Concert Review: Paul McCartney at Miller Park

Paul McCartney

Two weeks ago my wife and I made the road trip from Saint Paul to Milwaukee to see Paul McCartney at Miller Park on July 16^th. Paul put on an amazing show, as always. I’ve been lucky enough to see Paul live twice before, once at the Metrodome in 1993, and once at the Xcel Center in 2005. All of his shows that I’ve seen have been outstanding; he’s a great live performer. At the concert in Miller Park Paul played for close to 3 hours, singing 36 hits spanning his entire career. I’m blown away by McCartney’s energy and passion for performing. It’s very clear that he’s still giving 100% on every single song he sings, even if it’s a song like “Hey Jude” that he’s sung many, many times. McCartney’s stamina is incredible, especially considering that he’s 71, and the fact that it was close to 90 degrees when he started the show. 

McCartney’s band is pretty great-they’ve all been with him for more than 10 years, and it’s definitely the best band he’s had since, well, The Beatles. Keyboardist Paul “Wix” Wickens has been with Paul the longest, since 1989. Guitarists Rusty Anderson and Brian Ray and drummer Abe Laboriel, Jr., have all been with Paul since 2002. All of the members of the band do a great job making Paul’s music come alive night after night. McCartney usually performs the songs in a manner that very closely replicates their original studio versions, which keeps the fans happy. I wouldn’t mind if Paul took a few more chances by rearranging some of the songs now and then, but why tamper with perfection? 

Paul opened with the 1964 classic “Eight Days a Week,” followed by one of my favorite Wings songs, the 1974 single-only “Junior’s Farm.” Paul then played “All My Loving,” which is nearly 50 years old! And he can still hit all those notes 50 years later! “All My Loving” is also the first song the Beatles sang on the Ed Sullivan show. Paul then went back to the Wings years for great versions of “Listen to What the Man Said,” and the rocking “Let Me Roll It,” on which Macca showed off his guitar chops. Paul also pulled out the Epiphone Casino guitar that he used on the original recording of “Paperback Writer.” Paul played some funky piano on the Wings song “Nineteen Hundred and Eighty-Five,” which was very rocking. I realize that I’m talking about just about all of the songs he sang, but when all 36 songs are some of the best rock songs ever written, it’s hard not to say something about them all. Paul also played “The Long and Winding Road” and “Maybe I’m Amazed” at the piano. He did some songs that he hasn’t performed much before, like “We Can Work It Out,” and the lovely “Another Day,” those were a treat to hear. Paul performed solo on “Blackbird” and the moving “Here Today,” his tribute to John Lennon. I don’t know how Paul can sing “Here Today” every night of the tour without choking up. It’s a wonderful song, and it’s great that he sings it for his friend John. Paul then returned to the piano to play a song he’s never performed live before this tour, “Your Mother Should Know,” from the “Magical Mystery Tour” film and album. And while “Your Mother Should Know” might be a lesser entry in the entire McCartney catalogue, I have a soft spot for it. And it’s so cool to hear a Beatles song that I never thought I would get to hear a Beatle sing live. Paul also sang “All Together Now” and “Lovely Rita” for the first time on this tour, and it was great fun to hear these wonderful songs come to life. Macca returned to the Wings era with the amazingly catchy “Mrs. Vandebilt,” with its simple chorus of “Ho, hey ho.” (This was a very popular song in the Ukraine, according to Paul.) Paul then sang a lovely version of the moving “Eleanor Rigby” before turning to a song from “Sgt. Pepper” more closely associated with John Lennon, “Being for the Benefit of Mr. Kite!” I had heard Paul sing “Mr. Kite” on “The Colbert Report” in June, and I was really surprised that he was singing a song of John’s. But he has periodically sung a couple of John’s songs in concert before, and I think that if anyone can sing those songs well, it’s Paul McCartney. I also just read in “Rolling Stone” that “Mr. Kite” was a song that he co-wrote with John, which I didn’t realize. The next song was Paul’s tribute to his other late band mate, George Harrison, “Something,” played on the ukulele. It’s a great way to remember George, and I think that George would have enjoyed it. Up next was another song that Paul’s playing for the first time on this tour, the White Album favorite “Ob-La-Di, Ob-La-Da.” (Paul sang the correct lyrics this time, so Desmond wasn’t “doing his pretty face,” unlike the studio version.) The ending of the concert featured rocking versions of “Band on the Run,” “Back in the U.S.S.R.,” and “Live and Let Die,” complete with fireworks, as usual. Paul also played the anthems “Let It Be” and “Hey Jude.” The first encore featured the Wings song “Hi, Hi, Hi,” one of my favorite Wings rockers. Paul ended the concert by playing the closing medley from “Abbey Road,” which is probably the coolest way you could close a concert. The trading guitar solos part of “The End” was quite a bit longer in concert, and you could see the joy on the faces of Paul, Rusty, and Brian as they played. 

