40th Anniversary of The Band’s Last Waltz Tour
Nearly three months have passed since I’ve been to a show. That’s pretty unusual, as live music has moved me since I was a child. Concerts are my hobby and I make pursuing this passion a priority. So I was very excited to be attending Saturday’s final celebration of The Band's “The Last Waltz Concert” at the newly opened MGM Grand National Harbor Hotel and Casino in Oxon Hill, MD. I anticipated that the theater would be an exceptional acoustic space and the thought of this new venue added to my excitement almost as much as the performers slated to perform. The fact that tonight’s show was the last show of the tour also built my anticipation.
“The Last Waltz” is a movie and live recording of The Band's final show, which took place at Winterland in San Francisco on Thanksgiving Day of 1976. It is a seminal piece of music history well worthy of the current cast of musicians honoring that history with a tour. The touring ensemble has consisted of Warren Haynes, Don Was, John Medeski, Michael McDonald, Jamey Johnson and Terence Higgins. The Levee Horns fronted by Mark Mullins were one of the most important contributions to the night’s music. They added superb Dixieland swing breaks to several of tonight’s songs. Special hat tip to the tuba (sousaphone) player. I think he performed the finest tuba solo I’ve heard.
The setlist for the tour has consisted of a core group of songs occasionally juggled with an outlier or two thrown in keeping the crowds off balance. There have also been some special sit ins including Ivan and Cyril Neville, Bob Margolin (a sideman for Muddy Waters and a performer at the original Last Waltz) and, most importantly, Garth Hudson, the original keyboard player for The Band.
The show began nearly on time with a pre-recorded “Theme From the Last Waltz”. Literally a waltz that was also used during the original performance. The house lights were still up as the music cracked through the air. Right away I knew the sound system was indeed state of the art. The house lights dimmed as the performers took the stage and launched into the well-known and beloved “Up On Cripple Creek”.
The arrangement was similar to The Band’s classic performances. As were the arrangements of the next two classics, “The Shape I’m In,” and “Stage Fright.” Those songs provided a clear backdrop for what, in other musicians’ hands, could have been just a night of covers. Tonight those performances reached into the hearts of the audience and yanked the folks out of their chairs. The crowd was excited, energetic, loud and enthusiastic.
The next song, “Georgia on My Mind” changed the tempo but not the energy. Jamey Johnson took the vocals. His thunderous baritone and mountainous countenance poured over the audience like maple syrup over steamy peach cobbler. It was just the 4th song and I knew that the show was leaving the Earth’s orbit. Johnson was receiving an honest to God standing ovation as Michael McDonald rolled into “Life is a Carnival” they remained standing and dancing to the beat.
Warren and McDonald beautifully traded lyrics on “It Makes No Difference” slowing down the tempo and then Ivan and Cyril Neville joined the ensemble. Both shone on “Down South in New Orleans”. Ivan seemed to be having a rattling good time as they rolled into the Bo Diddley beat of a sinewy “Who Do You Love”. I miss seeing the Neville Brothers. Cyril’s voice brought me back to the early 80’s. The treatment of the song was sinister, much more like Dr. John’s “Walk on Gilded Splinters” then the “Who Do You Love” of George Thorogood.
The first set continued to roll featuring Warren’s vocals on a vibrant “This Wheel’s On Fire”. Closing the set were two of the Band’s most poignant songs, “King Harvest (Has Surely Come)” into “The Night They Drove Old Dixie Down”. I don’t know who decided to juxtapose these two war songs, but wow… the nuance wasn’t lost on me. “King Harvest” is one of my favorite Band songs. The soothing chorus belies the struggle of the song. Riding that song into the slow “Taps” intro of “The Night They Drove Old Dixie Down” was setlist genius. The first set ended with great sing alongs and the energy remained high during the break leading into the second set.
