dedicado ao Henrique e sua nova strato
nyc 27 fev 2008
Nao saberia como descrever o concerto que vi ontem no Madison Square Gardens (que por sinal é redondo!!), e que reuniu no mesmo palco e na mesma banda talvez os dois mais talentosos musicos da inigualavel geração nascida durante a guerra II na Inglaterra :
-Stephen Lawrence Winwood e Eric Patric Clapton.
Tudo o que eu poderia dizer aqui pareceria um exagero para quem le e uma descriçao mediocre para quem la esteve. Que assim atestem os amigos Oswaldo, Alipio, Alexandre e Henrique, portanto prefiro postar uma foto tirada por mim ou pelo Alipio, nunca saberemos.
A unica definição possivel para o que experimentei naquelas pouco mais de duas horas é justamente o titulo de uma canção do classico album Blind Faith, o unico lançado pela banda que SW e EC dividiram com o super baterista Ginger Baker por um breve periodo em 1969. Alias a unica do disco que os dois velhos companheiros tomaram o cuidado de nao tocar aqui aqui no Gardem , talvez para nao serem responsaveis por nenhum incidente cardiaco.
Sea of Joy.
nyc 27 fev 2008
Nao saberia como descrever o concerto que vi ontem no Madison Square Gardens (que por sinal é redondo!!), e que reuniu no mesmo palco e na mesma banda talvez os dois mais talentosos musicos da inigualavel geração nascida durante a guerra II na Inglaterra :
-Stephen Lawrence Winwood e Eric Patric Clapton.
Tudo o que eu poderia dizer aqui pareceria um exagero para quem le e uma descriçao mediocre para quem la esteve. Que assim atestem os amigos Oswaldo, Alipio, Alexandre e Henrique, portanto prefiro postar uma foto tirada por mim ou pelo Alipio, nunca saberemos.
A unica definição possivel para o que experimentei naquelas pouco mais de duas horas é justamente o titulo de uma canção do classico album Blind Faith, o unico lançado pela banda que SW e EC dividiram com o super baterista Ginger Baker por um breve periodo em 1969. Alias a unica do disco que os dois velhos companheiros tomaram o cuidado de nao tocar aqui aqui no Gardem , talvez para nao serem responsaveis por nenhum incidente cardiaco.
Sea of Joy.
5 comments:
Não resisti, simplesmente porque ainda sinto a vontade que me acometeu quando me falou que iria no show... vontade de embarcar junto entre as ondas de baladas, blues chorados e canções pulsantes!
Certamente o que fascina tanto as pessoas naquele senhor discreto, é, na verdade, a ponte que é para o público comum entre o pop e o blues. EC é veterano, mas compõe com pulso jovem. Suas canções perduram como hinos do rock clássico, além de ser branco, o que torna seu blues mais acessível ao ouvinte que não busca raízes.
Adorável. Ainda mais com Winwood. Deve ter sido fantástico.
Transcrito do site www.stevewinwood.com
Acho que o Mr Scott Tribble disse tudo...
A unica coisa que posso acrescentar e.....Obrigado,Senhor!!!Eu estava la!!!!
Alexandre Correa
[2008-03-05]
Last Night at the Garden (Show Report)
By Scott Tribble
Webmaster, SteveWinwood.com
'And then New York drowns as we hold hands.'
Toward the end of Thursday’s show at Madison Square Garden, Steve Winwood sang this line from another time, another place, and another famed collaborator. But, on this particular evening, the lyric spoke to Winwood's chemistry with longtime friend Eric Clapton. The two had performed together only sporadically since their Blind Faith days, but last week joined forces for three historic concerts in New York City. The moon did not turn fire red, but nevertheless the musicianship of these two legends lit up the arena and thrilled the capacity crowd.
The final show began as the previous two had, with Blind Faith’s "Had To Cry Today." Winwood and Clapton each took turns on the propulsive guitar riff, with the latter tearing through the initial solos. As on the album version, the two played different leads during the dizzying outro, but, nearly forty years later, the shrieking and wailing notes still intertwined uncannily. Willie Weeks and Ian Thomas simultaneously provided a hefty bottom end, with the latter’s heavy foot supplying—as it would all evening—a driving and powerful stomp.
