Introduction
Putting together a live show with a full orchestra is no mean feat and, while it has become a more common endeavour, it remains a risky undertaking both commercially and artistically. Inevitably, some artists benefit more from the experience than others, with the key to a successful collaboration being the dynamic of the performance. Fortunately, celebrated bluesman Joe Bonamassa is a master of dynamic and, with his music having become increasingly cinematic over the course of his recent albums, an orchestral collaboration offers new sonic vistas for this ever-evolving artist.
When you think of previous such collaborations, various names will undoubtedly come to mind depending on your taste and experience, but this effort arguably cleaves closest to Eric Clapton’s work with Michael Kamen, the orchestra swooping between the spaces left by Joe’s aching chords, and the results are frequently astonishing. With a strong set list, sensibly picked to get the very best out of the pairing, Live Hollywood Bowl With Orchestra offers a different take on a range of tracks, from new wonders to old favourites.
Editions
Live Hollywood Bowl With Orchestra is available in a number of tempting formats, and I’m delighted to see the visual formats paired with the CD here. Fans can opt for digital, CD/DVD, CD/Blu Ray & vinyl, with our review copy being the CD/Blu Ray edition.
Packaged in a similar vein to the excellent Live At Radio City Music Hall, it comes in an embossed slip case, with the discs housed in a jewel case. There’s also a 24-page booklet with some impressive photos, liner notes, and a little greeting from Joe, making for a well put together package, although it’s a shame they didn’t opt for the oversize booklet found in the aforementioned Radio City set. Otherwise, the only real quibble is that, with the space available on blu ray and DVD, it’s a shame that they didn’t include the five tracks played prior to the orchestral performance as bonus cuts. While it’s easy to understand the omission on CD (presumably to keep it from running into a double and raising costs), fans would undoubtedly prefer to have the complete show where the format allows.
The Album
It opens with the When One Door Opens Overture. The original track, which opened Royal Tea, already had a strong John Barry element to it and here we find the orchestra playing the opening bars with rare sensitivity. However, when Joe and his band take to the stage, it is to launch into a blistering Curtain Call, the band’s assurance lifting the piece heavenwards, that huge central riff backed by the rich sound that only a full orchestra can muster. Honestly, this is no less than Joe has earned or deserves, and it’s truly wonderful to see the way his music ebbs and flows as the orchestra swirls around him. With Jade Macrae and Danielle Deandrea providing note-perfect backing vocals, it would be the ideal place to start in any respect, but when the strings slide up to introduce Joe’s solo (and later, an equally impressive outing from Josh Smith), the goosebumps that spread across your skin will be real, and it’s a visceral moment found early in a remarkable set. Next up, and no less awe inspiring, the beautiful Self-inflicted Wounds is given a wonderful arrangement by conductor David Campbell. It would be remiss not to mention the stunning bass work of Calvin Turner, who drives the opening bars of the song, as well as the awe-inspiring solo vocal of Jade, who delivers a performance worthy of Claire Torre towards the conclusion – but this is an ensemble piece, and everyone is giving their all. Less stunning, if only because the orchestra has less to offer here, No Good Place For The Lonely is simply a great song given a rather more opulent setting, although the orchestra comes into its own during an epic lead break. Then there’s the delicate Ball Peen Hammer, which has a very different sound to what has gone before, arranger Jeff Bova placing the focus largely on the woodwind and allowing a different set of colours to shine through.
With the audience enthralled, Joe and his band next offer up a track from Dust Bowl. A decent song on record, albeit overshadowed by a number of stone-cold classics, The Last Matador Of Bayonne is presented here as a Morricone epic, complete with Mariachi trumpet solo. Performed with understated beauty by the band, Joe reminds us just what an amazing vocalist he is, as he doesn’t touch his guitar until after the second verse, and we find ourselves riveted by his voice alone. We remain in Dustbowl territory for Prisoner, which is similarly slow burning, Trevor Rabin’s arrangement allowing Reese Wynans’ subtle organ swells to seep through before the strings return to underpin an emotional chorus. It leads to some of the album’s most prodigious solos, Joe tearing into his Strat as if his life depends upon it, while Jade and Danielle’s backing vocals fall like raindrops around him.
After such a tumultuous outpouring, the gorgeous If Heartaches Were Nickels provides a necessary reset before the explosive The Ballad Of John Henry brings the rock. With its hulking, Led Zeppelin vibes, it has much the same impact as the mid-tempo songs found on Metallica’s S&M, with Joe and his band really putting the pedal to the metal throughout. It’s not the best version out there – that still belongs to Black Country Communion – but it’s a dizzying reinterpretation, and a worthy addition to the set. It’s followed by an equally brilliant take on Twenty-Four Hour Blues, from the recent Blues Deluxe Vol II album, delivered here with real panache and an extended solo that all but blows the roof off.
With the band looking both delighted and relieved to have reached the conclusion, there’s just one final track to come. And, oh man, if ever a song deserved an orchestral backing, it’s Joe’s gorgeous take on Sloe Gin(especially as it’s a Michael Kamen co-write), and Jeff Bova does it full justice here. A soaring tour-de-force, it provides this once-in-a-lifetime show with the emotional conclusion it so richly deserves, and it leaves the audience (both those lucky enough to be in the venue and those watching at home) rising to their feet in appreciation at the wonderful performance they’ve just witnessed.
Blu Ray
Beautifully filmed by Michael Moghaddam (who also co-directs with Brandon Murray), the blu ray is crystal clear, as we have come to expect from Joe Bonamassa releases. However, what makes it so special is Brandon Murray’s deft editing (supported by Scott Long), which captures each element without flashing from one place to another with the breakneck pace so often demanded of modern music filming. As a result, despite having to focus on multiple musicians, all of whom bring their own dimension to the performance, Brandon and Scott afford us a privileged view of the concert, bringing us to the heart of the show, and allowing us to feel as if we’re truly there.
The sound, meanwhile, is equally breathtaking. Kevin “Caveman” Shirley is surely a competent producer, but here he excels himself as if the unique nature of the occasion brought him to another level, and the blu ray – whether in stereo or 5.1 sounds suitably wondrous. Orchestral mixes are notoriously tricky to get right, with either band or orchestra usually overshadowing the other, but the balance is perfect from the outset, and it’s rare that either one gains ascendency. Turn it up loud, and you’ll feel the thrill of master musicians working in close collaboration, making this blu ray an audio-visual treat.
Conclusion
Joe Bonamassa has never been shy with live releases. However, while he may be prolific, it’s worth noting that each one offers something compellingly unique. Whether it’s the opportunity to see well-worn songs given new interpretations by an expanded band, a set list of covers set to a theme, or an orchestral reworking, there’s always a hook that draws you in and keeps you for the duration. It’s hard to pick a favourite, because each one is so different that your choice tends to reflect your mood. However, were you to go for a pick of the bunch, this remarkable work would surely stand high on your list. Few artists are brave enough or competent enough to work with an orchestra. Even fewer do it well once the opportunity is presented. Joe Bonamassa comes through this collaboration with flying colours, and the songs on offer here gain a rich third dimension in the process. 10/10
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