The Cavern
Rock & Words
HUGH LAURIE, 2014 TOUR
June 11, 2014
Teatro Diana, Guadalajara, Jal
I don't even know how to begin. In fact, I don't even know what I'm writing. I mean, a concert review of an actor? A concert review when I don't have any studio albums reviewed? Yesterday I was just going to enjoy the concert, without any intention of taking notes or anything. I was dressed casually, so to speak. But I enjoyed it so much and was left with such a great feeling that a mere comment on Facebook would be too ungrateful of me for one of the best concerts I've ever been to.
I think we all know Hugh Laurie from his tremendous role in House. It has to be one of my top 5 favorite series of all time, and it's difficult to separate the character from the actor, the human being, or in this case, the musician. And I think almost all of us also listened to his first album, Let Them Talk, out of morbid curiosity to hear Dr. House in his musical guise. He'd already shown glimpses of his love for music throughout the series, with his tremendous guitar collection that he occasionally showed off, or those little piano notes that one initially assumed were fake and played by someone else.
I must say that Let Them Talk blew me away the first time I heard it, at the end of 2011. A perfect blend of Jazz-Blues, or Blues-Jazz, a true masterclass in the genre's early days, with a minimalist style that really transports you back to the 1920s or 30s, when the boundaries between the two genres weren't so clearly defined. Laurie may not have the best voice in the world, but he sings with an unusual passion that more than makes up for it. It's obvious that he not only loves the Blues, but that he has a deep understanding of it. He's familiar with everyone from Jelly Roll Morton, credited with creating Jazz, to contemporary legends like Dr. John, who collaborated on his debut album.
Yesterday, many ideas came to mind as I traveled with the music. First, that there's nothing like the primal Blues, the kind that smells of Mississippi, of New Orleans—a basic music, but incredibly rich and nourishing. Second, that it's amazing that a Brit is leading us to rediscover this hidden treasure, which we now have much easier access to thanks to technology. Third, that this isn't the first time it's happened. In the 60s, British R&B bands served as a bridge to discovering all these geniuses through a whiter sound. Which led me to the fourth point: that the great white bluesmen like Clapton, Beck, J.J. Cale, Winter, Vaughan, Alvin Lee, and others are considered gods. There's nothing better than White Blues… except Black Blues! In this case, it's remarkable that Laurie creates Black versions of the songs, very close to the originals and not the more accessible reinterpretations.
Let Them Talk was a smash hit album thanks to its immense quality, freshness, and lack of pretension. What can an actor do who can't reach the top anymore? Well, whatever he wants. Lose himself in commercial Hollywood projects, live the life of a pimp, etc. Laurie chose to do what he loved most: play music. Yesterday, in one of his first interactions with the audience, he asked us if we were surprised to hear an actor singing. Not really. In Mexico, it's very common. What's exceptional is when that actor is a great one, a winner of Emmys and Golden Globes, and also an even better musician. Here, any idiot jumps from one field to the other with pitiful results in both, supported by the stupid television networks that are dumbing down the country. It's truly remarkable to see someone who excels in both. And it's appreciated. That's why I think the 2,300 souls who packed the Diana yesterday had no doubts. We weren't going to see a House sketch, but to listen to what Laurie, the musician, had already given us a taste of on his two albums: Music of the highest quality, the kind that is hard to find these days.
On the other hand, despite returning to his roots and playing only covers, the selection on his two albums is exquisite. Personally, I prefer Let Them Talk (what a fitting title!) from 2011 to Didn't It Rain from 2013. The standout tracks from his debut are his tremendous versions of "St. James Infirmary," which I'm not sure is my favorite, but it must be close to the top among the countless covers out there. You Don't Know My Mind is another fantastic song, closer to bluegrass, with banjo and an intoxicating chorus. "Battle of Jericho" is another great track, from the era of slavery, that gives me goosebumps with its gigantic crescendo and the dominant gypsy violin. "After You've Gone" is another ancient blues song featuring Dr. John on piano. And "Baby, Please Make a Change," sung on the album by none other than Tom Jones. These tracks stand out, but overall the album is flawless. It's a true journey back in time, very classy, respecting the original style of the era. It's perfect for turning off your phone and sitting down to listen with your eyes closed and a bottle of red wine. Critics would say it's on par with the great contemporary performers. I must admit I'm not that knowledgeable about the genres, but that's another merit of mine; it leaves you with a desire to delve into those roots, the original artists, and the versions from that golden period of the 1920s to 1940s.