Early crowd favorites included an urgent "Forever Man"— which featured a potent mix of crackling guitar, heated Hammond organ, as well as funky electronic keyboards from Chris Stainton—and "Changes," performed as a tribute to the late Buddy Miles. Winwood delivered a particularly energetic vocal on the latter song, and, in a rare sight indeed, briefly stopped playing his guitar while belting out the frenetic melody.
During the middle numbers, the two stars stretched out during several lengthy instrumental passages. With Winwood laying down chords on the organ, Clapton explored the various twists and turns of the Traffic classic "Pearly Queen," while both ably recast the saxophone parts of "Glad" on piano and guitar. Clapton took center stage for the haunting blues of "Double Trouble," while Winwood served up his own otherworldly fare in a rare performance of Traffic’s eerie "No Face, No Name, No Number."
After powering through "Split Decision," the band briefly left the stage, with Clapton tendering a solo version of "Kind Hearted Woman Blues" on acoustic guitar. After allowing his bandmate proper due, Winwood took over on the Hammond and offered a memorable rendition of "Georgia On My Mind." While driving the organ from brooding bassy tones to swirling church-like pipes, Winwood delivered an impassioned vocal that brought the Garden crowd to its feet.
The concert concluded with a string of dramatic performances. The band presented Jimi Hendrix’s "Little Wing" in triumphant Domino fashion, while a second Hendrix cover, "Voodoo Chile," saw Clapton deliver one searing guitar line after another. On the latter tune, Winwood recreated his imaginative organ fills from the original recording, while channeling Hendrix's mystic soul in his vocal. The two stood front and center for the next number, Blind Faith’s "Can’t Find My Way Home," with Clapton's gentle guitar fills perfectly complementing Winwood’s soulful yet vulnerable vocals. The stirring classic, which has evolved into something of a hymn over the years, ended with still more dynamic interplay on guitar.
A boisterous version of Clapton’s "Cocaine" closed the set, but the band quickly returned for a final encore. On "Dear Mr. Fantasy," Winwood and Clapton once again traded lengthy solos, but, rather than dueling, the guitars were entirely simpatico. Fluid rather than forced, the exchanges seemed borne of mutual respect, forged decades earlier and only deepened through the passage of time. Indeed, the Garden shows were all about chemistry, and longtime fans can only hope that Winwood and Clapton have still more experiments in store.
Transcrito do site www.stevewinwood.com
Acho que o Mr Scott Tribble disse tudo...
A unica coisa que posso acrescentar e.....Obrigado,Senhor!!!Eu estava la!!!!
Alexandre Correa
[2008-03-05]
Last Night at the Garden (Show Report)
By Scott Tribble
Webmaster, SteveWinwood.com
'And then New York drowns as we hold hands.'
Toward the end of Thursday’s show at Madison Square Garden, Steve Winwood sang this line from another time, another place, and another famed collaborator. But, on this particular evening, the lyric spoke to Winwood's chemistry with longtime friend Eric Clapton. The two had performed together only sporadically since their Blind Faith days, but last week joined forces for three historic concerts in New York City. The moon did not turn fire red, but nevertheless the musicianship of these two legends lit up the arena and thrilled the capacity crowd.
The final show began as the previous two had, with Blind Faith’s "Had To Cry Today." Winwood and Clapton each took turns on the propulsive guitar riff, with the latter tearing through the initial solos. As on the album version, the two played different leads during the dizzying outro, but, nearly forty years later, the shrieking and wailing notes still intertwined uncannily. Willie Weeks and Ian Thomas simultaneously provided a hefty bottom end, with the latter’s heavy foot supplying—as it would all evening—a driving and powerful stomp.
Early crowd favorites included an urgent "Forever Man"— which featured a potent mix of crackling guitar, heated Hammond organ, as well as funky electronic keyboards from Chris Stainton—and "Changes," performed as a tribute to the late Buddy Miles. Winwood delivered a particularly energetic vocal on the latter song, and, in a rare sight indeed, briefly stopped playing his guitar while belting out the frenetic melody.
During the middle numbers, the two stars stretched out during several lengthy instrumental passages. With Winwood laying down chords on the organ, Clapton explored the various twists and turns of the Traffic classic "Pearly Queen," while both ably recast the saxophone parts of "Glad" on piano and guitar. Clapton took center stage for the haunting blues of "Double Trouble," while Winwood served up his own otherworldly fare in a rare performance of Traffic’s eerie "No Face, No Name, No Number."
