From: Bob Davis (earthjuice_at_prodigy.net)
Date: 2005-04-18 13:46:23
Hopefully yall are not bored with these reviews, but I just got this one in from last weeks
show in NYC. Tonight I will attend the show in Philadelphia and later this week there will be
shows in Cleveland and Chicago. The last Soul-Patrol/Victor Wooten show will be in early May
in Los Angeles. These events are important for us not only to show up at and support, because
Soul-Patrol doesn't have very many artists that we can support in a tour. The vast majority of
the artists who play gigs only do "one shot deals", so there isn't much of an opportunity to
put out a nationwide show of support. Of perhaps even more importance is to DOCUMENT this
tour.
We are documenting a true phenomena as a group. There is a historical parallel, think about it
for a moment. In 2005 being a Black Victor Wooten fan is similar in some ways to being a Black
Jimi Hendrix fan in 1967. 20 years from now a whole bunch of Black folks will be saying stuff
like...
"I was always down with Victa...."
(and we will all know that they are liars.....lol)
Here is Brotha Selah's report from NYC....
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First of all, I was tired. I'd been up since 6am, and had been to a host of
meetings, one of which was back in Brooklyn. I had my heavy ass briefcase
with me when I got to "The Plaza" at around 8:30. I had missed the "Meet and
Greet".
Got to the "Plaza" and there was a line leading up to the door. This was
the ticket holders line. After I was cavity searched for, bombs, weapons,
bottles and other WMD's I was admitted and told that I had to check my briefcase.
Believe me, I was glad to do so. I did not want to drag that mofo all night.
That sucka was heavy.
After I checked my bag, I was told that I had to climb 2 more flights of
stairs. I dutifully did so and came face to face with A WALL OF about 300 20 &
30 SOMETHING BOUNCING AND CATAWALLING FUNKATEERS TAKING UP ALL AVAILIABLE
SPACE AT STAGE LEVEL!!! The wall of peoples went back at least 30 feet.
I looked all around for a sign of Soul Patrol but none was in sight, so I
went to the balcony. The balcony was wall to wall peoples as well (and was
smaller than I remember it.) Still no sign of Soul Patrol. I spied a section
on the balcony THAT HAD CHAIRS and I figured that Soul Patrol would be there,
so I made a beeline. I was stopped by a gangly brother who asked, "Do you
have a pass?". I looked him up and down like he was a cockroach and in my best
Klingon voice replied," Nooooo, I don't have a pass".
I surpressed an urge to squash the brother and went to the bar to buy a
drink. Threw back a tequila from the well, and asked the bartender where the
bathroom was. When he told me it was 2 flights down, I groaned and decided to
hold it.
I then went back to the balcony and found a spot by the railing.
Unfortunately, I had to fight for elbow space with this college kid and he wasn't
giving up an inch. I was contemplating breaking his elbow when I spied two
cushioned love seats next to the VIP section (where the cockroach was.)
On one seat was seated a Black guy and a White guy. I asked them if I could
sit down and the Black guy amiably said, "We've been waiting for you". When
I sat down, the Black guy asked me if I was a musician. I nodded yes and he
said, "Lemme guess, Bass Player, right?" Before I could ask him how he knew
that, in sashays Ms. Cheryl Russell, accompanied by Robert, (whom I met a
few weeks ago when Sally came to town) and two Black Wookies.
Cheryl was surprised to see me and said that I hadn't told her I was coming
(truly slipped my mind.) I asked her if she had passes for the VIP section.
She replied that she would have to summon Victa's manager. She told me to
wait there, and 2 seconds later came back with a short White guy, looking like
Paul Shaffer from David Letterman. He in turn told us to wait downstairs by
the bar. So down the stairs we all went.
We got downstairs as the music started. Cheryl, looking pert and cute,
started jumping up and down to the music like a teenager. She had soooo much
energy. Disgusting behavior for a woman of her years. Somebody ought to tell
her to act her age. (Although it won't be me, she ain't punchin ME out.)
"Paul Shaffer" came back almost immediately, gave Cheryl the passes and told
us that we could go up right after the drum solo. I asked him if I had time
to go to the bathroom. He and Cheryl urged me to go.
I went. When I came back I stopped at the bar and decided to have their
cheapest beer. Never heard of Sharps before, so I ordered it. Turned out to be
non-alcoholic. Not exactly what I wanted. What made matters worse was that
when I got back to Cheryl and Co., I promptly spilled some all over the
floor.
At this point the show began and Cheryl started jumping even more. What we
witnessed was nothing less than a muthafukin Bass Clinic. The first song was
a song called "Natives", which featured the aforementioned drum solo. Then
they went into a song called "Stay", and it featured on the stage not one,
not two, but three bass players (Regi Wooten, Victor Wooten and Anthony "Flex"
Wellington.) One of the Bass Players (Regi Wooten) was playing what appeared
to be A 10 STRING BASS!!! All three bass players (which of course included
Victa) were virtuosos. To make it worse, a 4th Bass Player appeared, (MC
Divinity) only she was female and was also a virtuoso. These 4 Bass players
started trading licks and carrying on in rapid fire style in what was appearing
to be a Funk Symphony.
In the midst of all this, Regi asked if there were any Bass Players in the
house. Now why did he ask that? Practically the whole room raised their
arms, giving the P-Funk Sign and bopping to the beat. CLEARLY 9/10ths of the
people in the room were Bass Players, including myself. No wonder the brother I
sat with earlier knew I was a Bass Player, every Bass Player and his (or
her) Mama was there (I actually saw a young lady check a Gibson Thumper when I
checked my bag).
