Wednesday night, a new band played their first performance in Indianapolis. If I say it three times, will that make it true?
Tedeschi Trucks Band played Murat Theatre at Old National Centre for their debut Indianapolis performance. However, even the most casual modern blues fan should be familiar with the cast of characters. Critics and fans have hailed guitarist Derek Trucks, only 32, as one of the genre’s shining stars since he rose to prominence as a teenager, gigging with his uncle Butch in the Allman Brothers Band. Lead singer Susan Tedeschi is a multiple GRAMMY winner with a dedicated following of her own.
In 2010, the husband and wife duo decided to merge their respective bands to form what is now TTB. The band released their debut album Revelator, last year and swiftly won a GRAMMY for Best Blues Album. TTB is a family affair. Beyond Trucks and Tedeschi, the band also features brothers Oteil and Kofi Burbridge on bass and keyboards/flute respectively. Wednesday’s performance left attendees with much to gush about:
TTB functioned as much like a jazz ensemble as a guitar-driven blues band. The 11-piece band filled out the Murat Theatre stage with dueling drummers, horn section and backup vocalists. Each member enjoyed their time in the spotlight. Mike Mattison, former frontman of the Derek Trucks Band, offered memorable lead moments on “I Know” and “Get What You Deserve”. Kofi Burbridge left traded his post at the keys to duel with Trucks on the first few bars of DTB track “Mahjoun” before stepping back to allow the drummers to have their turn. It’s rare to see such talented musicians so willing to share in the glory.
As is the case with any traditional blues performance, TTB’s was as much about the past as the present. Though the originals provided plenty of reason for applause, so too did their cover songs. Susan Tedeschi underscored her strength as a lead singer on her hair-raising rendition of Bobby “Blue” Bland’s “That Did It.” The song was a far cry from the restrained version that Bland laid down so many years ago. Derek and the boys played one of the most original takes of “Rollin’ and Tumblin’” that I can recall, offering a bouncy, Spanish-tinged rendition that was worlds removed from the track that Robert Johnson made famous. TTB also made Harry Nilsson’s classic “Everybody’s Talkin’” their own, with Trucks content to riff chords beneath Tedeschi’s powerful pipes.
I’ve spent the better part of the last year doing my damnedest to uncover up-and-coming or unheard artists for the readers of this blog. The process of discovering new music is thrilling, and I wouldn’t trade it for anything. After a while, it becomes easy to forget what a seasoned, road-tested group of pros sounds like. Wednesday night showcased a band that rarely misses a beat. They know which buttons to push and when to drive the audience into a frenzy. Trucks did nothing to disprove my belief that he deserves discussion as one of the planet’s premier guitarists, and the musicians standing behind him were deserving of the honor.
As much as I enjoyed Wednesday night’s show, even the sweetest moments were paired with a hefty dose of bitterness. It was impossible for me to look up at the Murat Theatre stage without the reminder that this band replaced one of my favorites. Some of the best moments of my college career were spent getting my face melted by Derek Trucks Band. I was in the audience at Chicago’s Park West when they recorded what would be their final live album Roadsongs.
I love Harry Nilsson, but I miss those moments of Derek diving headlong into traditional Indian ragas like “Sahib Teri Bandi” and “Maki Madni.” The simple fact remains that Derek Trucks Band would not have been playing at Murat Theatre on Wednesday. They struggled to fill The Vogue the last time they were in town. Trucks appears content in his current role, and I have no doubt that the rigorous touring schedule is more tolerable when the family can travel as a unit. Maybe one day I’ll come to appreciate TTB in the same way that I did DTB. For now, though, the wounds are still too fresh, the memories still too clear. I still want my band back.
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Written by Rob Peoni
Photograph by Matt Beuoy
Veteran readers of this blog (all three of you) know that I am a big-time Derek Trucks fan. My proclivity for the blues, particularly the slide variety, has led to a belief that Trucks is the greatest living guitarist. He wields his instrument as an extension of himself in a way that’s unlike any other artist that I’ve had the pleasure to witness first hand. Below, watch Tedeschi Trucks Band‘s rendition of the Harry Nilsson classic “Everybody’s Talkin’.” The song is featured as the title track of the band’s new live album, released today. Grab tickets to Tedeschi Trucks Band at Murat Theatre on May 30 in Indianapolis.
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Written by Rob Peoni
Music is a game of associations. Our favorite songs and bands adhere themselves to specific moments and emotions in a way that is unlike any other art form. Who hasn’t stared teary-eyed at a traffic light, praying that they can drive home without wrecking before Roberta Flack finishes “The First Time Ever I Saw Your Face?” No? Just me?