A high stepping “Ophelia” opened the second set re-commencing the dance party. Warren’s handling of the next tune, Van Morrison’s “Caravan” painted everyone’s face with broad smiles. Dang! I sure do love a great musician > audience call and response. Michael McDonald’s vocal performance and keyboards on “Helpless” were emotionally powerful. Quieting the audience so we could all enjoy the harmonies of the chorus paying beautiful homage to the CSNY classic. Warren thanked McDonald and re-introduced Ivan and Cyril Neville asking, “Let’s see what happens when we mix Memphis and New Orleans together.” A jam heavy, “Mystery Train” was the answer and it was sizzling leading into the great dance number “Rag Mama Rag”.
The introduction of Bob Margolin led into some of the boldest performing of the night. Margolin worked for years with Muddy Waters and took part in the original Last Waltz. He spoke to the audience relating original and more current experiences playing the music that had brought us all together. He then bluesed into a Muddy Waters tribute that led into “Mannish Boy”. Playing guitar and belting out the lyrics, he took complete control of the stage.. Because of today’s technology and thanks to Tom Libera, you can find this (and other performances from the night) on YouTube. Margolin’s performance has to be seen to be believed. I was gob smacked when he pulled off his belt and starting whipping the stage around Warren’s feet urging Warren to play on. That was some rollicking good fun. Bob told another story that kept the blues rolling into “Kind Hearted Woman Blues”.
The band then drove “Further On Up the Road” leading us back to New Orleans with Jamey Johnson taking the lead vocals on the Dr. John classic, “Such a Night”. The crowd quieted for Michael McDonald’s haunting and beautiful version of “Forever Young”. The song was a blessing and signaled the greatest gift of the night, Garth Hudson.
The crowd gave the legend his well deserved ovation as the 79 year old was helped to the keyboards. He tinkled his way through a little bit of “My Old Kentucky Home” as he found the opening for “The Weight”. More than one joyous tear streaked my cheek as Jamey Johnson took the first lyric. This is why I make the effort to go see live music. It does keep me feeling forever young.
Another great Dylan classic, “I Shall Be Released”, followed the stirring choral rounds of “The Weight”. Intertwined with the heartfelt vocals was an emotional and sublime Garth Hudson organ solo. Jamey Johnson’s final word “released” richly ended the song. The stage went black.
A spot light burned through the black and illuminated Mr. Hudson hunched over his keyboard and under his black hat. The light lit up his billowy white beard as he merged thematic rounds of his fugue into the explosion of one of rock and roll’s greatest anthems, “Chest Fever”. The stage lights blasted the other musicians into view and the anthem swelled into musical power and majesty. The music took over and there was nothing else.
As the crowd stood in awed ovation the show continued to roll into the butt shaking, “Don’t Do It”. The horns were full throated as were all the singers celebrating the end of a phenomenal night of music, and an exceptional tour. You could see the love and camaraderie of the ensemble as they took their bows. This was indeed a rare show that crosses the threshold from concert to blessing.
Great write up, and stoked you got to see Garth sit in.
And I know what you mean - just saw Amy Helm on Saturday and must have been smiling for 3 days straight.
[Edited on 2/8/2017 by porkchopbob]
Thank you for the awesome review of an awesome show. I felt like I was there...but now I wish I'd caught this tour!
Always enjoy reading your reviews. Glad you got a good show.
40th Anniversary of The Band’s Last Waltz Tour
Nearly three months have passed since I’ve been to a show. That’s pretty unusual, as live music has moved me since I was a child. Concerts are my hobby and I make pursuing this passion a priority. So I was very excited to be attending Saturday’s final celebration of The Band's “The Last Waltz Concert” at the newly opened MGM Grand National Harbor Hotel and Casino in Oxon Hill, MD. I anticipated that the theater would be an exceptional acoustic space and the thought of this new venue added to my excitement almost as much as the performers slated to perform. The fact that tonight’s show was the last show of the tour also built my anticipation.
“The Last Waltz” is a movie and live recording of The Band's final show, which took place at Winterland in San Francisco on Thanksgiving Day of 1976. It is a seminal piece of music history well worthy of the current cast of musicians honoring that history with a tour. The touring ensemble has consisted of Warren Haynes, Don Was, John Medeski, Michael McDonald, Jamey Johnson and Terence Higgins. The Levee Horns fronted by Mark Mullins were one of the most important contributions to the night’s music. They added superb Dixieland swing breaks to several of tonight’s songs. Special hat tip to the tuba (sousaphone) player. I think he performed the finest tuba solo I’ve heard.
