Improvisations on Reality

You know, until the very last second, I had no idea if I was going to be attending that show, but as luck had it, Deadline Rush brought me to the FedEx ship center right before the cutoff for overnight shipping. And that ship center happened to be located about three blocks away from BB King’s.

You can, of course, see where this is going. :)

One land speed record-setting, tourist-dodging, cursing-as-I-shove-people-sideways run later, I was hustled into a stageside seat just as the house lights were turned down.

“Ladies and gentlemen, please welcome to the BB King’s Stage, the GRP recording artist, Brian Culbertson!!!“

Even before this sounded across the hall, I was excited. I’ve seen Brian and his trombone in action at the Berks 2010 grand jam, and I will be the first to note that I don’t often see jazz trombone outside big band. So that in and of itself is a bit of a novelty (and this also means I have to take a look into Trombone Shorty’s material when I get the time), and I have all the evidence in the world that Culbertson is a master of that particular horn and of his keys. Come On Up is a great album to listen to if I’m in the mood for piano-funk.

And did Culbertson bring that funk to BB King’s.

The stage effectively exploded from the get-go, and let me say it: Brian Culbertson is a ham. Every musician has their own way of getting into the Live Show, and Brian was having so much fun that part of me thought it ought to be prohibited. But not only that, but he made absolutely sure that everyone on stage was having as much fun as him. And after five minutes of leading the melody on the keys, out came that trombone.

That’s Life, from his new CD, had a rather curious back story. In days of yesteryear, it so happened that Ray Parker, Jr. and Earl Klugh had known each other – and played together – for a long time, but until XII, not once have they actually collaborated on a record. Brian made sure that that little nuance was rectified, and with very good results. Not sure about RP, but I definitely heard Earl’s influence all over it.

Nate Kearney Jr. wasted no time on the bass in leading into a strong, slow groove, the type that makes the speakers feedback a little as the bass drops deep, deeper, and deep enough to where you feel your pant leg vibrate a bit along with the bass line.

“Ooohh…” Brian drawled onstage, almost as though he was tasting that bass line. “That’s nasty.“

Nate and the audience cracked up, and Nate repeated the riff, meandering a little as he pushed the bass further.

“That’s nasty, man. That’s the kind of sound where you just have to make a face like this, you know?” And he grimaced.

The song he highlighted, though, was one from Come On Up, the title of which escapes me at the moment.

I do have one minor quibble with the show, and considering my distinct bias is instrumental music, you may well guess what it is.

I downloaded Skies Wide Open when Brian was offering up the download, and liked the song reasonably. But, considering that Brian’s general flavor is high-energy piano funk with a side dish of horn section. To add an R&B singer is okay for an occasional jaunt – Boney James does the same routinely – but in live show, it’s a little superfluous. Avant is a great singer; he has a very mellow voice, and was a good touch on the track. But to add him to a live show makes me ask if Brian is trying to win over the R&B fans. A good jaunt, but considering his general style, it’s a bit excessive.

Brian did not slow the pace down for long. After Avant, he did a cover of I Want To Know by Joe and did a lovely piano solo version of another song that he had done. The style of that song reaffirmed my love for a classic piano yet again.

And I will come back to say it again: Culbertson is a ham. Shortly after he wrapped up the solo, he started up a new track, playing with one hand, and edging towards one side of the keyboard. He continued it, with the band standing by, until he was touching just the highest octaves with his left fingertips. Then paused (and posed).

“C’mon, Brian!”

“We love you, Brian!”

I noticed that he had a slight grin going on. But he did not move, and nor did the band. Instead, he very slowly proceeded to move around the keyboard, and continued on to play it backwards.

After this came a drum solo, and after that, Brian temporarily vanished. I know there were monitors, but I generally watch the stage, and I didn’t see him anywhere. Okay..? But i got my answer in due time, when Jerry Johnson on the guitar directed the audience and the BB King’s camera alike to the drum set, where Brian took over.

What can this man not do onstage?

The entire concert being an uproarious good time is not even necessary to mention. Brian Culbertson knows how to throw a party, and I only wish that he’d throw a NY party more often!

…especially around deadline season. :)

K.G.