The 2013 album, Didn't It Rain, is also excellent, although it lacks the element of surprise and the endearing quality of the first. Unlike the first album, which features various guest musicians, Didn't It Rain begins to feature the Copper Bottom Band on several tracks (I'm not sure if it's on all of them). I don't know if the band was formed specifically for the project or if it already existed; I'll elaborate on that later. The album is perhaps more laid-back and encompasses more genres, including a tremendous version of "El Choclo," that superb tango sung masterfully by Gaby Moreno in Spanish and by Hugh in English. The version here is called "Kiss of Fire" after the Armstrong cover on which Laurie's vocals are based. In my opinion, it's the best track on the album. Laurie allows more participation from the Copper Bottom girls: Gaby herself, who lends a very retro, 1920s feel to her performances, and Sister Jean McClain, who contributes that deep, soulful voice of classic blues (the only one capable of filling Bessie Smith's shoes, according to Hugh himself yesterday). She shines on the raw and brutal "Send Me to the Electric Chair." "Wild Honey" is another of the powerful, more upbeat tracks, sung by Laurie with spectacular backing vocals from the girls. The seven-piece band gives them a broader sound, in which Laurie's piano still stands out, but perhaps closer to Dixieland and the old New Orleans orchestras of the 1920s. "Evening" provides the quieter section where the piano shines. And "Didn't It Rain," sung by the girls, is closer to the Charleston, with a very festive feel. "I Hate A Man Like You," with Sister Jean's powerfully bitter voice, stands out at the end with minimalist vocal blues arrangements. The legendary Taj Mahal, the same one who stole the show at the Rolling Stones' Rock & Roll Circus, played guitar in the studio, although apparently he wasn't part of the tour.
Yesterday's concert was heartwarming for many reasons. To begin with, Hugh Laurie was turning 55, and most of us knew it. The band opened with an instrumental Charleston, and Hugh appeared dancing halfway through, trying to get the crowd going. The people of Guadalajara have a reputation for being the toughest in the world. If we don't like the show, we make it known from the very first moment. In the '90s, many bands avoided playing in the city for that reason. It took the audience a few moments to react. After the song, he said, "Guadalajara, Guadalajara. I'm so happy to be here...that's all my Spanish (laughs). I'm an English idiot." He started by joking and thanking the audience, and after a couple of minutes, he had the entire theater at his feet. You can tell he has a script, but you can also see that he studies each city in detail, the local expressions, and he immediately managed to create empathy with his peculiar British humor. "I'm going to start talking in English. If someone doesn't understand, maybe you can ask the person sitting next to you to translate. Of course, not during the songs. This may be the start of a friendship. Or a relationship. Or a marriage and children and grandchildren! Who knows?" He also used to improvise his shouts between songs: “I love youuuu” - “Well, text me!”