Then it got even worse. Will Lee from the Letterman show, showed up. NOW
THERE WERE FIVE BASS PLAYERS ON THE STAGE!!!! Will Lee played the bass line
from "Skintight", "I'll Take You There", "Flashlight", "Funky Good Time", "In
A Godda Davida", "Sunshine of Your Love", "Slide", all the lines that we
Bass Players had sat in front of our Wreaka Players and worn out grooves on
these various tunes in an attempt to learn our craft. Everyone humming the lines
as the five Bass Players played them. I WAS TRULY IN BASS PLAYER HEAVEN!!!!
After this, Will Lee got off the stage and Regi switched to regular guitar.
They went into a song called "Bass Tribute" where Victor paid homage to the
Bassists that came before him, and influenced him, such as Stanley Clarke,
Jaco Pastorius, Marcus Miller, Larry Graham and James Jamerson. Victor paid
homage by duplicating the style of each bassist. Sometimes he was successful
and sometimes he wasn't. For example, his duplication of Stanley Clarke's
style was unmistakable, a riff from "Romantic Warrior". Stanley is obviously a
major influence. Victa's duplication of Graham and Miller was also dead on.
When Victa duplicated Graham, he went into a brief rendition of "Can You
Handle It" from Graham's Graham Central Station period. For Miller, he went into
a rendition of "Back Seat Betty" from Miller's Miles period. His
duplications of Jaco and Jamerson was less distinctive. Frankly, Victa's Pastorius
sounded like Clarke played an octave lower. His rendition of Jamerson was
indistinguishable. Still, I give him A for effort for even attempting to
duplicate these great players.
Victa next went into a touching song that celebrated his father, the
influence he impressed upon him, and the great love he felt for him. I felt my eyes
welling up. I'm such a softie.
Next the percussionist, J.D. Blair, got up and put on a marching drum. I
expected to see a drumming exhibition like that was displayed on "Drumline".
None of that was forthcoming. J.D. did have the gift of gab, however. His
duet with Victa was passable.
By this time, however, my dawgs were hurtin, my back was screamin and the
knees were clamoring for relief as well. This standing up and acting crazy is
alright for the young folk but I had run out of walls and door knobs to hold
me up and Baba Selah had to go sit down. General Russell and the rest of
the Soul Patrollers had indicated their desire to stay in the trenches. In
spite of my desire to maintain tribal unity, neither the mind or the body was
willing. I asked Cheryl for the VIP pass and she gave it up. I then ascended
to Heaven, and bid Soul Patrol adieu.
When I got upstairs, I flashed my pass to the cockroach. He got in the last
word by requesting that I apply it to my person. With great flourish I
applied it to my ample abdomen and walked on by.
I got a seat right by the railing, just in time to see DeRico Wilson display
his contrapuntal dexterity on the trap set. I glimpsed Cheryl on the floor,
jumping up and down like a ping pong ball, obviously in the moment and
enjoying herself.
What came next was one of the highlights of the evening.
Regi Wooten is a geetar playin so and so. He has incorporated the best of
Hendrix with the two handed tapping of Eddie Van Halen, all the while slippin
and slidin like James Brown and doing his best Chuck Berry Duck Walk. What's
worse, the brotha can sang. A joy to behold.
Joe Wooten is a KEYBOARD playin so and so. He sang a funny and poignant
tune called "Testosterone". You had to be there.
Next Saundra Williams, a fine, dark skinned, lanky dreadlocked chanteuse
sang a song called "On & On", which seguaded into a rendition of Chaka Khan's
"Sweet Thing". Although she didn't even attempt to get into the atmospheric
hyroglyphics that Chaka would have got into, she did sang the song.
Next came MC Divinity. Another fine woman. Gold Dreadlocks. Rappin like
MC Lyte meets Chuck D, all the while thumpin a blood red bass. Folks, this
lady is formidable. Trust me, you will be seeing a lot of her.
Next, the professor came and continued the bass clinic. I know that Dr. G
says that he has seen all the greats and all I can say is, so have I. If I
were to concede that Victor Wooten has not surpassed all of them, you would
have to admit that none of them have anything on him either. Watching Victor
leaves you panting like you just had great sex. And the thing of it is, he's so
humble about it. And when he plays he looks like he's actually having fun.
As far as I am concerned, when I see Victa play, I feel like Fats Waller
felt in the presence of Art Tatum. Victor Lemonte Wooten is simply THE LORD OF
THE ELECTRIC BASS GUITAR. End of story.
Although, I must put in a word about Anthony Wellington. When Ron Carter
started his group, he got Buster Williams to hold the bottom for him. Anthony
Wellington's bottom allows Victa to get stratospheric and still keep things
on the ground.
He can play in anyone's band.
As for the Soul Circus, like Ed Sullivan used to say, it is a Really Big
Shew. Go see it.
As tired as I was, I had a great time. Cheryl is, as always, great company
and whenever we hang, we let em know that SOUL PATROL IS IN THA HOUSE!!!!
Selah Eric Spruiell
----------------------
Upcoming Victor Wooten Shows...
---------------------
4/22 House of Blues Cleveland, OH
Contact Soul-Patrol Coordinator: Iris Smith
hellostranger_at_msn.com
4/23 House of Blues Chicago, IL
Contact Soul-Patrol Coordinator: Karl Williams
kool1130_at_hotmail.com
5/7 El Rey Theater Los Angeles, CA
Contact Soul-Patrol Coordinator: Vernon Wright
VW630_at_msn.com
--------------------
Bob Davis
earthjuice_at_prodigy.net
--------------------
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