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Vida Blue & Jazz Mandolin Project :: 06.05.04 :: The Fillmore :: San Francisco, CA
Jamie Masefield by John Croxton |
Vida Blue rolled through town last night and pitched a hell of a game alongside openers the Jazz Mandolin Project. The ticket holders' line stretched clear down the side of The Fillmore and the sidewalks were cluttered with sincere, eager faces. Everything seemed to be in place, anticipation was on high, tickets sold out, and security becoming increasingly Gestapo-like. Despite any snags trying to get in, once you were inside, you couldn't help but feel the bounce.
Jazz Mandolin Project took the stage a bit after nine o'clock and wiped any suspicion that they were a mere opener clean off the table. With Jon Fishman on the skins and Jamie Masefield taking helm on mandolin, JMP launched into a set that explored the space of The Fillmore and wedged into the nitty gritty corners on all sides of the room. Danton Boller provided a healthy dose of stand-up bass that went hand in hand with Fishman's drumming and blanketed with the multi tasking of Michael Mavridoglou on both keys and trumpet. This is a band that wraps you up in a bohemian jazz sandwich, from the saucy effects on Masefield's side of the stage to the marriage in groove coming from the rhythm section to the spacey fluttering of keys and a soaring trumpet that gave the finishing touches. Jazz Mandolin owned The Fillmore for a little over an hour, and what a fine hour it was.
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| Jon Fishman of JMP by John Croxton |
With the red curtain pulled tight behind stage, the trio made their way on stage amongst the newest addition to the Blue family: DJ Le Spam and The Spam Allstars. The placement of extra percussion, flute, and array of horns--not to mention a DJ--is bar none the best thing Page, Russell and Oteil could have done. With a long set drawn out to roughly two hours, Vida Blue tore into zydeco, soul, electronica, Brazilian and some of the dirtiest funk you could have ever heard. I am talking dirty FUNK, the kind that makes you dance around with a shit eating grin on your face, it leaves you absolutely in need of a shower afterwards.
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| Oteil Burbridge of Vida Blue by John Croxton |
Culling material from the first album and still giving a healthy dose of the second, it was clear that the band was really enjoying the music they were making together. Russell Batiste and Oteil Burbridge play so well together, as both men are so committed to their instruments and play nonstop. From New Orleans to the Deep South all the way back to San Francisco, Russell's drums and Oteil's bass make Vida Blue a seriously soulful affair. The rest of the band isn't too shabby either--the guy on keys was pretty good, Page something. I hear he was in another band. The cover of "Sheep" by Pink Floyd was a sure highlight of the night. Page cranks out those lyrics so well that if you shut your eyes you can find yourself believing that Waters is in the room, and without the ego at that!
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| Page McConnell of Vida Blue by John Croxton |
As the show progressed, Oteil had some great moments harmonizing with his bass and taking a more direct role in the music then he has in the Allman Brothers. Keeping in the groove all night, he was a true joy to watch. Things were brought to a close with a much-anticipated "Cars Trucks & Buses," a song given new life with the addition of the horns. It's a true classic that this city needed at that moment of time, and only Sir Page could have given it to us.
Vida Blue displayed a much tighter, grown-up sound then they had on their previous tour in 2002. The addition of DJ Le Spam and the Spam All stars was a stellar move, and I feel very good in saying that the new and improved Vida Blue kept my interest and left me curious for what's to come. As the lights went up I made my way back out onto the street with apple in hand and sighed a bit of relief. Looking around I saw I was not alone. Vida Blue really came to the rescue, and in doing so, they never sounded so good.
Matt Layton
JamBase | San Francisco
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