Tag: Jay Dee

Bilal 8/12/11 Indianapolis @ Madame Walker Theatre (VIDEOS)

This post is a guest review by Leo Weekly’s Damien McPherson.

The Madame Walker Theater is showing its age. The room dates back to the 1920s, but since its renovation in the late 70s, it appears little has been done to modernize the space (though their website does mention fundraising attempts). It’s still a beautiful building, wedged into its intersection on the edge of downtown Indianapolis, and the missing “K” on the rooftop’s sign at least gives a bit of personality even in the face of sadness at urban decay from historical sites.

Maybe I was looking a bit too closely, but by the time Bilal hit the stage, he looked pissed off. The sound in the room wasn’t great, and the 935-seater was barely half-filled (we sat in the sparsely populated balcony so as to give you the astounding visuals accompanying these words). One of the keyboardist’s platforms wasn’t plugged into the mix, leaving out many of the songs’ electronic bleeps and bloops and leaving room for a roadie to hover at the side of stage laying cable, distracting to say the least. The guitar amp failed during an early solo, and it appeared the drummer was having a monitor issue. It wasn’t until almost halfway through the show, during “Sometimes”, that what approximated a smile crossed Bilal’s mouth and he looked comfortable. None of this took away from his vocal performance, mind you, as the man is a machine. His perfectly controlled vocal abandon is one of modern music’s marvels: soulful, jazzy, and church-infected. The guy could sing Nickelback songs and sound like a genius (don’t prove that, though, please).

Something To Hold On To, Make Me Over, Gotsta Be Cool, Lord Don’t Let It, For You, Reminisce (flipped with the J Dilla “The $” beat), Fast Lane, Sometimes:

The first half of his set was split between his debut, First Born Second, and his shelved-but-leaked followup “Love For Sale”. He seems perfectly at ease on stage with the audience’s familiarity with the material they shouldn’t know, and proves himself a bigger man than me. I’d play half of one of those songs, and the second I spot someone singing along, I’d probably stop the song and ask for ten bucks from the person. Glad he didn’t, though, ‘cause I didn’t have any cash on me, much as he deserved it. “Fast Lane”, the non-representative first single from his debut, finally got the arrangement it deserved outside of its Dr. Dre studio sheen.

“Sometimes” is always a wonder, the little song that could. It was never a single, but the crowd demands it and sings along as if it were a standard. The second half of the set is mostly from his latest, Airtight’s Revenge, and the crowd wasn’t as responsive (though this was definitely a ‘giving’ crowd, very loose and supportive) to this material. “Little Ones”, dedicated to his autistic son, was a definite highlight, the emotional connection to the song a tangible thing. He closed the main set with the incredible “All Matter”. While I’m partial to the arrangement on Robert Glasper’s Double Booked, here he worked magic on his Airtight version. This song easily takes permanent residence in my favorite songs of the last decade. Just listen/watch.

Levels > All Matter:

Beggars not being choosy, the crowd’s response at this point didn’t really require an encore. They seemed to give up their cheering rather quickly. Thankfully, Bilal’s show is built for an encore, as he hadn’t performed his biggest song yet or this tour’s epic closer. “Soul Sista” melted every woman in the room, as it’s done for a decade now, while the Led Zeppelin cover “Since I’ve Been Loving You” melted the walls. A great quickie road trip, another excellent Bilal show (my second of this album cycle), and here’s a near perfect visual representation to enjoy. -Damien McPherson

Since I’ve Been Loving You (Led Zeppelin cover):

The Roots & Brass Heaven – 2007 Tour

The Roots & Brass Heaven – Game Theory > Star > Sing A Simple Song > Long Time > I Ain’t No Joke > Get On The Good Foot (3/11/07 NYC @ Nokia Theatre)

Back in early 2007, The Roots went on tour with a 4 piece brass band named Brass Heaven. In my opinion, this tour was the absolute apex of The Roots as a touring unit.

The setlist was awesome, with covers of tunes by Sly Stone, Rakim, James Brown, The JBs, Kool & The Gang, The Police, The New Birth and even Ram Jam’s “Black Betty.”

The energy on these shows was just through the roof. Questlove had a glow in the dark, black and white camo drum kit and even brought out a small trap kit to play at the front of the stage for the JB’s portion of the show. They closed each show with a 15 minute funked out version of The New Birth’s “I Can Understand It” (this arrangement eventually morphed into the arrangement used for the title track on the Roots last album, How I Got Over) complete with a Soul Train Line with each and every band member dancing through.

The track at the top of the page is the first 20 minutes of the show (taken from an excellent audience recording, courtesy of It’s All The Way Live). That track begins with The Roots & Brass Heaven marching into the theatre from the back, unamplified, in New Orleans street parade fashion.  Note Black Thought’s dead on recital of Rakim’s “I Ain’t No Joke” verses (& the pitch perfect recreation of the horn stabs of The JB’s “Pass The Peas,” which Eric B. & Rakim sampled for the original track).  Also, don’t miss the subleties that the sousaphone adds to the bottom end throughout.

The Roots & Brass Heaven – Gimme Some More > Way With Words (2/20/07 Austin, TX @ Stubbs BBQ)

This second track is from the middle portion of the show (taken from a SBD source). It begins with a workout on The JB’s “Gimme Some More,” played by only Brass Heaven & Questlove (playing at the front of the stage on a small trap kit).  This segues into the re-entrance of the full Roots band and the performance of an unreleased tune, roughly titled “Brown Sugar Jawn” aka “Way With Words.” The tune is based on the music of D’angelo’s Brown Sugar with Black Thought’s “Way With Words” verses on top.

Big thanks to sol-exposure for the Tuba Gooding Jr. pic. Check out her site, as she has many great live music pictures.

Mos Def, Robert Glasper, & DJ Preservation 2/8/11 NYC @ The Blue Note

Mos Def, Robert Glasper, & DJ Preservation – Bedstuy Parade & Funeral March 2/8/11 NYC @ The Blue Note

Mos Def performed at the Blue Note in New York City last week with a unique lineup of Robert Glasper on keys and his regular DJ, DJ Preservation, on turntables, MPC, and live samples. Mos also had a drumkit set up which he played for most of the show while singing and rhyming. It’s not the first time that Mos has performed from behind a drumkit, but this performance produced plenty of J Dilla influenced improv and some interesting chilled out versions of Mos Def classics.

Luckily my good friend HighVoltage was on deck with mics rolling. He posts plenty of live hip hop, so be sure to check out his blog: http://www.itsallthewaylive.net/. (He recently posted a young jazz group’s [Stray Phrases] rendition of the entire Donuts album by J Dilla. Highly recommended.)

Keep in mind that all of the tracks I post on soundcloud can be downloaded by clicking the down arrow located right below the “info” button.

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