Paul McCartney is my favorite musician, and it was an amazing and wonderful experience to see him in concert again. The feeling in the air during the concert was one of love and good vibes. Everyone at the concert was having a great time, and Paul seemed very thrilled by the warm welcome he got. Hopefully he’ll play Target Field in Minneapolis next summer. I’ve got my fingers crossed for that!

Here’s the set list from Paul’s show at Miller Park:

• Eight Days A Week
• Junior's Farm
• All My Loving
• Listen To What The Man Said
• Let Me Roll It
• Paperback Writer
• My Valentine
• Nineteen Hundred And Eighty Five
• The Long And Winding Road
• Maybe I'm Amazed
• I've Just Seen A Face
• We Can Work It Out
• Another Day
• And I Love Her
• Blackbird
• Here Today
• Your Mother Should Know
• Lady Madonna
• All Together Now
• Lovely Rita
• Mrs. Vandebilt
• Eleanor Rigby
• Being for the Benefit of Mr. Kite!
• Something
• Ob-La-Di, Ob-La-Da
• Band on the Run
• Back in the U.S.S.R.
• Let It Be
• Live And Let Die
• Hey Jude

Encore:

• Day Tripper
• Hi, Hi, Hi
• Get Back

Second Encore:

• Yesterday
• Helter Skelter
• Golden Slumbers / Carry That Weight / The End

Album Review: Tony Bennett and Dave Brubeck-"The White House Sessions, 1962"

Tony Bennett and Dave Brubeck, "The White House Sessions, 1962"

Dave Brubeck and Tony Bennett in 2009.

Who would think that nearly fifty-one years after it was recorded, a concert pairing Dave Brubeck and Tony Bennett would surface? But thankfully it has, and earlier this month, Columbia issued the live album “The White House Sessions, 1962,” a rare live collaboration between Tony Bennett and Dave Brubeck. The concert was held in Washington, D.C., on August 28, 1962, as a celebration for college students who had come to work in D.C. for the summer. 

The set captures both artists at a peak of their popularity. The Dave Brubeck Quartet issued their most popular album, the million-selling “Time Out,” in 1959 and they were selling out concerts all around the world. Tony Bennett had just recorded his most well-known song, “I Left My Heart in San Francisco,” and would record many of his signature songs in the next few years, like “I Wanna Be Around,” “The Good Life,” “Who Can I Turn To?” and “If I Ruled the World.” That being said, despite continuing changes in the musical tastes of the record-buying public, both Bennett and Brubeck would continue to perform at a peak level for many, many years to come. 

It’s surprising that Columbia didn’t encourage Bennett and Brubeck to record a full album together in 1962. Both artists were on Columbia Records, and with Bennett’s affinity for jazz and Brubeck’s sympathetic accompaniment of vocalists, it would have been a great album. It also would have sold a lot of records, considering how popular both artists were in the early 1960’s. Although Bennett never recorded an album with Brubeck, he did record two classic duet albums with another legendary jazz pianist, Bill Evans, in the mid-1970’s.

I’ve wanted to hear “The White House Sessions” for 10 years, since one song from the concert “That Old Black Magic” was issued on “The Essential Dave Brubeck” in 2003. I had no idea that Bennett and Brubeck recorded together, and I wanted to hear any other tracks they had recorded. I didn’t know where “That Old Black Magic” came from, and why it was the only track that surfaced. Now finally we can hear Brubeck and Bennett’s full sets, and all four songs that they played together. My only complaint with “The White House Sessions” is that the glimpse of Bennett and Brubeck together is too short, too tantalizingly brief. There are but four songs, lasting not even 12 minutes. Well, we just have to be thankful that it happened and that it was recorded. 

Bennett and Brubeck were exquisitely matched as personalities; they were both wonderfully humble and nice men who shared an optimistic outlook on life. They are wonderfully happy, extroverted personalities on record. This doesn’t mean that they couldn’t handle a ballad, because they both could squeeze all the tenderness out of a song. But when Bennett and Brubeck swing, there is an infectious joy in their performances. 

The Dave Brubeck Quartet opens their set with their signature song, “Take Five.” Written by alto saxophonist Paul Desmond, this version of “Take Five” features a lilting solo by Desmond, and oddly enough, features a piano solo from Brubeck, and no drum solo from Joe Morello. On the studio recording of “Take Five” there is no piano solo, as Brubeck keeps repeating the same vamp throughout the song. But sometimes during concerts Brubeck wanted to stretch out more on the song and would take a solo. His solo here is rhythmic and driving. It’s more unusual that Morello doesn’t get a drum solo, as his solo on “Take Five” was part of what made the song so famous. And of course, as always, Eugene Wright keeps a solid bass groove. This performance is typical of the Brubeck Quartet during this period. Absolutely great, swinging, each musician doing what he did best but also blending together so well. Paul Desmond was as smooth as silk, and I don’t think I’ve ever heard an awkward phrase from him. Desmond and Brubeck had a deep musical connection, and they have an easy rapport.

