Marsalis & Clapton Play the Blues in NYC.

 (New York, NY)

Whether or not you’re a fan of Eric Clapton, his devotion to the blues and his seemingly never ending efforts to preserve it and its integrity are worth at least some respect.

He spent the mid-1990s exploring the genre in a way that he never had before; with an all blues album titled FROM THE CRADLE and an equally as blues-focused world tour. Shortly after the completion of that tour he dipped his toe into the musical pool of jazz, with a series of dates alongside David Sanborn, Joe Sample, Marcus Miller and Steve Gadd. It was a brief stint that took the aging rock legend outside of his comfort zone and judging from the current trajectory of his creative career, challenging himself and his musical abilities seems to once again be something that interests him.

2010 saw the release of an album that featured Clapton exploring the realms of the American songbook and New Orleans inspired Dixieland jazz. Wynton Marsalis was a contributing artist to those studio sessions and one can only assume that it was there, that the idea for “Wynton Marsalis & Eric Clapton Play the Blues” was born.

Just over a week ago, Clapton and Marsalis treated New York audiences to two nights of blues and jazz at Jazz at Lincoln Center’s Rose Theater in the heart of Manhattan’s Columbus Circle. On the night of Saturday April 9th, 2011 the two (conservatively dressed) music heavyweights entered the theater from opposite sides of the stage and took their seats amongst a band of eight (other) immensely talented musicians.

The show opened with a rollicking horn-heavy Dixie-style version of the Howard Johnson, Robert King and Billy Moll penned “Ice Cream” and was followed by Howlin’ Wolf’s “Forty-Four;” a chugging blues standard that was a staple of Clapton’s above mentioned 1994-95 “Nothing But The Blues” tour.

Other than a blistering rendition of Big Maceo Merriweather’s “Kidman Blues” (another song that was prominently featured in Clapton’s mid-90s blues tour), material from the songbooks of Louis Armstrong, W.C.Handy, Memphis Minnie and Bessie Smith dominated the rest of the night’s set-list.

It was an interesting night of music, to say the least, made even more so by the surprise appearance of a Marsalis arranged version of Clapton’s “Layla.” Though Clapton claimed that he was only performing the anthem of unrequited love at the insistence of bassist Carlos Henrquez, it received a warm welcome from the subdued crowd…that undoubtedly (the majority of which) was longing for something slightly more familiar. Unlike previous versions of the song, byway of Marsalis’ musical intuition, “Layla” heartbreakingly swayed with an emotional energy comparable to “St. James Infirmary;” with a brief instrumental interlude that pulled the arrangement into a slightly quicker paced swing feel.

Joining the band for the show’s closing numbers was blues legend Taj Mahal, who also opened the night’s festivities with a short solo set. His vocals on the New Orleans funeral standard “Just a Closer Walk with Thee” and the country blues standard “Corrina, Corrina,” were a nice touch and provided the evening with a suitable finale.

All in all it was an enjoyable night of jazz infused blues that ultimately accomplished its goal of bringing a hefty sum of money and press in support of Jazz at Lincoln Center.

The majority of the fairly “well-to-do” crowd likely didn’t know what to expect from the performance. Many people may have been looking forward to a display of gritty electric blues with a handful of Clapton standards and a plethora of guitar-heroics, but what they received instead was an elegant and highly polished night of jazz and blues that was in whole, unlike anything Clapton has attempted in the past.

His guitar-work was reserved and tastefully executed. His tone was thick and typically “Clapton” despite the fact that a Stratocaster was nowhere to be found. The majority of the set was played with a tobacco sunburst Gibson 335 and on occasion a blonde Gibson L5 was used. His particular style of playing may not have been best suited to the type of music being played that night, but Clapton managed to hold is own against the group of seasoned jazz players and added his own flavor to a set of (primarily) pre-WWII material.

Clapton the “jazz player” may not be for everyone, but it is an interesting role for a man whose guitar-chops once earned him the nickname “God.” I personally would like to see him continue in this direction, pushing himself as a player and vocalist, uncovering forgotten compositions and maturing as an artist.

For those of you that missed them, the performances were filmed and will likely be released on DVD or broadcast as a PBS concert special.

If you enjoyed this article you may also enjoy The American Blues News’ review for CLAPTON.

New York fans, checkout out Robben Ford and Renegade Creation on Thursday April 21st, 2011 at B.B. King’s Blues Club & Grill in Manhattan’s Times Square. To checkout our review for Renegade Creation’s 2010 self-titled album click HERE.

As always, checkout jblakeblues.com for some local NYC blues and J. Blake gig dates…and become a fan of J. Blake’s on Facebook.

Copyright © 2011 – J. Blake. All Rights Reserved.
Photo courtesy of Julie Skarratt.