After powering through "Split Decision," the band briefly left the stage, with Clapton tendering a solo version of "Kind Hearted Woman Blues" on acoustic guitar. After allowing his bandmate proper due, Winwood took over on the Hammond and offered a memorable rendition of "Georgia On My Mind." While driving the organ from brooding bassy tones to swirling church-like pipes, Winwood delivered an impassioned vocal that brought the Garden crowd to its feet.
The concert concluded with a string of dramatic performances. The band presented Jimi Hendrix’s "Little Wing" in triumphant Domino fashion, while a second Hendrix cover, "Voodoo Chile," saw Clapton deliver one searing guitar line after another. On the latter tune, Winwood recreated his imaginative organ fills from the original recording, while channeling Hendrix's mystic soul in his vocal. The two stood front and center for the next number, Blind Faith’s "Can’t Find My Way Home," with Clapton's gentle guitar fills perfectly complementing Winwood’s soulful yet vulnerable vocals. The stirring classic, which has evolved into something of a hymn over the years, ended with still more dynamic interplay on guitar.
A boisterous version of Clapton’s "Cocaine" closed the set, but the band quickly returned for a final encore. On "Dear Mr. Fantasy," Winwood and Clapton once again traded lengthy solos, but, rather than dueling, the guitars were entirely simpatico. Fluid rather than forced, the exchanges seemed borne of mutual respect, forged decades earlier and only deepened through the passage of time. Indeed, the Garden shows were all about chemistry, and longtime fans can only hope that Winwood and Clapton have still more experiments in store.
Transcrito do site www.stevewinwood.com
Acho que o Mr Scott Tribble disse tudo...
A unica coisa que posso acrescentar e.....Obrigado,Senhor!!!Eu estava la!!!!
Alexandre Correa
[2008-03-05]
Last Night at the Garden (Show Report)
By Scott Tribble
Webmaster, SteveWinwood.com
'And then New York drowns as we hold hands.'
Toward the end of Thursday’s show at Madison Square Garden, Steve Winwood sang this line from another time, another place, and another famed collaborator. But, on this particular evening, the lyric spoke to Winwood's chemistry with longtime friend Eric Clapton. The two had performed together only sporadically since their Blind Faith days, but last week joined forces for three historic concerts in New York City. The moon did not turn fire red, but nevertheless the musicianship of these two legends lit up the arena and thrilled the capacity crowd.
The final show began as the previous two had, with Blind Faith’s "Had To Cry Today." Winwood and Clapton each took turns on the propulsive guitar riff, with the latter tearing through the initial solos. As on the album version, the two played different leads during the dizzying outro, but, nearly forty years later, the shrieking and wailing notes still intertwined uncannily. Willie Weeks and Ian Thomas simultaneously provided a hefty bottom end, with the latter’s heavy foot supplying—as it would all evening—a driving and powerful stomp.
Early crowd favorites included an urgent "Forever Man"— which featured a potent mix of crackling guitar, heated Hammond organ, as well as funky electronic keyboards from Chris Stainton—and "Changes," performed as a tribute to the late Buddy Miles. Winwood delivered a particularly energetic vocal on the latter song, and, in a rare sight indeed, briefly stopped playing his guitar while belting out the frenetic melody.
During the middle numbers, the two stars stretched out during several lengthy instrumental passages. With Winwood laying down chords on the organ, Clapton explored the various twists and turns of the Traffic classic "Pearly Queen," while both ably recast the saxophone parts of "Glad" on piano and guitar. Clapton took center stage for the haunting blues of "Double Trouble," while Winwood served up his own otherworldly fare in a rare performance of Traffic’s eerie "No Face, No Name, No Number."
After powering through "Split Decision," the band briefly left the stage, with Clapton tendering a solo version of "Kind Hearted Woman Blues" on acoustic guitar. After allowing his bandmate proper due, Winwood took over on the Hammond and offered a memorable rendition of "Georgia On My Mind." While driving the organ from brooding bassy tones to swirling church-like pipes, Winwood delivered an impassioned vocal that brought the Garden crowd to its feet.
The concert concluded with a string of dramatic performances. The band presented Jimi Hendrix’s "Little Wing" in triumphant Domino fashion, while a second Hendrix cover, "Voodoo Chile," saw Clapton deliver one searing guitar line after another. On the latter tune, Winwood recreated his imaginative organ fills from the original recording, while channeling Hendrix's mystic soul in his vocal. The two stood front and center for the next number, Blind Faith’s "Can’t Find My Way Home," with Clapton's gentle guitar fills perfectly complementing Winwood’s soulful yet vulnerable vocals. The stirring classic, which has evolved into something of a hymn over the years, ended with still more dynamic interplay on guitar.