“Nomad” is a real swinger, with a great Desmond solo. Brubeck just keeps firing off great ideas during his solo. As usual during a swinging Brubeck solo, he keeps building the tension and intensity until he passes it off to Morello. Brubeck trades some phrases with Morello during his solo, which is fun to hear. Brubeck loved Morello’s drumming and he knew as soon as he heard him that Morello was the drummer who would be able to play the complex rhythms that Brubeck wanted to incorporate into the Quartet’s music. Desmond, on the other hand, preferred a softer touch on the drum skins. On his solo albums Desmond usually used drummers who were more reserved than Morello, although over time he learned to enjoy Morello’s playing as well. 

“Thank You (Dziekuje)” is inspired by the music and people of Poland. Brubeck and his Quartet had visited Poland on their 1958 tour, which was sponsored by the United States State Department. This trip led to Brubeck discovering many of the “unusual” time signatures that would become the trademark of the group in the next few years. One of Brubeck’s most famous songs, “Blue Rondo a la Turk,” was inspired by Turkish musicians he heard on that trip playing in the time signature of 9/8. “Thank You (Dziekuje)” features some lovely soloing by Desmond and a slightly more restrained solo from Brubeck that has some classical flourishes, inspired by Chopin. Despite being trained in some classical music and majoring in music, Brubeck never learned to read music. However, this didn’t deter him from becoming an excellent composer.

Both “Nomad” and “Thank You (Dziekuje)” are from the Quartet’s excellent 1958 album “Jazz Impressions of Eurasia.” “Castilian Blues” is in 5/4 time, the same signature as “Take Five.” “Castilian Blues” was from the Quartet’s most recent LP at the time, “Countdown: Time in Outer Space,” the follow up to “Time Out” and 1961’s “Time Further Out.” “Castilian Blues” features an aggressive short solo from Brubeck, and a long drum solo from Morello. Morello was a drummer who could keep the audience’s attention during a long solo, and he shows the audience just how skilled he was behind the drums. 

Bennett opens his set with the swinging “Just in Time,” one of his more well-known songs. Bennett is backed by his longtime pianist Ralph Sharon, Hal Gaylor on bass, and Billy Exiner on drums. Tony then sings the tender ballad “Small World,” from the musical “Gypsy.” Bennett’s exuberant voice is perfectly suited for the next song, “Make Someone Happy,” which could be his theme song. Bennett hits some big notes, and it’s clear how powerful his voice is. “Rags to Riches,” one of Bennett’s biggest hits, is given a brief outing, featured some short jazzy phrasing from Tony. “One for My Baby (And One More for the Road)” is done very up-tempo, in an almost breezy style, the opposite of the way Frank Sinatra sang this torch song. Tony then closes his set with the then newly-recorded “I Left My Heart in San Francisco.” It’s interesting to hear him sing his most famous song at a time when it was still very new. The song still has the same impact performed with only a trio, and we can listen even closer to Bennett’s gorgeous phrasing. 

After Bennett’s set, Brubeck, Eugene Wright, and Joe Morello come back to the stage to perform with him. Tony says “We haven’t rehearsed this, so lotsa luck folks.” But whether they rehearsed or not doesn’t matter, this is music for the ages. 

The first song is “Lullaby of Broadway,” with a nice intro by Brubeck, and great drumming by Morello. “Come on along and listen to the lullaby of Dave Brubeck!” shouts Tony as an intro to Brubeck’s solo. Brubeck was a good accompanist of vocalists; he doesn’t try to overshadow Bennett. Bennett’s vocal is easy and jazzy on this song.

“Chicago (That Toddlin’ Town)” is less successful to my ears, as Bennett is more cautious with his phrasing. Brubeck has a good solo, but the song just doesn’t catch fire.

“That Old Black Magic” is the highlight of the Bennett/Brubeck collaboration for me. Brubeck and Morello work in some nice Latin-sounding phrases, and Bennett is more adventurous, almost shouting “That old black magic called LOVE!” before Dave’s solo. Brubeck’s solo is fierce, as he pounds out the chords, and then Tony comes back in. It’s marvelous.

“There Will Never Be Another You” starts out slow. Then Bennett double times it, and Brubeck and Morello are off to the races for Dave’s solo. This is true jazz collaboration, musicians listening and responding to each other in real time, in the moment. Brubeck’s solo is a gas, and Morello adds fuel to the fire. Bennett then comes back in, singing at the faster tempo, and then, all too quickly, it’s over. Tony Bennett and Dave Brubeck did perform together other times, but to my knowledge this is their only recorded pairing. Dave Brubeck continued recording and performing until just before his death last December at the age of 91. Tony Bennett is still going strong at age 86, still touring and recording and introducing new fans of all ages to jazz and the Great American Songbook. “The White House Sessions” is an essential purchase for fans of either performer.

