Derek Trucks Band Live at Blue Note

Derek Trucks

	)

A Wikipédiából, a szabad enciklopédiából.

Derek Trucks (Jacksonville, 1979. június 8.) amerikai gitáros.

A floridai születésű Trucks 9 évesen fogott először gitárt a kezébe és gyorsan kiderült, hogy csodagyerek. Zenekarával hamarosan turnézni kezdett és több lemezt is kiadott. Korai munkássága elsősorban a blues zenén alapult, főleg a The Allman Brothers Band inspirálta, ahol nagybátja, Butch Trucks dobos és alapító tag volt. Később olyan zenészek, zenekarok befolyásolták, mint a Howlin’ Wolf (blues), a jazz zenészek közül: Miles Davis, Sun Ra, John Coltrane, Charlie Christian, később Wayne Shorter és sokan mások.

A keleti és az indán klasszikus zenén és Duane Allman játékán alapuló slide guitar technikája kiemelkedő. 2003-ban ő volt a legfiatalabb gitáros, aki rákerült a Rolling Stones magazin minden idők 100 legjobb gitárosának listájára, és ő vált a legjobb slide gitárossá Duane Allman óta.

A Derek Trucks Band 1994-ben alakult. Ez a zenekar vált Truck állandó hátterzenekarává. A zenekar mostani felállása:

• Derek Trucks – gitár
• Kofi Burbridge – billentyűs hangszerek, fuvola, vokál
• Todd Smallie – basszusgitár, vokál
• Yonrico Scott – dob, ütőhangszerek, vokál
• Mike Mattison – ének
• Count M’Butu – ütőhangszerek

Derek 1999-ben csatlakozott nagybátyjához és a The Allman Brothers Band-hez, de közben folytatja saját zenekara irányítását. Az együttessel 2CD-t (2000: Peakin’ at the Beacon, 2003: Hittin’ the Note) és két koncert-DVD-t (2003: At the Beacon Theatre, 2004: One Way Out) adott ki.

2006-ban csatlakozott Eric Clapton Back Home című turnéjához.

	Minden idők 100 legjobb gitárosa – Rolling Stone magazin
	Előző: Robert Quine The Voidoids 80.	Derek Trucks 81.	Következő: David Gilmour Pink Floyd 82.

• NEWS
• TOUR INFO
• THE BAND
• COMMUNITY
• MUSIC
• PHOTOS
• VIDEOS
• ONLINE STORE
• MOBILE
• CONTACTS

Derek Trucks Band Live at Blue Note on 2003-03-24 (March 24, 2003)

Afro Blue

Disc 1 (Early Show):

1. Intro

2. Naima

3. Leavin Trunk

4. Down, Don't Bother Me

5. Sahib Teri Bandi

6. Bock to Bock

7. For My Brother

8. Feel So Bad

9. Pedro

10. E: Yield Not

Disc 2 (Late Show):

1. Intro

2. Rastaman>

3. Ain't That Lovin You

4. Like Anyone Else

5. Cheesecake

6. Goin Down Slow>

7. Evil Clown

8. Gonna Move*>

9. Joyful Noise*

Disc 3:

1. Encore: Afro Blue

Play / Download (help)

Whole directory

Szeretnél saját DOMAINt ingyen?

Audio Files	Shorten
Intro	5.60 MB
Naima	41 MB
Leavin Trunk	32 MB
Down, Don't Bother Me	38 MB
Sahib Teri Bandi	46 MB
Bock to Bock	28 MB
For My Brother	49 MB
Feel So Bad	45 MB
Pedro	86 MB
E: Yield Not	34 MB
Intro	1.93 MB
Rastaman>	63 MB
Ain't That Lovin You	47 MB
Like Anyone Else	35 MB
Cheesecake	56 MB
Goin Down Slow>	50 MB
Evil Clown	47 MB
Gonna Move>	37 MB
Joyful Noise	63 MB
Encore: Afro Blue	85 MB

Sorry for the small disc 3, but there was just no way to break the show up that would allow me to put everything on two discs!

