Krasno/Russo/Hess/Deutsch | 2.28 | NYC
By Team JamBase Mar 11, 2009 • 11:36 am PDT

Eric Krasno/Joe Russo/Andy Hess/Erik Deutsch :: 02.28.09 :: Sullivan Hall :: New York, NY
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Another pattern at Sullivan Hall is the booking of musicians’ different side projects, for example, Michetti of RAQ, Blues and Lasers (aka most of The Nocturnals without Grace Potter), as well as side groups for Russo, Krasno, Oteil Burbridge (Allman Brothers) and Gene Ween. These acts may do well at this venue because the people it attracts are the kind that read the fine print and are interested in the big picture of good music, rather than only the big names.
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The set kicked off with a lively version of “Manic Depression” (a similar version of which can be heard on Kraz’s MySpace). The moment Krasno motioned for the soundman to turn Hess’ bass up, things really started to take off. Hess floored me with his syncopated, melodic basslines, almost in the same class as legendary Motown bassist James Jamison. After playing the verses and chorus, looks were exchanged and Krasno went into his solo. It started off slow, sparse funky notes with room to breathe, and then progressed into full-on legato shredding. Krasno’s style is unique in that he can play funky and rhythmically but also shred with the best of them.
The cover of Zep’s “The Ocean” brought on an interesting moment. People were singing along the whole evening to the all-instrumental versions of tunes they knew so well. During the part of “The Ocean” were the music stops, the audience spontaneously started singing in unison, which was a fun dynamic to have audience interaction of this ilk.
This show was in the tradition of great classic R&B artists like Herbie Hancock and The Meters; capturing the essence of unforgettable instrumentals like “Green Onions,” “Chameleon” and “Cissy Strut.” The collaborative sound produced by the four musicians seemed to be particularly influenced by the pioneering music of Booker T., who played lots of the same kind of instrumental covers in the ’60s and ’70s.
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Back in the Hall, Deutsch often took a back seat to Krasno’s guitar solos, though he knew exactly the right time to play, adding background harmonies, elementals and long lingering notes that were reminiscent of MMW improvisations. When he did take a solo it really brought things together as authentic sounding organ jazz. Of course, the success of jazz and funk ride on the back of the drummer and there is no better guy for the job than virtuoso powerhouse Joe Russo. Russo controlled the whole performance from behind his kit, giving cues for changes and choosing when to really take the energy up another level.
As the night turned into day, I reluctantly left with soulful music still ringing in my ears. I highly recommend that if you’re in the NYC area you check out some of these fine local musicians performing their various side projects.
Check out Eric Krasno & Chapter 2 featuring Adam Deitch Nigel Hall & Louis Cato at Sullivan Hall on March 26 for their post Allman Brothers show.
And be sure to read up on Russo in our recent feature Joe Russo Can’t Be Stopped.
Continue reading for more pics…
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