Art Garfunkel In Concert
Gerard Eastwood
Zealand.
I have only seen him once before when Simon & Garfunkel came to New Zealand
in February 1983, whereas I have now seen Paul Simon 9 times since on three
different occasions - 1991, 1999 and 2000.
I declare that I have been a Paul Simon fan from the outset and while not
wishing to dimminish the S & G period it has always been a backcatalogue for
me.
My lasting memory of the S & G concert of 1983 was of Art Garfunkel's
vocals being overshadowed by Paul Simon's. That's not what I expected. It
seemed almost understood that while Paul played the guitar it was Artie who
had the distinctive voice. It surprises me even today the number of peolpe
who proclaim to love S & G music and not know that all the songwriting was
Paul Simon.
Having a copy of Across America DVD I had an idea of what to expect. from
Art Garfunkels concert. He has a very talented group of musicians to
support him.
He started off with El Condor Pasa and Heart In New York and then his own
composition "A Perfect Moment". I was worried for Art and the show as his
vocals on these songs were quite fragile and stiff. I thought his voice was
almost going to break up. I wondered if he was maybe suffering from a cold.
However after these tentative efforts all seemed to come right and his voice
got stronger and surer as the show went on.
The songs were pretty much as I expected. Highlights for me were "I Only
Have Eyes For You", "All I Know" (his career best song release IMHO), a very
jazzy "Mrs Robinson" (almost better than the great Paul Simon versions I
have heard I must say), a superb rentition of "Bridge" , and a lovely
rendition of "Kathys Song" (including a nice trip down memory lane talking
about how he and Paul and kathy spent time busking in England before Sound
of Silence came along to ruin their lives :-)).
The one other song I didn't expect to hear ( and is / has always been a
personal favourite) was American Tune. He did a fine job of this song
(superior to the 1981 CP version, but not quite up there with the best solo
version by Paul Simon such as on the Paris YTO concert DVD). He introduced
this as being one of the finest songs about America and especially relevant
following the events of September 11th He also said that not all Americans
have such black and white views on how deal with this as your beloved George
Bush. He then launched into American Tune with it's great lyric conveying
both emotions of hope and dispair. I have never viewed this song in a
political way (as it was evidently written). It is such a beautiful
statement of the human condition - both of hopes and dreams and of setbacks
and personal life tragedy.
Cecila went down well with the crowd. It broke into a lengthy drum solo by
Tommy Igoe which IMHO went on too long and to me almost lost rhythm for a
minute or two, then recovered for the final stirring verse. Arties
beautiful wife Kim was missing from the shows (although mentioned in the
programme as backing vocal). For those familiar with the Across America
DVD in it Kim chips in at Arties mike at one point to sing the line "making
love all day". Somehow that line didn't quite have the same impact with
Eric Wiessberg singing it in Kims absence.
While that drum solo didn't do it for me I must say that I was impressed
with his drumming during the show. It almost seemed like someone thought it
necessary to have a long drum solo to show off his talent. However compared
to those great Paul Simon show drum solos (Boy in Bubble and Diamonds) it
just didn't measure up. To me the difference is that those Simon show drums
solos work because they are in fact an interplay between the drummer and the
2 percussionists.
I took my 11 year old daughter to the show and she was hoping to see James
Garfunkel (also aged 11) come out and do Feelin Grovvy. She was not to be
dissapointed and he did a pretty good job of it. It struck me thate
seeing/hearing him it was almost like here is me (Artie) as I was 50 years
ago.
The shows was well received by the audience and Artie seemed genuinely
stimulated by the reception he received. I'm sure this was aided by the
venue, an intimate purpose built music venue (I guess crowd capacity about
3,000) where all seats are close to the small stage.
On the neagtive side, Arties set lasted barely 90 minutes. He was genuinely
moved by the reception he got but it almost seemed like he was in a hurry to
get back to his hotel to watch the world cup soccer final (which started an
hour after his show finished) or he was afraid to improvise and give us a
bit more. He had a support act, an intrumental composer called Kevin Carlin
which lasted no more than 20 minutes leaving me wondering why bother.
