The set list:
Raised Right MenThe band:
Singapore
Talking At The Same Time
Chicago
Lucky Day
Tom Traubert's Blues
Lucinda/Aint Goin' Down
Last Leaf
Cemetary Polka
Come On Up To The House
David Hidalgo - guitar
Les Claypool - bass
Casey Waits - drums
Chris Bruce - guitar
(Thanks to Jeremy for the info)
Raised Right Men
Singapore
Talking At The Same Time
Chicago
Lucky Day
Tom Traubert's Blues
Lucinda/Aint Goin' Down
Last Leaf
Cemetary Polka
Come On Up To The House
6 comments:
Thanks. Hope we get some official recordings. I've heard rumours this set may be included in a rebroadcast this week.
There was a horn section as well as the band members listed, and they were old dudes, a trombonist and saxophonist. There was a great sax solo during "Come On Up to the House."
The horns made the show for me. As did David Hidalgo, especially when he played accordion. The horns added the right mix of Salvation Army Band vibe and just a classic small band orchestration that was such a big part of the sound of Swordfishtrombones and Rain Dogs, his best records. If this could have included some electric guitar - especially compliments of Marc Ribot - this would have been the best sounding Waits band in years.
The whole thing was completely amazing. Just spectacular, really. It was like everyone was there to see him. And what gets lost in the youtube recordings, is just how big his sound was. Until Tom came on stage, the previous bands where much more quiet, due to only having piano, guitars, and bass. Only one band prior to his set had drums (that I recall). So when Tom came out with Drums, bass, trombone, sax two guitars and piano... along with his voice, his sound was HUGE! The whole thing was incredible.
Why Tom Waits continues not to be invited to the Monterey Jazz Festival boggles the mind. He's perfect for the Saturday blues afternoon. They failed to ever invite Mose Allison, and now he's retired from touring. The concertina on "Tom Traubert's Blues" was a great addition. I have to admit that when Tom told the story about opening a restaurant, I thought he might have broken into playing "Nighthawks at the Diner."
The show sounds great, especially the more rambling takes of "Chicago", "Ain't Going Down To The Well No More - Lucinda" and "Cemetery Polka". "Come On Up To The House" was treated with New Orleans style and it worked wonders. Some sound problems here and there, but too few to mention.
It continues to amaze me how keeps the spoken interludes that set the pace for the piano set so funny from one year to the next. Some is repeat, of course, like the one about Gregory Peck and his mom. He gives the simplest of jokes the edge with the sharpest of timing, fluency and punctuation.
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