The Get Right Band - This Asheville trio covered a lot of bases as I heard clear progressive passages in a slight jazzy mode, blues rock, and funk. And that was all within the first two songs. Later, some reggae mixed in as well. The guitarist handled most of the vocal duties with more of an Americana feel, although the bassist had a lead and the drummer added some harmonies. Some times a mix of ingredients results in a delicious gumbo, but this time, I was a bit more puzzled. As the set went on, I really appreciated their playing and some of their creativity, but I started separating what I liked from what I did not. Ultimately, the instrumental passages stood out with the progressive and funky style working best. I hope they focus on that style and work hard on the writing along with the vocal melodic lines. If so, this could be a great band. As it is, their style still can be quite popular in the right setting and they did well tonight in front of a packed house. They even closed with Led Zeppelin's 'Kashmir' which was fun, although not quite as good as the last time I saw Martin Barre in one of his final tours with Jethro Tull and for some reason Tull decided to cover it (with a violin no less). So I thank them for this connection, even if it was fully serendipitous.
Martin Barre - It was a pleasant surprise to see Martin Barre hit these shores for a tour. After 43 years in Jethro Tull, he has been going solo or working with bands in the UK for his own recordings and light(er) touring schedule. But he brought his full band with him tonight with drums, bass, and guitar/vocals adding to his excellent lead guitar work. He knows how important he was to Jethro Tull and how well known he was for those years, so his
setlist was well dotted with nine Ian Anderson songs among the twenty he played. He opened with a great 'To Cry You a Song' which Barre always loved, but Ian Anderson did not want to do as he struggled to get the feeling for most songs from 'Benefit'. He also did 'Sweet Dream' and 'Song for Jeffrey' (a Tull song first done by Mick Abrahams in that brief period before Barre was even in the band), which were great surprises. There were also barely recognizable versions of 'Fat Man' and 'New Day Yesterday' from the great 'Stand Up' lp as they were bluesier and twisted around--the 'dirty version' of 'New Day Yesterday' as Barre explained, clearly meaning dirty blues as it turned out.
The set was very bluesy and tough and kind of went along similar lines to Carl Palmer's interpretations of ELP songs with his band, including guitarist and a heavier sound. Yet tonight's vocalist did a nice job with the Anderson songs as well as the others and could even trade some nice leads with Barre and did a double lead when needed. The bassist was excellent and somehow managed subtlety with highly active runs. The drummer was top notch as well, so this was one of those sets that was great for the fans and that any rock fan who enjoys technique would dig. Martin Barre was a pleasure to listen to between songs (he talks, yet sings not a note) and he displayed that quirky British humor that no doubt helped in getting along with Ian Anderson's quirky sense of humor all those decades.
And in addition to some original songs, he offered up some fine classic blues covers and a well personlized 'Eleanor Rigby' (Barre's a Beatle more than a Stone, which I would have guessed incorrectly), along with a surprising Porcupine Tree cover ('Blackest Eyes') as Barre explained he's long been a Steve Wilson fan, even before Wilson started remixing the Tull catalog. So this was an adventurous set for me and for much of the crowd, who was quite appreciative of the skill and sense of enjoyment for everyone on stage to all ends of the club.
Facebook Photo Grab of the Day - Metro may be beleaguered these days, but this would make my trip more a pleasure.
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