Although I was pleased when he played and his girlfriend sang a lovely
rendition of a favourite Sarah McLauchan song of mine called Angel.
Lastly, I am left with the impression that Artie still has trouble coming to
terms with the demise of Simon and Garfunkel now over 30 years ago. At one
point he listed his view of the 5 best songwriters including Randy Newman,
Jimmy Webb, James Taylor, one other I forget, and the fifth obviously Paul
Simon but he could barely outright say his name in the list but implied
because he went into yet another Paul Simon song. He didn't sing any James
Taylor or Randy Newman songs and probably 60-70% of the songs were Paul
Simon songs. And then in his programme he lists his 15 major musical
influences yet can't include Paul Simon in the list. I know that Paul Simon
is not that great at acknowledging Arties contribution to his career
devolpment and success (which is undoubtedly substantial), but I thought
Artie would be better than that.
On balance, a good show and the perfect appetiser for my trip in 2 weeks
timed to take Paul Simon's concerts in Brussels, Liverpool, Edinburgh and
Kilkenny.
Gerard
Nicolas
"Gerard Eastwood" <east...@xtra.co.nz> a écrit dans le message de news:
> To me the difference is that those Simon show drums
> solos work because they are in fact an interplay between the drummer and
the
> 2 percussionists.
Exactly. I've always seen the drums part on Diamonds (last version) like a
fight between Haddad and Shehan, in which Gadd plays the referee. First the
2 percussionists answer to one another ; then Gadd arrives and got the last
word. Really funny indeed.
> He had a support act, an intrumental composer called Kevin Carlin
The support act of the 95' shows was really good. A guy called Male Pope. On
the other hand, listening to his album, I never found again the feelings I
had during his set.
--
Nicolas
AMPSters are on tour! Check:
www.altmusicpaulsimon.com/tour/
percusboy
> Tommy Igoe which IMHO went on too long and to me almost lost rhythm for a
> minute or two, then recovered for the final stirring verse.
Interesting, I was there too and it was the highlight of the show for
me. I'm a drummer and to say Tommy Igoe lost rhythm is like saying
Fred Astaire lost a step in dance. I guess you haven't heard of Tommy
before but he is the young lion on the scene. His solo explored
rhythmic variety that the solos you referenced in Paul Simon's show
never do. He is truly an amazing talent and I was blown away by his
work that night. It was great to see someone take somebody chances on
that stage since to be honest, the rest of the set put me to sleep. I
wouldn't call the show 'bad' but it sure was pretty boring. Too
many ballads!
Cheers...
Percusboy
Stephen Irons
July. I only decided last night to make the second booking 6TH row and 2ND
Sydney opera house. I only wish Paul would come down here more often.
I took my 8 year old son to Paul's last concert in Australia 10 years ago
and like you am making Art a family affair my daughter is 13.
2 bookings? you only live once and who knows what the future holds.
Thanks for the info. Did you try to meet him after the concert? I did last
time his manager was a real son of a bitch "no photos" I snapped one anyway.
Thanks
--
Stephen Irons
"percusboy" <perc...@aol.com> wrote in message
news:e2be1499.02070...@posting.google.com...
willy
You don't have to try to demean one to lift up the other. I've seen Igoe
at one of Art's shows, and his playing WAS great, although totally out of
place. But to say that this one performer's solo "explored rhythmic variety"
that the three top-notch drummers in Paul's band "never" do is pure
horseshit. Almost by default, having three interesting drummers play
together creates unavoidable opportunities for them to follow varied paths.
They don't always improvise as much as they obviously could, but they stretch
out plenty within the basic script their bandleader has given them.
percusboy wrote:
> ...His solo explored rhythmic variety that the solos you referenced in Paul
> Simon's show
> never do...
percusboy
biggest Steve Gadd fan in the southern hemisphere. However, I'm a
drummer and it's apples and oranges. Tommy Igoe played ALONE, over a
constant loop and played incredibly advanced and remarkably fluid
rhythmic phrases over that drone. It was amazing. Though to an
untrained ear it probably does seem 'out of rhythm'.