Derek Trucks Band Live at UB Center for the Arts on 2008-11-02 (November 2, 2008)

Set #1:

1. Down in the Flood

2. Down Don't Bother Me

3. Get What You Deserve

4. These Days Is Almost Gone

5. Blind Crippled Crazy

6. Band Intro's

7. Done Got Over

8. The Weight

Set #2:

1. Soul of a Man

2. Already Free

3. Meet Me at the Bottom

4. I Know

5. Don't Miss Me When I'm Gone

6. Sweet Inspiration

7. Get Out My Life

8. My Favorite Things

9. Leavin Trunk

10. Crowd

11. Encore - Gonna Move

Stream (help)

VBR M3U (Hi-Fi)

64Kbps M3U (Lo-Fi)

Play / Download (help)

(59 MB)

64Kbps MP3 ZIP

(184 MB)

VBR ZIP

Audio Files	Flac	Ogg Vorbis	64Kbps MP3	VBR MP3
DTB20081102set1t01.flac	39 MB	5.86 MB	3.39 MB	11 MB
DTB20081102set1t02.flac	29 MB	4.59 MB	2.56 MB	8.09 MB
DTB20081102set1t03.flac	25 MB	3.62 MB	2.02 MB	6.33 MB
DTB20081102set1t04.flac	29 MB	4.28 MB	2.42 MB	7.54 MB
DTB20081102set1t05.flac	38 MB	6.20 MB	3.45 MB	11 MB
DTB20081102set1t06.flac	5.36 MB	1.10 MB	518 KB	1.70 MB
DTB20081102set1t07.flac	29 MB	4.46 MB	2.48 MB	7.76 MB
DTB20081102set1t08.flac	46 MB	6.94 MB	3.93 MB	12 MB
DTB20081102set2t01.flac	13 MB	2.54 MB	1.48 MB	4.40 MB
DTB20081102set2t02.flac	12 MB	2.42 MB	1.41 MB	4.21 MB
DTB20081102set2t03.flac	21 MB	3.65 MB	2.07 MB	6.50 MB
DTB20081102set2t04.flac	37 MB	6.09 MB	3.49 MB	11 MB
DTB20081102set2t05.flac	34 MB	4.74 MB	2.66 MB	8.68 MB
DTB20081102set2t06.flac	35 MB	5.19 MB	2.85 MB	9.03 MB
DTB20081102set2t07.flac	62 MB	9.61 MB	5.37 MB	17 MB
DTB20081102set2t08.flac	99 MB	17 MB	9.68 MB	30 MB
DTB20081102set2t09.flac	49 MB	7.32 MB	4.21 MB	13 MB
DTB20081102set2t10.flac	8.80 MB	1.74 MB	819 KB	2.82 MB
DTB20081102set2t11.flac	46 MB	7.13 MB	3.97 MB	12 MB

Reviewer: AdamZ - - November 4, 2008

Subject: More!

here's my other Trucks tapes:

http://www.archive.org/bookmarks/AdamZ

make sure to check out the UB shows, that hall is effin' perfect for sound stage.

Z

here's from the local paper:

Updated: 11/03/08 07:27 AM

Derek Trucks Band once again fulfills expectation of transcendence

By Jeff Miers

NEWS POP MUSIC CRITIC

There’s an interview with Carlos Santana in the latest issue of Guitar Player magazine, and in it, Santana does away with the technical aspects of tone and heads straight for the heart of the matter.

To paraphrase, the gist of Santana’s passionate argument in the piece is that it really doesn’t matter what equipment you use, how up-to-date your gear is, or how much time you’ve spent in front of the mirror practicing moves that might get you noticed by the judges of “American Idol.”

What matters is how quickly and consistently you, as a musician, can get to the sweet spot.

That’s where the math of music is transcended, the musician lets the music play him or her, and the perceptive audience member is transported to a space where concerns like a dire economy and the day-today grind are forgotten.

That’s also the space Derek Trucks and his band inhabit. And they’ve really settled in by now. They pretty much own the joint.

Sunday, an exuberant group of listeners assembled in the University at Buffalo Center for the Arts to hear Trucks and company perform in a room that has welcomed them several times over the past decade. As has been the case since the band started playing there, Sunday’s show was warm, intimate, highly musical and deeply funky. The acoustics inside the Center’s Mainstage Theater are exceptional, which doesn’t hurt.

Trucks is widely held to be a blues guitarist, and it’s true that the blues sits at the center of what he does. Sometimes, however, such narrowly drawn paradigms fail to hold, and that is certainly the case with Trucks. Calling him a blues artist is like calling John Coltrane a jazz musician. It fits, but it doesn’t quite cover it.

Leading his band — which includes vocalist Mike Mattison, keyboardist Kofi Burbridge, drummer Yonrico Scott, bassist Todd Smallie, percussionist Count M’Butu — Trucks played old and new songs from his own catalog, offered some stunning adaptations of well-known tunes and welcomed his wife, renowned blues singer, songwriter and guitarist Susan Tedeschi, onto the stage for some of the evening’s strongest pieces.

