Breakdown | Michael Brook

House of Blues / Knitting Factory
Boston / New York City
8-9 August 1999
by Hoby

Part Four of Six

Hey Now,

Here is what happened when PK, Kim, and I went to see Michael Brook and Djivan Gasparyan at Boston's House of Blues.

This chapter will (finally!) describe my experience of the concert at the House of Blues.

[Please be warned. This is a telling of my opinions and perceptions. I do not claim that mine is an objective view. This will not be the cool, clear, detached review one might read in a newspaper or magazine. This will be the recounting of the experience of someone who has waited since 1985 for this event.]

Setlist
To The River
Fallen Star
Take my Heart
Deleeyama - trad. (sp?)
Together Forever
Ultramarine
Freedom
Mama
Forbidden Love
Slow Town
Immigrant's Song
Breakdown
Dark Soul
Encore
Freedom Deleeyama (sp?)

Well, here I am at my first Michael Brook concert. Excuse me one moment.......

AAAAAAAAA IIIIIIIIIII EEEEEEEEEEEEEEEEEEEE !!!!!!!!!!!!!!!!!!!

Whew. Just had to get that out of my system.

The above didn't actually happen. Actually, when they took the stage, I was so intent on absorbing every iota of experience that I was pretty much just one tightly focused listening/watching machine. I had planted myself at the stage's edge just to the audience's right of the steps leading onto the stage from the floor. From there I could clearly see all of MB's floor rig as well as all the rest of the action.

The crowd was extremely enthusiastic. I would say there was almost an even split between those brought to the gig by their love of MB and those devoted to Djivan. And all parties were equally demonstrative. From even before the first note, I could feel the crowd gathering as one in its support of the musicians. It was really quite powerful. I think MB was taken aback at times by the strength of our reactions.

Observant readers will have noticed that the setlist is basically the running order of the album punctuated by several other tidbits.

"To the River" started with MB's playing the bass and I noticed for the first time something that I would feel over and over during the next two days: there is a really powerful bottom end groove to many these tunes that is even more evident at higher volumes. If you haven't yet, turn this disc up and *move* to it. Of particular note to me in this tune was Jason's drum break. After only one or two verses, the rest of the band laid back and let him slice and dice the time, dancing around the sampled rhythm track. Contrary to other reviewers, I thought his playing was tremendous. Tasteful, restrained, nuts on in the pocket, and skillful enough to help the band avoid what could have been some serious trainwrecks. But more on that later. Throughout this tune, MB simply held down the bottom end with that 2 note figure and Djivan gave us our first taste of just how deep the soul runs in his playing/singing. All the players were quite pleasantly surprised at the crowd's response. By the way, MB back announced this as "Black Rock"

"Fallen Star" came next, starting with MB finger picking his line and Richard picking up the lines on his Tele. This is a heartbreakingly beautiful tune and they certainly did it justice here. The infinite guitar figures prominently in this one and it was so cool to watch MB manipulate the pedal and fret the strings to create sounds. His right hand is used simply to mute and otherwise keep things from getting out of hand. I think "transfixed" appropriately describes me at that point.

Guess what? If you haven't realized it yet, I'm here to tell ya that "Take My Heart" is one rockin tune!! Djivan, especially, pulled out the stops and ripped off a great solo, snaking in and around the groove laid down by the others. There was a lot of hootin and hollerin at the end of this one!

BTW, by this time, it was apparent that the uncertainty of the sound check had been replaced by the magic "it" of 4 top-flight musicians making music in real time.

So, what happened next? Well, basically, Djivan stopped time simply by blowing air through a wooden tube and moving his fingers. MB introduced the tune as a "traditional piece with a secret title". Later on we would learn that it's called "Deleeyama". I'm using a phonetic spelling until someone gives it to me correctly. Well, this was astonishing. With Richard providing a sampled drone and Jason creating a soft continuous wash by using mallets on his cymbal, Djivan transported a room full of people to a realm outside of time and space. This slow, gorgeous piece so beautifully captures the feeling of an ancient *soul*... My blathering can't do it justice, so I'll stop here. This received the loudest, longest ovation of the night. Even MB, who simply stood center stage and listened, was genuinely moved - and said as much afterwards.

He also made a joke - something to the effect of "shows you what 2 bottles of vodka can do". This was a source of some debate among our party afterwards. Appropriate? What was its source? Band in-joke? Well, since MB made a variation of the same crack the following night and Djivan laughed, I'm cataloging it as stage banter and not giving it anymore weight than that.

So let me take a moment to talk about MB on stage. I'm not sure if previous crowds were as demonstrative as this one, but at times he seemed unsure of how to handle / react to our ardent appreciation. He *was* quite gracious and appreciative of our appreciation. He did make a few funny remarks here and there and seemed relaxed enough to not be thrown by glitches and the like. Bottom line: he seemed to be really enjoying himself.

In fact, that would be true for the whole band. They were really having a good time. Jason and Richard especially seemed to have a good rapport. That bottom end/rhythm was rock solid and happy!

Next we heard "Together Forever", although MB introduced it as "Ariata" (this is another phonetic spelling on my part. Correct spelling anyone?). He explained that the name comes from the town Richard was in when he came up with the riff that is integral to the tune. From where I stood, the pitch shifted harmonies were re-created nicely, but that could have been an hallucination brought on by ekstasis. Another deeply soulful tune played to perfection.

MB then explained that all of the previous tunes (excepting Deleeyama) were from "Black Rock" and that now he would perform a tune from his solo album "Cobalt Blue". Then he jumped a half-foot in the air, startled by the yelps of joy from the crowd (one of which, I must admit was mine). Well, when he started thumping out the rhythym to "Ultramarine" I thought I was gonna have to change my pants. Over the years this tune has taken on a hefty spiritual signifigance for me, and here I was watching MB play it from a distance of 4 feet away. At that moment, I am indeed the boy with the most cake.