Gadd and his percussive cohorts on the Simon tour (Haddad was one and
I can't remember the other) we're of course excellent, but simply
didn't explore the range Tommy does, thats all I'm saying. Their solo
was more 'scripted'. I saw that show 2 times and both solos were
identical. So while you think more drummers equals more opportunites
to play, I'm afraid that thinking is flawed. I've seen Tommy play
on Cecelia 3 times now and each solo is completely different! It's
amazing actually. Listen, it's apples and oranges is all I'm saying.
Tommy, who by the way I met on his last trip to NZ, is probably a
bigger Gadd fan than I am and probably one of the nicest 'famous'
drummers I've ever met. If you said you liked Gadd more than him,
he'd probably say "me too!"
What I simply don't agree with is that you think his solo (while the
highpoint of the show for me, and many others judging from the
phenomenal response) was out of place. It's the one uptempo tune of
the set, what exactly did you want to see? I need a bit of a slap in
the face by that point in the show, I was getting sleepy after all
those ballads. I guess we simply won't agree on this but it's nice
to see a lively debate on high quality music and musicianship with so
much crappy music in the world nowadays. It's just nice to have
something worthy of a debate, I hope you agree.
Philipp Boerker
> Tommy Igoe played ALONE, over a
> constant loop and played incredibly advanced and remarkably fluid
> rhythmic phrases over that drone. It was amazing. Though to an
> untrained ear it probably does seem 'out of rhythm'.
I think that is the problem, the untrained ear. I never liked those
endless guitar/bass/drum solos that only show off the capabilities of the
instrumentalists and are only interesting for other instrumentalists.
I once was at a Jeff Beck concert who for me is one of the best guitarists
in the world. While his music doesn't suffer from endless guitar solos his
audience suffers from too many guitarists (I'm one too). While I was
dancing franticly all others stood there, arms folded watching his finger
work, mildly impressed...
I'm absolutely sure that Tommy Igoe knew what he was doing but probably
you were the only one in the audience who could really appreciate what he
was doing. A conversation between scientists about a topic I don't know
nothing about for me is very boring albeit the high level it might have...
--
Dipl.-Ing. Philipp Boerker - gr...@cs.tu-berlin.de
Wenn ist das Nunstück git und Slotermeyer?
Ja! Beierhund das Oder die Flipperwaldt gesput!
willy
he did when I saw him. The Simon band's interludes are more "scripted" as you
say, but as I said before it's the choice of their employer. They have more
instruments(although not by much, I'll give Tommy that), and to me followed a
greater variety of tones, if not rhythms. I obviously don't have multiple shows
of each band to compare, but there are subtle differences in the solos Paul's band
plays from night to night--something a drummer would likely notice. But there is
an awful lot going on. I certainly never suggested that Igoe's solo was "out of
rhythm." Untrained ear, indeed--thanks for stooping down to speak to me.
The Cecilia solo *is* out of place because it's the only lengthy solo(and a
loud drum solo at that) in an otherwise mellow set, and it sticks out. And it
doesn't help that Art stays on stage and turns his back to the audience. It feels
like Art's saying "Paul has all of these percussionists, so I have to show
everyone I have a drummer, too." And it's like Igoe has to restrain himself from
really letting go for the entire night, and just explodes during this one solo.
And then it's back to the ballads. Art needs to add a little more variety to the
whole show if he wants that solo to work. Maybe the percussion solo just
spotlights the point that Artie's shows are a little dull.
BLACKMANNY1
>loud drum solo at that) in an otherwise mellow set, and it sticks out.
No, it's not the "only" lengthy solo. Art has a lengthy instrumental solo to
introduce "El Condor Pasa," and frequently has an extended instrumental of
"Dueling Banjoes." Igoe is a wonderful drummer, but comparing him to Simon's
crew really isn't a fair comparison. Simon's band really grooves on the
polyrhythms and Igoe's job is a little different.
By the way, for the past several years, it's been apparent to me that Art is
protecting his voice by taking these lengthy breaks at regular intervals during
his show.
percusboy
> spotlights the point that Artie's shows are a little dull.
I think you are onto something here....
willy
others. We actually thought there was a problem behind the scenes.