A boisterous version of Clapton’s "Cocaine" closed the set, but the band quickly returned for a final encore. On "Dear Mr. Fantasy," Winwood and Clapton once again traded lengthy solos, but, rather than dueling, the guitars were entirely simpatico. Fluid rather than forced, the exchanges seemed borne of mutual respect, forged decades earlier and only deepened through the passage of time. Indeed, the Garden shows were all about chemistry, and longtime fans can only hope that Winwood and Clapton have still more experiments in store.
Transcrito do site www.stevewinwood.com
Acho que o Mr Scott Tribble disse tudo...
A unica coisa que posso acrescentar e.....Obrigado,Senhor!!!Eu estava la!!!!
Alexandre Correa
[2008-03-05]
Last Night at the Garden (Show Report)
By Scott Tribble
Webmaster, SteveWinwood.com
'And then New York drowns as we hold hands.'
Toward the end of Thursday’s show at Madison Square Garden, Steve Winwood sang this line from another time, another place, and another famed collaborator. But, on this particular evening, the lyric spoke to Winwood's chemistry with longtime friend Eric Clapton. The two had performed together only sporadically since their Blind Faith days, but last week joined forces for three historic concerts in New York City. The moon did not turn fire red, but nevertheless the musicianship of these two legends lit up the arena and thrilled the capacity crowd.
The final show began as the previous two had, with Blind Faith’s "Had To Cry Today." Winwood and Clapton each took turns on the propulsive guitar riff, with the latter tearing through the initial solos. As on the album version, the two played different leads during the dizzying outro, but, nearly forty years later, the shrieking and wailing notes still intertwined uncannily. Willie Weeks and Ian Thomas simultaneously provided a hefty bottom end, with the latter’s heavy foot supplying—as it would all evening—a driving and powerful stomp.
Early crowd favorites included an urgent "Forever Man"— which featured a potent mix of crackling guitar, heated Hammond organ, as well as funky electronic keyboards from Chris Stainton—and "Changes," performed as a tribute to the late Buddy Miles. Winwood delivered a particularly energetic vocal on the latter song, and, in a rare sight indeed, briefly stopped playing his guitar while belting out the frenetic melody.
During the middle numbers, the two stars stretched out during several lengthy instrumental passages. With Winwood laying down chords on the organ, Clapton explored the various twists and turns of the Traffic classic "Pearly Queen," while both ably recast the saxophone parts of "Glad" on piano and guitar. Clapton took center stage for the haunting blues of "Double Trouble," while Winwood served up his own otherworldly fare in a rare performance of Traffic’s eerie "No Face, No Name, No Number."
After powering through "Split Decision," the band briefly left the stage, with Clapton tendering a solo version of "Kind Hearted Woman Blues" on acoustic guitar. After allowing his bandmate proper due, Winwood took over on the Hammond and offered a memorable rendition of "Georgia On My Mind." While driving the organ from brooding bassy tones to swirling church-like pipes, Winwood delivered an impassioned vocal that brought the Garden crowd to its feet.
The concert concluded with a string of dramatic performances. The band presented Jimi Hendrix’s "Little Wing" in triumphant Domino fashion, while a second Hendrix cover, "Voodoo Chile," saw Clapton deliver one searing guitar line after another. On the latter tune, Winwood recreated his imaginative organ fills from the original recording, while channeling Hendrix's mystic soul in his vocal. The two stood front and center for the next number, Blind Faith’s "Can’t Find My Way Home," with Clapton's gentle guitar fills perfectly complementing Winwood’s soulful yet vulnerable vocals. The stirring classic, which has evolved into something of a hymn over the years, ended with still more dynamic interplay on guitar.
A boisterous version of Clapton’s "Cocaine" closed the set, but the band quickly returned for a final encore. On "Dear Mr. Fantasy," Winwood and Clapton once again traded lengthy solos, but, rather than dueling, the guitars were entirely simpatico. Fluid rather than forced, the exchanges seemed borne of mutual respect, forged decades earlier and only deepened through the passage of time. Indeed, the Garden shows were all about chemistry, and longtime fans can only hope that Winwood and Clapton have still more experiments in store.
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