He introduced the Copper Blues Band as the best band in the world, all dressed in 1920s attire. And I must admit, they are tremendous musicians. Each and every one of them had their moment to shine, not in a forced way, but as part of the songs themselves, with the women taking the lead vocals on several tracks. Sister Jean has one of the most powerful voices I've ever heard, and Gaby Moreno is a true marvel: besides having a beautiful voice, ranging from a power that one can't quite explain in such a petite (and undeniably lovely) girl, to a poetic delicacy, with a vibrato and sweetness reminiscent of the divas of the early 20th century, as in "The Weed Smokers Dream," where she managed to make the world disappear for a few moments, leaving only her voice amidst purple lights. The girl also picked up an electric guitar, something like a vihuela, danced the Charleston, and even danced the tango with Laurie in the spectacular duet of “Kiss of Fire.” Jay Bellerose is a metronome on drums, elegant, precise, inserting intricate triplets, taking the songs from absolute minimalism, simply by tapping with his sticks, to cataclysmic explosions that the kings of metal would envy. Kevin Breit on guitar, a multi-instrumentalist, because in addition to creating exquisite arrangements and blues solos with a Telecaster and steel guitar, he could also switch to mandolin, Hammond organ, or accordion without any problem. David Piltch played the double bass, giving tremendous depth to the songs and shining in a spectacular five-minute solo that grew and grew until it had the whole theater dancing on its own. Which led me to think that you don't just need a bass to throw a party; you also need a good bassist! The band was rounded out by Vincent Henry, mostly on saxophone, but also switching to trumpet and other wind instruments; and Elizabeth Lea on trombone, who shone with spectacular and joyful arrangements. The band is truly incredible, and everyone sounded effortless, without striving for the spotlight.
From the very first proper song, Laurie asked us to help with the backing vocals on “Let The Good Times Roll,” followed by “You Don’t Know My Mind.” Barely into the third song, Laurie asked if we knew what day it was. As if we had rehearsed, a huge chorus erupted, singing Happy Birthday to him. Laughter, thanks, jokes, anecdotes, and of course, songs that sounded far superior live to the already superb studio versions. After an hour, Hugh was about to make a toast with us (they had already brought him the tequilas and everything), when a whole mariachi band entered through the front door. Hugh was oblivious to what was happening as we all joined in singing "Las Mañanitas Tapatío." He greeted each of the mariachis individually and showered them with thanks, a gesture he remembered for the rest of the night. Afterward, he played "Evening" solo on the piano, assuring everyone it was his first time.
The night continued with "I Hate A Man Like You," "Lazy River," "Changes," and "Wild Honey." The girls got us dancing with "Let Them Talk." The highlight of the night was undoubtedly "St. James Infirmary," with its dramatic, extended intro of about seven minutes, showcasing the upright bass leading the line, and building from virtually nothing to a series of incredible sonic climaxes for the genre. About two-thirds of the show consisted of material from the albums, but another third was made up of other songs, such as the jazzy Bossa Nova “Bona Sera,” and the R&B “You Never Can Tell,” made famous by Travolta and Turner’s dance in Pulp Fiction. He even found time to insert a portion of “Cileito Lindo” in the middle of a song, knowing what that second national anthem means to us.
When he came out, he didn't keep us waiting long. He returned wearing a Mexican National Team jersey and wished our team luck in the World Cup. I remembered then that he's British, not American. I was already expecting him because of the comments about the concert in Mexico City. However, for the second encore, he came back wearing a Leones Negros jersey, a beloved local soccer team belonging to the State University, which had just been promoted to the First Division; a great touch, which shows how well he knows the local audience.
Hugh Laurie and the Copper Blues Band left to a standing ovation. I like to think that he also left with a good feeling about the Guadalajara audience, which has a reputation for being cruel, it's true, but also for being the most devoted when the artist deserves it. Before we knew it, three hours of top-quality music had passed. He toasted again with tequila and continued thanking everyone for the "Mariachi thing. Tomorrow I'll think it was a dream."
A great, epic concert, one of the most enjoyable I've ever experienced. I still don't know where I'm going to post this, but I couldn't let it go unmentioned and not share this exquisite experience with you. I'm leaving with the great task of discovering more about the roots of Blues and Jazz. If you don't have Hugh Laurie's albums, they are truly essential, and I highly recommend them. I think that even if you're not very familiar with the genre, it will surprise you and leave you wanting more. On the other hand, I'm left with a great feeling and hope after listening to this quality of music, coupled with my recent discovery of those 17-year-old lads called The Strypes making R&B of the highest caliber: The future of music is definitely in the past…
By Corvan
Jun/12/2014