BLACKMANNY1 wrote:
> No, it's not the "only" lengthy solo. Art has a lengthy instrumental solo to
> introduce "El Condor Pasa," and frequently has an extended instrumental of
> "Dueling Banjoes."
You may be onto something there...
willy
percusboy
> At the show I attended, Igoe's solo was *at least* three times as long as the
> others. We actually thought there was a problem behind the scenes.
>
Umm... you have a very skewed perspective of time. And if I were you I
would stop talking in absolutes when you have only an opinion to back
it up.
I have a copy of the concert (don't ask), Tommy Igoe's drum solo
is exactly 2;15 in length... opening keyboard solo before Condor Pasa
is 1:55 in length before Art comes on stage. So Tommy does play a
whopping 20 seconds longer than the keyboard solo. Big deal...
However, the dueling Banjos solo the guitar player plays is exactly
6:30 minutes!!!! So it ain't even close. The Banjo solo is 3 times
longer than any other solo. And in case you want to get specific...
he plays 3 minutes alone and another 3:30 when the keyboard player
comes out and -duels- I guess is the right way to put it. That by
the way was the lowlight of the show for me... corny!
Who Me
...but you're not.
Bill
"Television is not the truth. Television is a goddamn amusement park"
-- Howard Beale
"A lot of people in this business think I'm a smart-ass."
--David Letterman, 2/28/01
"I don't have any regrets, they can talk about me plenty when I'm gone.
willy
perspective of time, asshole. I've admitted I don't have multiple shows to compare, but at
the concert I attended his solo was the longest by far.
percusboy wrote:
> willy <wi...@willy.com.invalid> wrote in message news:<3D24A554...@willy.com.invalid>...
> > ****At the show I attended****, Igoe's solo was *at least* three times as long as the
> > others. We actually thought there was a problem behind the scenes.
> >
>
> Umm... you have a very skewed perspective of time. And if I were you I
> would stop talking in absolutes when you have only an opinion to back
> it up.
>
See above, jerk. When you get in your time machine and go to the show with me, THEN you
have my permission to accuse me of talking in absolutes with facts to back them up. I know
your recording is the holy standard by which all Art Garfunkel shows are measured, but at that
show Art didn't even leave the stage for the Duelling Banjos skit. And the other show I went
to(two years prior) didn't have it at all. So please consider those FACTS. This is the most
inane thing to be arguing about, but since you've been so haughty and condescending...
percusboy
> Umm... YOU were not at the show I attended, so you have no business telling me about my
> telling me about my perspective of time, asshole.
Charming. A bit defensive I think? And we were at the same show, and
you are an obviously an abrasive idiot so I do have to talk down to
you. Sorry about that. I tried to take the high road, but you won't
have it. I'm done with this thread so please feel free to announce
what an asshole I am again however, anyone reading the complete thread
will see it differently.
Who Me
>have it.
HooooBoy!! That's what YOU call ""the high road""?!?
Who Me
Pot, kettle, balck. Look, Skippy, you were UNcharming first, so get over it.
willy
As for being abrasive or an idiot, try rereading your own posts. In all of my years of
posting on usenet, you're the first person I've ever felt the need to call a name.
Congratulations. Please get off your goddamn holy pedestal sometime--it's always good to get
someone else's perspective. By the way, how would you know if we were at the same shows? I've
never met you before.
Gerard Eastwood
> willy <wi...@willy.com.invalid> wrote in message
news:<3D25EC80...@willy.com.invalid>...
> > Umm... YOU were not at the show I attended, so you have no business
telling me about my
> > telling me about my perspective of time, asshole.
>
> Charming. A bit defensive I think? And we were at the same show, and
> you are an obviously an abrasive idiot so I do have to talk down to
> you. Sorry about that.
Percuusboy,
I think you got yourself in a tangle. I started this thread on the
Wellington concert. Willy does not live in New Zealand so I would beleive
him when says he wasn't at the same concert as us.
I still stand by my comments about Cecila drum solo that you objected to.
This is my opinion and just as valid as yours even though I'm not a drummer
like you. Don't need to be an electrician to have an opinion about how
electricity effects ones life.
Gerard