The setlist for the tour has consisted of a core group of songs occasionally juggled with an outlier or two thrown in keeping the crowds off balance. There have also been some special sit ins including Ivan and Cyril Neville, Bob Margolin (a sideman for Muddy Waters and a performer at the original Last Waltz) and, most importantly, Garth Hudson, the original keyboard player for The Band.
The show began nearly on time with a pre-recorded “Theme From the Last Waltz”. Literally a waltz that was also used during the original performance. The house lights were still up as the music cracked through the air. Right away I knew the sound system was indeed state of the art. The house lights dimmed as the performers took the stage and launched into the well-known and beloved “Up On Cripple Creek”.
The arrangement was similar to The Band’s classic performances. As were the arrangements of the next two classics, “The Shape I’m In,” and “Stage Fright.” Those songs provided a clear backdrop for what, in other musicians’ hands, could have been just a night of covers. Tonight those performances reached into the hearts of the audience and yanked the folks out of their chairs. The crowd was excited, energetic, loud and enthusiastic.
The next song, “Georgia on My Mind” changed the tempo but not the energy. Jamey Johnson took the vocals. His thunderous baritone and mountainous countenance poured over the audience like maple syrup over steamy peach cobbler. It was just the 4th song and I knew that the show was leaving the Earth’s orbit. Johnson was receiving an honest to God standing ovation as Michael McDonald rolled into “Life is a Carnival” they remained standing and dancing to the beat.
Warren and McDonald beautifully traded lyrics on “It Makes No Difference” slowing down the tempo and then Ivan and Cyril Neville joined the ensemble. Both shone on “Down South in New Orleans”. Ivan seemed to be having a rattling good time as they rolled into the Bo Diddley beat of a sinewy “Who Do You Love”. I miss seeing the Neville Brothers. Cyril’s voice brought me back to the early 80’s. The treatment of the song was sinister, much more like Dr. John’s “Walk on Gilded Splinters” then the “Who Do You Love” of George Thorogood.
The first set continued to roll featuring Warren’s vocals on a vibrant “This Wheel’s On Fire”. Closing the set were two of the Band’s most poignant songs, “King Harvest (Has Surely Come)” into “The Night They Drove Old Dixie Down”. I don’t know who decided to juxtapose these two war songs, but wow… the nuance wasn’t lost on me. “King Harvest” is one of my favorite Band songs. The soothing chorus belies the struggle of the song. Riding that song into the slow “Taps” intro of “The Night They Drove Old Dixie Down” was setlist genius. The first set ended with great sing alongs and the energy remained high during the break leading into the second set.
A high stepping “Ophelia” opened the second set re-commencing the dance party. Warren’s handling of the next tune, Van Morrison’s “Caravan” painted everyone’s face with broad smiles. Dang! I sure do love a great musician > audience call and response. Michael McDonald’s vocal performance and keyboards on “Helpless” were emotionally powerful. Quieting the audience so we could all enjoy the harmonies of the chorus paying beautiful homage to the CSNY classic. Warren thanked McDonald and re-introduced Ivan and Cyril Neville asking, “Let’s see what happens when we mix Memphis and New Orleans together.” A jam heavy, “Mystery Train” was the answer and it was sizzling leading into the great dance number “Rag Mama Rag”.
The introduction of Bob Margolin led into some of the boldest performing of the night. Margolin worked for years with Muddy Waters and took part in the original Last Waltz. He spoke to the audience relating original and more current experiences playing the music that had brought us all together. He then bluesed into a Muddy Waters tribute that led into “Mannish Boy”. Playing guitar and belting out the lyrics, he took complete control of the stage.. Because of today’s technology and thanks to Tom Libera, you can find this (and other performances from the night) on YouTube. Margolin’s performance has to be seen to be believed. I was gob smacked when he pulled off his belt and starting whipping the stage around Warren’s feet urging Warren to play on. That was some rollicking good fun. Bob told another story that kept the blues rolling into “Kind Hearted Woman Blues”.
