Posted by Angelo This was printed in the WEEKENDER section of the 06/01/07 edition of the Lexington Herald-Leader. How relevant? Well, when was the last time you saw patrons barely old enough to enter a rock club raise their beer bottles in salute when Auger evoked the name of jazz giant Wes Montgomery and then settle down enough to actively listen to the stately cool of the guitarist's milestone composition Bumpin' on Sunset? How about watching college-age couples dancing to the elemental pop-soul cheer of Auger's Whenever You're Ready? Or, for that matter, how about seeing so many gray-hairs in the crowd alongside them? The set list largely relied on the same vintage fare that Auger has preferred since reforming Oblivion Express with drummer-son Karma and daughter-vocalist Savannah nearly a decade ago, but there was not a hint of complacency in his playing. Save for a few bass and drum solos, Brian Auger remained the primary instrumental voice of his band and, almost without exception, appeared to relish the responsibility. Regularly orchestrating (often simultaneously) his B3 leads with Rhodes-style keyboards, Auger balanced assured, funky melodies with a warm, accessible ambience that reflected the upbeat nature of his compositions. On Don't Look Away, one of three tunes pulled from 1972's Second Wind, the Oblivion Express' third album, modestly syncopated hooks locked in behind Karma Auger's airtight percussion for an immediate sense of funk command. But the tune quickly opened into a spacious Rhodes-style solo from father Brian. Similarly, 1973's Happiness Is Just Around the Bend and the title track to 1974's album Straight Ahead mixed groove with a bright melodic reserve. Savannah Auger proved a capable vocal presence in such instrumentally driven material. But on Indian Rope Man, a flashback to Brian Auger's pre-Oblivion Express band The Trinity, she adapted the vocal edge of psychedelic pioneer Julie Driscoll (who first recorded the tune with Brian Auger in 1969) into an more approachable, R&B-based singing style all her own. Toss in richly funky classics, such as Les McCann's Compared to What and the bright 1975 instrumental Brain Damage to end the 105-minute set, and you had as vital and welcoming an inauguration to summer as one could hope for.
on June 1, 2007, 4:04 am, in reply to "Re: Lexington Show"
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Here is a newspaper review by our local music writer and critic, Mr. Walter Tunis. Like EVERYBODY that was there, I think he really liked it!
Reviews are posted on every Friday for the prior week's shows:
Brian Auger's Oblivion Express at The Dame: From the moment he kicked into the churning B3 organ intro of Eddie Harris' Freedom Jazz Dance, it was clear that veteran keyboardist Auger, 67, had lost none of his performance zeal for forging jazz-accented rhythms into earthy soul-funk grinds. Along with the subsequent Truth, Auger and the current family band version of his Oblivion Express didn't just display solid musicianship. It revealed an involvement and vigor that made this rich fusion music, which was regularly spurned by critics in its heyday, seem immensely relevant.
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