Bernard Allison's concert at the New Morning venue stirred up a whirlwind of nostalgia and reflection for yours truly: the last time we witnessed his presence here was over a quarter-century ago, a poignant occasion marked by tributes to his legendary father, Luther Allison, who had recently departed. Bernard has now surpassed the age his father was when he left this world... a stark reminder of time's relentless march.
But this time, the atmosphere was decidedly more jubilant, celebrating the 30-year legacy of Ruf Records, the German blues label, and the recent release of "Luther's Blues," a comprehensive homage to his father's repertoire. As the tour culminated on this final night, the stage exuded a palpable sense of camaraderie, amidst the fervor of the performances. With George Moye laying down the bass groove, Mario Dawson driving the rhythm on drums, and José James adding layers of percussions and saxophone, the ensemble crafted a funky backdrop for Bernard's virtuosic yet nuanced solos.
In a seamless blend, Bernard paid homage to the luminaries who influenced him – Jimi Hendrix, Albert King, Otis Rush, and of course, Luther Allison – creating a musical concoction uniquely his own. The evening featured some of Luther's timeless classics, including the emblematic "Bad Love," invoking memories and emotions of a bygone era, and ending with an incandescent jam session ensued with openers Ally Venable and Katie Henry on "The House Is Rockin'," igniting the crowd with fervor.
But the audience wasn't ready to go home just yet, and Bernard and the band were brought back by the deafening applause of the crowd whose taste for all things pentatonic had yet to be satiated. For this encore, they brought the house down with a groovy rendition of "Goin' Down," leaving the audience enraptured and fulfilled. It was indeed a night of blues guitar mastery, with Bernard Allison reaffirming his status as a luminary in the genre, captivating hearts and souls with every chord and riff.
If there was one little flaw to the show, it was the absence of numbers from "Funkifino," his excellent funk album from 1996, which is a unique statement in his career and discography but deserves to be introduced to new generations of fans. Small complaint, given the quality of the music that was played...
At the end of the set, we were treated to a killer jam with the evening's other acts, which felt like a symbolic passing of the torch from one established artist to the next generation of players... The fun, the musicality and the camaraderie was almost palpable, and you can tell the musicians didn't want the evening to end. I know I didn't.
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