The band then drove “Further On Up the Road” leading us back to New Orleans with Jamey Johnson taking the lead vocals on the Dr. John classic, “Such a Night”. The crowd quieted for Michael McDonald’s haunting and beautiful version of “Forever Young”. The song was a blessing and signaled the greatest gift of the night, Garth Hudson.
The crowd gave the legend his well deserved ovation as the 79 year old was helped to the keyboards. He tinkled his way through a little bit of “My Old Kentucky Home” as he found the opening for “The Weight”. More than one joyous tear streaked my cheek as Jamey Johnson took the first lyric. This is why I make the effort to go see live music. It does keep me feeling forever young.
Another great Dylan classic, “I Shall Be Released”, followed the stirring choral rounds of “The Weight”. Intertwined with the heartfelt vocals was an emotional and sublime Garth Hudson organ solo. Jamey Johnson’s final word “released” richly ended the song. The stage went black.
A spot light burned through the black and illuminated Mr. Hudson hunched over his keyboard and under his black hat. The light lit up his billowy white beard as he merged thematic rounds of his fugue into the explosion of one of rock and roll’s greatest anthems, “Chest Fever”. The stage lights blasted the other musicians into view and the anthem swelled into musical power and majesty. The music took over and there was nothing else.
As the crowd stood in awed ovation the show continued to roll into the butt shaking, “Don’t Do It”. The horns were full throated as were all the singers celebrating the end of a phenomenal night of music, and an exceptional tour. You could see the love and camaraderie of the ensemble as they took their bows. This was indeed a rare show that crosses the threshold from concert to blessing.
Nicely done. Check out Bob Margolin's twitter if you have not. He found this tour to be one of the greatest things to happen to him and was very emotional about it all. He talked earlier about being there while Warren led them through a 7 hour rehearsal. I saw Albany and it was fantastic. Don Was is really hoping for them to do more dates but said it is difficult with all Warren and the others have gong on.
Liam...as always, your reviews are absolutely riveting! Made me wish I had caught one of these celebrations...so glad you were able to attend!
Well done. Good to see your post!
Liam...as always, your reviews are absolutely riveting! Made me wish I had caught one of these celebrations...so glad you were able to attend!
TIMES TWO!!! My eyes perked up when I saw this thread. Certainly envious I missed it, but thanks for bringing me inside to share in the joy. Glad to hear the new venue is top notch. I'll have that on my list as well.
Thanks for all the kind words. It is a pleasure to share a great musical experience.
Glad to hear the new venue is top notch. I'll have that on my list as well.
The venue deserves its own review. While the sound is great and the seats are comfortable you still have to deal with the mayhem of the casino. On a Saturday night everything was packed solid crowded. The employees don't seem very well trained. The theatre was an oasis away from all that madness.
Thanks for all the kind words. It is a pleasure to share a great musical experience.
Glad to hear the new venue is top notch. I'll have that on my list as well.
The venue deserves its own review. While the sound is great and the seats are comfortable you still have to deal with the mayhem of the casino. On a Saturday night everything was packed solid crowded. The employees don't seem very well trained. The theatre was an oasis away from all that madness.
For me, casinos typically have excellent venues. The question is how management handles the artists' stage time. Up in my neck of the woods, this is not an issue at Mohegan Sun. However, at Foxwoods, we typically see deliberately short(er) performances as management wants the patrons out of the venue and on the casino floor.
Billy... Well done. Thanks so much for putting forth the effort. I felt like I was there, and regret not getting tix to this show.
I think this is the recording I downloaded. If so, it is a really good copy. I'm guessing the casino did not hurry anything in this case. The download is 2 hours and 50 plus minutes.
I think this is the recording I downloaded. If so, it is a really good copy. I'm guessing the casino did not hurry anything in this case. The download is 2 hours and 50 plus minutes.
http://bt.etree.org/details.php?id=591188/blockquote >
This really captured the Mannish Boy as you described it.
Nice review