The set opened and immediately hit one of its peaks, as the group tore through a smoking version of Bob Dylan’s “Down in the Flood.” Trucks played bottleneck blues for the first part of the song, then opened up into a solo based on Indian classical music tonalities at the song’s coda, turning Dylan’s folk-blues into a modal jazz rave-up. It was simply outrageous.

Hearing Trucks solo is a privilege and an honor. He takes you somewhere with his playing, somewhere cool and forgiving, for a while. It’s sophisticated, but because of the blues at its center, it has an appeal not just for musicians, but for anyone eager to go somewhere — else.

It should be said that Mattison was an equal contributor to the evening’s genius, however. He is a fine R&B singer, a throaty blues howler, and a man who knows when to make a mildly pop-leaning chorus sound sweet. Thus, “These Days Is Almost Gone” was probably the deepest cut of the evening, and Mattison sang it like he needed to do so to survive. I heard Sam Cooke in there somewhere in its gorgeously articulated melody.

Tedeschi brought some bluesy grit with her singing during “Done Got Over” and was on fire during a torrid take on the band’s “The Weight.” When she traded improvised lines with her husband during the vamp section, the music turned even more soulful. There seemed to be genuine musical conversation taking place.

Which is exactly what we’ve come to expect from the Derek Trucks Band.

---

Derek Trucks Band Live at Great American Music Hall on 2005-02-10 (February 10, 2005)

Collection: DerekTrucksBand
Band/Artist: Derek Trucks Band
Date: February 10, 2005 (check for other copies)
Venue: Great American Music Hall
Location: San Francisco, CA

Taped by: Taped and mastered by Elliott Easterly
Keywords: Live concert

set I
Killing Floor > This Sky
Chevrolet
Soul Serenade
44 Blues
My Favorite Things >
Volunteered Slavery

set II
Sahib Teri Bandi
Crow Jane
Feel So Bad
Cheesecake
To Know You Is To Love You
Rastaman Chant > *
Lonely Avenger *
Joyful Noise *
Encore 1: Back at the Chicken Shack (tribute to Jimmy Smith) *
Encore 2: Freddie's Dead *

* with Jimmy Herring

Audio Files	Shorten
Killing Floor > This Sky	44 MB
Chevrolet	23 MB
Soul Serenade	33 MB
Forty-Four Blues	45 MB
My Favorite Things >	53 MB
Volunteered Slavery	57 MB
Sahib Teri Bandi	70 MB
Crow Jane	43 MB
Crow Jane	46 MB
Cheesecake	51 MB
To Know You Is to Love You	44 MB
Rastaman Chant > *	71 MB
Lonely Avenger *	53 MB
Joyful Noise *	94 MB
Back at the Chicken Shack *	73 MB
Freddie's Dead *	76 MB

Play / Download (help)

Whole directory

All Files: HTTP

As a developing guitar prodigy Derek Trucks shared the stage with Buddy Guy and the Allman Brothers Band, joining the latter officially a decade ago at age 20. He’s gone on to be an MVP sideman for Eric Clapton and lent his slide guitar skills — firmly in the mold of Duane Allman — to discs by his wife Susan Tedeschi, Guy, Widespread Panic, and many others.

But he’s led a parallel career as one of the more adventurous bandleaders since Zappa, Bruce Hampton, and Captain Beefheart, creating a fusion of roots music, wailing free jazz and sounds gleaned from other cultures. All of that comes together on the Derek Trucks Band’s new Already Free, an album that sounds distinctly American, yet liberated from tradition by a free-ranging set of influences and Trucks’ sweet playing. Tedeschi guests, as does fellow Clapton band guitarist Doyle Bramhall II.

We caught up with Trucks by phone at a stop with his band in Portland, Maine, and discussed all of the above plus, of course, his SG-driven guitar approach.

In the past your albums have explored different styles: soul music, Eastern and African sounds, modal playing. But Already Free has a very distinctive, swampy sound of its own.

I built a studio behind my house, in the swamp, so it does come out of a place where the alligators and manatees live.

It’s the most personal record for me, too, because the band and I have honed in on a unique sound. Up to this point we’d been all over the map. And I’m glad for it. That’s been an adventure. But the band and me matured to a point where all those influences have been distilled down to what came out on this record. It is very American music, but with all those other influences thrown in — while previous records were like a trip to Pakistan or Africa or wherever.

How important is gear in getting your fat, sweet mid-range heavy guitar sound?

Gear gets in the way if it becomes your focus. Some of the greatest guitarists find a guitar they are so comfortable with it becomes an extension of them as players. You see pictures of Duane with a Les Paul and later on with an SG and it looks so right.

