable not only because the list includes Jose Carreras, Willie Nelson, Merle Haggard, and Rent, but also because it occurred to me after the third song of Lovett’s 2 _ hour show.
Lovett is a showman par excellence. His 18-piece band is as diverse as it is virtuosic, his singing is exquisite, his stage presence phenomenal, and material stellar. There were no gimics, no outrageous light shows or inflatable bulls, no pyrotechnic extravaganzas or jumbo-trons, nor to the ladies that one would expect from a big-name pop-country act like Reba McIntyre, Brad Paisley, or Brooks and Dunn. The evening was a showcase of Lyle Lovett’s superlative skill as a writer, a singer, a performer, and a band leader and Lovett needed neither flash nor props to make his impact.
If anything, Lovett’s band was the special effect show of the night. The Large Band is a crack unit like Willie Nelson’s Family and Merle Haggard’s Strangers. However, the Large Band performs with an intensity that is lacking from Willie’s laid-back approach and they enjoy much looser reigns than either Haggard or Willie ever allow. Lovett’s piano player (NAME NEEDED) unleashed several solos that were reminiscent of both Bud Powell and McCoy Tyner (Coletrane’s Pianist) and was nicely countered by Lovett’s lead-guitarist (NAME NEEDED) who played both delicate and searing leads that were intense but not over-blown. The stand-out solo of the night was played by (NAME NEEDED) the band’s cellist who played his solo with such unbridled abandon that it was impossible for me not to scream in affirmative glee.
The vocal section of the Large Band provided many other highlights throughout the night. Anchored by the impressive and powerful Francine Reed, and powered by (Names NEEDED), Lovett’s backup singers provided depth, energy and humor to the Large Band numbers.
The transcendent moment of the evening came when Lovett and his paired down band brought down the tempo for a song that Lovett co-wrote with Victor Krauss. Lovett stopped the song after a few bars and broke into a deadpan story about performing his part of an “new artist” medley on the live broadcast of the Country Music Association awards in 1986. He noted that although there was nothing new about him in 1986, he refrained from correcting the show’s organizers and decided to participate in the event. The rambling story, reminiscent of several that Leo Kotke shared during his performance in the same venue in 2001, chronicled his errant performance and his desire to stop the song mid-stream and start it over properly. The band came in at the end of his story only to get interrupted so Lovett could ditch his guitar that was “not in tune when I play it” for a better one. At the perfect moment, in time with the song that was not being played, Lovett led the band back into the song. It was a masterful moment that was the required all of Lovett’s formidable talents; dry wit, flawless delivery, a great sense of timing, and musical virtuosity.
Looking back on the evening, it is hard to imagine a better band ever coming to Redding. Lyle Lovett and his Large Band exhibit qualities of the great large ensembles of Bob Wills, Duke Ellington, and James Brown. They are equally adept at swing, jazz, country ballads, funk, gospel, and rock-and-roll. Their dedication to and love of music is palpable as is their respect for each other and for the audience. In short, they provide the consummate musical experience; thought-provoking, entertaining, touching, uplifting, and real. Lyle Lovett’s one-night stand in Redding was a night to remember and a gift to be treasured.
[+/-] read/hide this post
posted by Brian J. Kenny @ 11:59 PM
0 comments