This version did represent another step in the tune's evolution. MB concentrated on the rhythm and laying down large slabs of chord, leaving Djivan to handle the melodic duties. Not hearing the "signature" guitar line was strange at first, but Djivan took the song to new and interesting places. And you should see MB move to this tune! He plays that piece with his whole body. Huge fun.

"Freedom" comes across much more as an anthem when you see Djivan clench and raise his fist while singing. When the whole band kicks in after the first verse, you realize that this is another tune where the groove is deceptively deep. Jason's playing on this one is especially tasty. As in the soundcheck, Djivan did not hit the cue for the second vocal verse correctly,coming in early, I think, and it was very impressive to watch Richard and Jason subtly slide the rhythm until eveyone was back in step.

For the next piece, Djivan takes his vocal mic in hand and stands up. MB introduces the tune as "Mama". With Richard conjuring another drone out of the sampler and Jason once again washing over the proceedings with malleted cymbals, Djivan proceeded to break our hearts. This song was so deeply felt, so beautiful, so... here it comes again... soulful. The band joined in towards the end and Jason created a soft beautiful rolling thunder on his toms. I'm also pretty sure we made Djivan take at least two bows for this one before we would quiet down enough for MB to speak.

"Forbidden Love". Starts with that electro-organic percussion and Djivan's duduk. Becomes a slinky understated funk thing that flashes dark eyes at you from behind a veil and dares you to sit still, then ends with beautiful soaring infinite guitar work by MB. I get all wiggly just thinking about it.

Before I can even catch my breath, we're heading down to the swamp. After a brief intro along the lines of "this is from my first film score", MB leads the band into "Slow Town" from Albino Alligator. Played live, the tune is slightly more driven by the opening guitar riff. Here the band shows that they can handle the groove no matter what part of the world it originates from.

How many high points can one show contain? My notes contain one word for the playing of "Immigrant's Song": "unbelievable". Djivan opened this tune and led the band on a long, slow, unhurried climb to the - I don't know how else to describe it - restrained explosion of the start of the rhythm track that resolved in a long and astounding solo by MB. Richard (on bass) and Jason really dug into this one. They created another deep, deep groove from which MB could launch us all out into soaring flight. This one really stretched out. More observations on this tune at the next show.

Hey, whaddaya know? Another rockin' tune! Everyone in the place - band and audience - had a great time with "Breakdown". As Peter S. mentioned, this one was followed by cries of "yeehaw" which were echoed by MB himself. By this time we were all in love. Well, okay, I'm willing to admit that maybe it was just me and I was projecting, but I don't think so.

Finally, and all to soon, the concert closed as the album does: with "Dark Souls". Live, Djivan does not play duduk and there's no accordian. Djivan stands next to MB and the two of them alternate. With Jason and Richard sitting and watching, MB plays slightly effected chords on the guitar, laying out the songs harmonic structure. Djivan then sings a few lines. Then they play/sing together, MB taking cues for his strumming by watching Djivan. "Souls" definitely. But "Dark" is not the adjective I would use to describe them.

And then, amidst our cheering, screaming, foot-stamping, and begging for more, they returned to the stage. MB explained that they really couldn't play any more since they didn't *know* anymore. He good naturedly brushed off my (and other people's) suggestion that they just start again from the beginning and wondered aloud what piece they should play again.

An armenian speaking gentleman approached the stage and asked for "Deleeyama" (sp?) and MB explained that he had suggested that but Djivan didn't want to play it. I can see why. How many times in one night can a person unfold their soul like that?

Anyway, MB took bandleader's perogative and called for two encores. "Freedom" followed by "Deleeyama". They were both splendid. Djivan did summon the power a second time and ended the evening with a second journey to a sacred place where music shows us to totality of what it means to be human.

And thus ended my first Michael Brook concert. As the lights came back up, my new friend Mike (cool Sylvain tour shirt) turned to me and said "and you get to do it again tomorrow <pause and grin> you fucker". And I fell back against the stage in the laughter of unbounded happiness. No, really! I was that high.

As we gathered our wits, or more likely, as everyone tried to help me gather my wits - I was a little scattered - we realized that the band was back out on the floor and talking with audience members.

I spoke to Jason first and, despite weeks of mental preparation - "don't be a drooling fan-boy dweeb, don't be a drooling fan-boy dweeb" - I'm afraid I gushed. He was very gracious, genuine, and pleasant.

Next I got my chance to speak to MB and asked him how he was enjoying the tour. He said that it had its ups and downs and that this night was definitely a high point. So I gushed just a little bit - well, okay, maybe more than a little bit - and we said goodnight.

I listened in as PK asked Richard Evans (another genuinely nice and unassuming guy) about how MB gets that tremendous bottom end and Richard's advice was "know your monitors really well, push your bass as far as it can go in that system, and check out API mic preamps." He also gave a beautiful description of conceptualizing the bass as a platform upon which everything else then gets placed, rather than fitting in between and around.

I will admit here to rushing downstairs to the box office, pulling down the poster for the show, rushing back up three flights, and asking MB to sign it, which he graciously did. That poster now hangs in my recording studio as inspiration. We'll see if it has any effect since immediately after having experienced that show, I wasn't sure whether to re-dedicate my self to music or burn my guitar and give up. It's turning out to be the former, I think.

All the band members seemed surprised when I mentioned that I'd see them the next night. And as we drove home I was hard pressed to think of what would have to happen in NYC to render the House of Blues the site of the *second* best Michael Brook concert I'd ever seen.

But that's a story for another chapter...