The group that has forever leached itself to my memory of college is, most certainly, Derek Trucks Band. The slide-guitar virtuoso and his merry bunch of brethren were the soundtrack to my drunken debauchery in Bloomington, IN. My friends had spent their high school years rolling joints while listening to their dad’s dusty copy of The Allman Brothers Band Live at Fillmore East.
We were the children of the children of The Sixties. White man’s blues was a comfort food and jam bands were a natural extension of that. Nobody, but nobody, can jam like Trucks. The nephew of Allman Brothers drummer Butch Trucks has been gigging with grown men since age eleven (VIDEO: Derek Trucks – Layla/Jam – July 4, 1993.) By 2003, at age 24, Trucks was the youngest member of Rolling Stone’s list of rock & roll’s 100 Greatest Guitarists of All Time.
My sophomore year of college, 2006, DTB released Songlines. The live album and DVD hit my group of friends like an epidemic of epic proportions. We stared slack-jawed as Trucks slid effortlessly from the urban blues of “I’d Rather Be Blind, Crippled and Crazy” to traditional Indian songs like “Sahib Teri Bandi/Maki Madni.”
With the slide guitar, the possibilities are endless. The guitarist is no longer limited by the fretboard. Musicians talk of their instrument becoming an extension of their hands. With Trucks, the guitar had become an extension of his mind. Any conceivable sound spewed forth with ease from his red Gibson. And what glorious sounds!
We saw him everywhere that we could afford: Indianapolis, Chicago, Louisville, Cincinnati, All Good Festival in West Virginia. Whether he was breathing life back into The Allman Brothers or making new strides with DTB, we were there. While Trucks was critically acclaimed and praised by legends like Clapton, his audiences were limited to older blues heads and jam band junkies.
By 2009, my obsession had tapered, but DTB was still my favorite band. That year brought the release of Already Free, arguably the band’s most accessible album to date. It also marked the first time that Trucks served as executive producer. I caught a handful of shows on the Already Free Tour. The culmination, came at Chicago’s Park West. The same venue that DTB had recorded Songlines a few years earlier.
I saw two shows in Chicago. These recordings became the basis for the band’s live release Roadsongs. Technically, DTB sounded as good as ever, maybe better. However, there seemed to be something missing emotionally. Lead singer Mike Mattison appeared disinterested at times. It probably didn’t help that the setlists of the two-night run were virtually identical. Thus, allowing the band to cover up any missteps in recording from night one.
The long, strange trip was over a few months later. DTB had announced that it would be taking a hiatus. Though I was a couple of years removed from college at this point, it hadn’t felt like that phase of my life had ended. I spent as much time in smoky bars and arenas as the classroom over those four years. It was not until the break-up of the band that defined my college career that I truly graduated.
Enter Susan Tedeschi.
Trucks’ wife, Susan Tedeschi, is a songstress of the highest order. She has received multiple Grammy nominations on her own right. In fact, in 2010, she and Derek were both nominated for Best Contemporary Blues Album. Tedeschi for Back to the River. Trucks for Already Free. I had seen the two collaborate on a tour dubbed Soul Stew Revival, back in 2008 at the All Good Festival.
She is as soulful a singer as any female vocalist I know of. Her voice is powerful, with the ability to drop down low or soar high, depending on what the music calls for. Oh, and surprise, surprise, this chick can SHRED. Her guitar chops have only improved since marrying Trucks.
June 7, 2011 brought Revelator, the first release of Tedeschi Trucks Band. The album moved Mattison to back-up vocalist and Susan to center stage. Though I have been more excited about other album releases, I can’t recall a release that caused such nervousness. I knew it would not suck. The talent level of the musicians on this record made that an impossibility. I guess I was afraid that I would hate it, regardless of the level of the quality.
My first two listens to the album brought mixed emotions. This is not Derek Trucks Band. Nor is it Derek Trucks’ band. Susan’s songwriting and vocal prowess are the driving forces behind Revelator. As expected, I found myself comparing the two projects, upset by the fact that this was no longer the band that had sent me off into adulthood. This is something different.
Once I could bring myself to accept the fact that this is a new band, I began to experience the same hair-raising sensations that Derek has been providing me for years. The question that remains for Tedeschi Trucks Band: who is their target audience? Revelator is an album that may alienate Trucks’ stoner, jam band following. However, it should nicely incorporate Tedeschi’s fan base into the mix. Regardless of where this new project takes them, I’ll be listening. Even though it may be with a bit of reluctance.
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Written by Rob Peoni