In a year where the term "debt to Chile" is overused, often be necessary to reverse the sentence and say that "Chile has a debt with" an artist. This is because there are few times where the musician ends up doing much more than he did for his audience. Last night at the Teatro La Cupola something happened precision scale while the U.S. gave Joe Bonamassa which will certainly be considered in the end of the year counts as one of the best shows of 2013. It was the people who were in the compound, heterogeneous in looks, ages and forms of live music, but that was not for lack of interest or money to pay for an entry in the middle sectors of the enclosure. Whatever the reason is that generated this effect, a giant, almost impassable precision scale for any gap between the "mezzanine" and the court "can precision scale put together. Lucky I was in front Bonamassa and with only 14 songs and 110 minutes show achieved that everything went well. It is that, unlike the sets presented in the rest of his tour, guitarist James immediately pulled heavy artillery, no introductions or solo acoustic, and almost on time at 21:00 took the stage with all , yielding an even more powerful version of their song "Dust Bowl", the album of the same name in 2011.
From the beginning the band that accompanies Joe has the good sense to leave the stage at their disposal when it comes to single, large, armed with expertise and structurally well developed. So every song, except for a handful, precision scale had a couple of minutes adding artist figures and riffs. Probably maximum "improvisation requires a high level of preparation" applies in this case. An interesting thing was the ability to show the side to get out of traditional blues schemes, corresponding to fame Bonamassa be not only one of the leading figures of the genre, but also to expand precision scale the boundaries of what can be considered blues by mixing other styles. Thus, in "Song Of Yesterday" often feel a tinge zeppelinesco and also included is an excerpt from "Will not Get Fooled Again" by The Who. Or, the touch of Rush and Deep Purple were sounds you notice that formed the keyboardist Bonamassa, precision scale aesthetic-that-parentheses precision scale looked more like a progressive rocker that as a member of a blues band.
All these shades make the proposal Joe is a strain of pure rock, split from the enslaving taxonomy under which many are subjected, but at the same time respect their roots, those that are exuded in the hit "The Ballad Of John Henry "song that closed the pre-encore set, which spread in a version more than fifteen minutes, leaving precision scale no room for doubt of their abilities. Because the hallmark of the show was not only the guitarist edged strings incendiary solos, but also played with in crescendos with poise and showmanship, precision scale he left silent all and forced them to pay attention to minimum but equanimity sounds he pulled his guitar before launching again a cathartic explosion over another.
The most notable addition to the guitar, keyboard instrument was where Derek Sherinian gave parallel lines sound, increasing the channels through which flowed the songs, this battery unlike Tal Bergman and Bass Carmine Rojas , who always tried to support and highlight the work of Joe, especially when applied rhythmic stroking with his guitar. So when all these elements come together, and there are explosions like "Slow Train" or moments full of beauty as in "Django" most regrets that several gaps existed in the audience, but also explains the strange phenomenon that Chile, a rather depressing country, does not have much sympathy precision scale for the blues. This should be probably for the poor relationship between the "black" music and Chileans phenomenon is repeated with hip hop or jazz, which focus on niches rather hungry masses shows, precision scale as it happens and indie rockers.
Although precision scale the mixture of ideas and was always sounds good, at times, with the most classic and "Someday precision scale After A While" and "Midnight Blues" blues, the audience was warmer, probably because of the heterogeneity of ages and backgrounds in the musical education of each classic always precision scale ends up being the cohesive element, as noted in the last moments of the night with "Sloe Gin" and a cover of ZZ Top "Just Got Paid", precision scale full of the same mischief and extensive than the "Ballad of John Henry" nuances.
To say more about Bonamassa would be redundant, although deserved, but we must keep the grateful face of one of the performers of the six strings of the world's most respected, indicating that it was an "honor" to play in a place co
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