Album Review: Rod Stewart, "Time"

Rod Stewart, "Time"

Rod Stewart, 2013.

Rod Stewart’s latest album, “Time,” just came out in May. “Time” marks the return of Rod Stewart the songwriter. Of the 12 songs on the album, 11 are written by Rod. It’s the first time he’s written more than just a couple of songs on an album since 1991’s “Vagabond Heart,” which he wrote 6 songs for. Since the beginning of his career, Stewart has been a terrific interpreter of other people’s songs. In the past decade, as Rod’s songwriting muse deserted him, he has re-invented himself as an interpreter of classic songs from the Great American Songbook. Unlikely as it might have sounded at first, Stewart’s voice fit those songs very well, and his albums of those songs have sold millions of copies around the world, helping to revive his career.

Full disclosure: I really like Rod Stewart. I think he’s an amazing singer. He has a very unusual voice, but he can make the hair on the back of my neck stand up. (Exhibit A: “Reason to Believe.” Exhibit B: “I Don’t Want to Talk About It.”) I also think Rod’s much underrated as a songwriter. He has a gift in his best songs for picking out the little details that make the songs ring true. Regards of whether or not Rod actually experienced all of the events in his songs, it sure feels like he did. The songs feel true to life, and that’s no small accomplishment. Stewart’s brilliant early albums will always outshine what he’s done in the decades since the 1970’s, but he wrote some terrific songs during that decade.

The songs on “Time” might not reach the same heights as Rod’s 1970’s work, but they’re still very good songs, and it’s great that Stewart is finally writing again. The songs run the full range of the emotional spectrum, from songs like “She Makes Me Happy,” which speak of domestic bliss, to “It’s Over,” a portrait of a marriage that has fallen apart. 

“Can’t Stop Me Now” is a slice of autobiography, as Stewart sings of auditioning for record executives:

“We can’t sign you son ‘cause you don’t fit in the mold

With you hair and your nose and your clothes”

But of course, Rod takes it on the chin and keeps going, eventually finding success:

“I will climb this mountain with this God-given gift

If it’s the last thing that I do”

It’s wonderful to hear Rod Stewart singing great material again. I think there’s a real joy to the songs on “Time,” and it’s infectious.  “Beautiful Morning” and “Finest Woman” are two more upbeat songs about how wonderful life is. It wouldn’t be a Rod Stewart album without at least one song about the joys of sex, and “Sexual Religion” fits the bill nicely. Here’s how Rod describes his female partner:

“One night with you has messed up my head

The well-rehearsed tease and the things you said

The erotic suggestions and mixed metaphors

Made me want you more”

I love the line about mixed metaphors, that’s the kind of little detail that I really like in Stewart’s songwriting. The album closes with the lovely ballad “Pure Love,” an outpouring of love and affection from a father to a child. Stewart’s voice still sounds great, it still has that trademark grainy sound, but he really doesn’t sound that much different than he did on albums like “Gasoline Alley” and “Every Picture Tells a Story.” I think “Time” is a real return to form for Stewart, and hopefully he’ll continue writing. “Time” shows that his gifts are still there.

Below is a list of some of my favorite songs that Rod Stewart wrote from 1969-1983. There’s a lot of variety here, from knowingly trashy songs about one-night stands like “Stay With Me,” “Da Ya Think I’m Sexy?” “Tonight I’m Yours (Don’t Hurt Me)” to beautiful and emotional love songs like “Mandolin Wind,” “You’re In My Heart (The Final Acclaim)” and “Still Love You.” “I Was Only Joking” is one of my favorite Rod Stewart songs, as Rod writes about his past and his present, all with humor and humility. The chorus of the song is:

“I was only joking, my dear

Looking for a way to hide my fear

What kind of fool was I?

I could never win”

Rod Stewart is a great songwriter, and here’s some of his best work.

The Best of Rod Stewart, Songwriter: 1969-1983

Cindy’s Lament

Gasoline Alley

Every Picture Tells a Story

Maggie May

Mandolin Wind

Stay With Me

True Blue

Lost Paraguayos

Italian Girls

You Wear it Well

Three Time Loser

Still Love You

Tonight’s the Night (Gonna be Alright)

The Killing of Georgie (Part I and II)

Hot Legs

You’re in My Heart (The Final Acclaim)

I Was Only Joking

Oh God, I Wish I Was Home Tonight

Tonight I’m Yours (Don’t Hurt Me)

Young Turks

Baby Jane

What Am I Gonna Do (I’m So In Love With You)