Once you find the right combination of guitar and amp, on a great night you’re not thinking about gear. With my own band when I’m playing my SG through an early ’60s Super-Reverb it’s such a comfortable sound for me that I’m not conscious of the amp and guitar. If you play long enough and are natural enough, that’s just gonna happen.

The only time equipment is a concern is when you’re playing outdoors, maybe, and the wind is blowing the sound around so it’s not just right. Or you’re in a room that doesn’t have good ambience. Of course, professionals work through that, so you’re still gonna have at least one or two moments on-stage that are elevated, and that’s always what we’re striving for.

Already Free has a wide variety of tones. What amps and guitars did you use?

I used a lot. I have a bunch of old Gibson and Epiphone amps, and my Super Reverbs. I have an old Airline guitar with the amp built in its case. For every tune I imagined the guitar sound I wanted to hear and then dug up some funny old guitar and amp combination to get it. I used a vintage Marshall head and a Paul Reed Smith amp on some tracks.

Doyle played the Airline on “Get What You Deserve” and I use it for some of the most distorted tracks. When it sounds like the amp is on its very last breath, that’s the Airline.

For guitars, I used SGs for the most part. Most of the solos are SGs. I have a ’61 and a ’62 reissue. I also used an old Danelectro, a Silvertone, and a Supro.

What’s the appeal of the SG for you?

When I first started playing at nine or 10 years old I wanted the sound on Allman Brothers records like Live at the Fillmore. That Gibson tone is exactly what I wanted. Originally I wanted a Les Paul, but I only weighed about 80 pounds at the time, and I had a picture of Duane with an SG.

So the SG had the tone I wanted and weighed quite a bit less. Now it’s years later and anything else I try to play feels foreign to me. When I pick up the SG it is second nature.

On my reissues, I put in stop tailpieces. That’s what I use the bulk of the time. I love the look of that big silver plate on the front, but I found I was breaking strings and my tuning would go haywire.

How does playing with Eric Clapton, Warren Haynes, Doyle Bramhall II, Jimmy Herring and other great guitarists influence your playing?

It’s like being married to a great artist. When Susan sings or plays she has such a strong connection to the audience. Eric or Jimmy or any of those guys … it’s the same thing. They are just so good. It makes you step up your game, but not in a competitive way. You just don’t wanna be left in the dust, so your floor rises.

If you’re the best player in the room all the time, your playing is going to suffer. It’s important to be the guy trailing behind so you have to step up. I’ve been lucky; from an early age I’ve had great musicians to play with and look up to.

What kind of slide do you use and what tunings do you favor?

I use coricidin bottles for my slides and play in open E pretty much all the time. When I was 10 or 11 a guitar player in Jacksonville showed me open E tuning and everything made sense. So I just stuck with it and started learning everything in that tuning — chord voicings, all the scales I already knew in standard. I’m pretty much stuck in E now. Anything else feels foreign. A guitar tuned in standard feels all slinky to me, even if it’s strung with .11s.

How do you mute strings?

It’s a combination of left and right hand. I mute with all five digits and my palm on my right hand. It’s just a feel thing. I was doing an interview for a guitar magazine in Japan and they were filming to try to get my right hand technique, and it struck me I don’t really know what I’m doing technically speaking. It’s all just feel.


One of your SGs is covered with signatures. Who’s signed it?

Willie Nelson, Les Paul, Santana, Roy Haynes, Jerry Jemmott, Little Milton, Otis Rush, Allen Toussaint, Johnny Winter, McCoy Tyner, and about 10 more. These are people I’ve been lucky enough to share the stage with. They put some good energy on that guitar.

You have broad tastes. Who are some of your major influences?

Coltrane, Nusrat Fateh Ali Khan… a lot of singers: Mahalia Jackson, Stevie Wonder, Aretha Franklin, Donnie Hathaway, Otis Redding. For horn players, there’s also Clifford Brown, Lee Morgan, Wayne Shorter, and Marshall Allen, who played tenor in Sun Ra’s band. There’s Ali Akbar Khan, the sarod player.

So what’s ahead for you this year?

Touring behind Already Free is a priority for me. I’m happy with it and proud of it. This is the Allman Brothers’ 40th anniversary year, so that’s going to be a big part of my 2009.

Now that we have the studio I’m looking forward to focusing on more recording with my band and Susan. I think we have a few great albums in us in the vein of Mad Dogs & Englishmen and Delaney and Bonnie. If we spend the right amount of time and get people like Doyle and [Derek Trucks Band singer] Mike Mattison in to write tunes, we can come up with something great.