On the Freedom Road
Sari Schorr (with Greig Taylor Blues Band) – The Classic Grand, Glasgow, 15th April 2023
Sari Schorr (with Greig Taylor Blues Band) – The Classic Grand, Glasgow, 15th April 2023
You can make an argument that the operatically trained, blues loving Sari Schorr and her band have been on the Freedom road since day one, and not just their 2023 Freedom tour of Europe and the UK, of which The classic Grand in Glasgow was one such well received date.
That’s because New York songstress Schorr has been singing of, and for, freedom via lyrical pleas for equality & compassion over darkness & division in many a lyric, pretty much from the debut album get-go (and, related, a more recent freedom from pandemic and lockdowns).
That cry for freedom and unification is however most pointedly delivered on the song of that name, which opened the set in the full voiced, force of lyrically expressive nature that Sari Schorr is, backed by a seriously good band in their own performing right (aka The Wilson Brothers):
Siblings Ash (guitars, backing vocals) and Phil Wilson (drums), Roger Innis (bass) and Adrian Gautrey (organ, keys, backing vocals).
Prior to the ninety minutes of blues rocking Freedom the Greig Taylor Blues Band delivered a short, sharp and on-point set that helped promote Taylor’s forthcoming new album, The Light.
While Greig Taylor is obviously the focal – make that vocal – point (a softer toned Cocker meets a lyrically personal Redding) the band is, like Sari Schorr’s ensemble, a fine collection of musicians.
Brian McFie (Big Dish, Marianne Faithful) is one of the most respected players on the circuit; Nelson McFarlane is in as many bands as he has strings to his bass (five); drummer Dave Cantwell (John Martyn, Big Dish) has been the heart & beat of Taylor’s music for many years; guest keys player on the night, Kenneth Clark, is as comfortable rattling off a honky-tonk lick as he is fully synthesising in jazz-rock fusion (the latter can be heard to fine effect in the Oscar Cordoba Band, who also feature McFarlane).
Early career songs such as 'Crucifixion Blues' (from Greig Taylor’s time as front man of the GT’s Boos Band) made a shuffling great impression but newer songs, including rock 'n' boogie roller 'Born To Love You' (the studio version of which features Greig Taylor in duet with double-Grammy nominated US blues & gospel singer Earl Thomas) and 'The Light' (which is about as Otis authentic as you’ll get), helped reinforce that the forthcoming new album will be well worth the listen.
The 2023 Sari Schorr tour dates are not just another go-round in support of previous albums Force of Nature, Never Say Never or indeed the lockdown stop-gap Live In Europe – less than half the songs on that 2020 live release make up the current set and with recording sessions for the forthcoming third studio release not far away, three new songs also featured.
But the set started with the more familiar.
Following 'Freedom,' two Force of Nature fan favourites made welcome appearances – the sassily voiced, lyrical double-play of 'Demolition Man' (featuring the first of many tasty solos from Ash Wilson) and the sultrier rhythm of 'Ain’t Got No Money.'
That’s because New York songstress Schorr has been singing of, and for, freedom via lyrical pleas for equality & compassion over darkness & division in many a lyric, pretty much from the debut album get-go (and, related, a more recent freedom from pandemic and lockdowns).
That cry for freedom and unification is however most pointedly delivered on the song of that name, which opened the set in the full voiced, force of lyrically expressive nature that Sari Schorr is, backed by a seriously good band in their own performing right (aka The Wilson Brothers):
Siblings Ash (guitars, backing vocals) and Phil Wilson (drums), Roger Innis (bass) and Adrian Gautrey (organ, keys, backing vocals).
Prior to the ninety minutes of blues rocking Freedom the Greig Taylor Blues Band delivered a short, sharp and on-point set that helped promote Taylor’s forthcoming new album, The Light.
While Greig Taylor is obviously the focal – make that vocal – point (a softer toned Cocker meets a lyrically personal Redding) the band is, like Sari Schorr’s ensemble, a fine collection of musicians.
Brian McFie (Big Dish, Marianne Faithful) is one of the most respected players on the circuit; Nelson McFarlane is in as many bands as he has strings to his bass (five); drummer Dave Cantwell (John Martyn, Big Dish) has been the heart & beat of Taylor’s music for many years; guest keys player on the night, Kenneth Clark, is as comfortable rattling off a honky-tonk lick as he is fully synthesising in jazz-rock fusion (the latter can be heard to fine effect in the Oscar Cordoba Band, who also feature McFarlane).
Early career songs such as 'Crucifixion Blues' (from Greig Taylor’s time as front man of the GT’s Boos Band) made a shuffling great impression but newer songs, including rock 'n' boogie roller 'Born To Love You' (the studio version of which features Greig Taylor in duet with double-Grammy nominated US blues & gospel singer Earl Thomas) and 'The Light' (which is about as Otis authentic as you’ll get), helped reinforce that the forthcoming new album will be well worth the listen.
The 2023 Sari Schorr tour dates are not just another go-round in support of previous albums Force of Nature, Never Say Never or indeed the lockdown stop-gap Live In Europe – less than half the songs on that 2020 live release make up the current set and with recording sessions for the forthcoming third studio release not far away, three new songs also featured.
But the set started with the more familiar.
Following 'Freedom,' two Force of Nature fan favourites made welcome appearances – the sassily voiced, lyrical double-play of 'Demolition Man' (featuring the first of many tasty solos from Ash Wilson) and the sultrier rhythm of 'Ain’t Got No Money.'
Blues sister Sari Schorr and her Band of (Wilson) Brothers: Ash & Phil Wilson, Roger Innis, Adrian Gautrey.
The first new number of the set (as yet untitled but currently tagged as 'Where Have You Been My Friend') made for subtle contrast with its decidedly AOR friendly, Nashville country crossover sound.
It therefore, in its own "days of wine and roses" lyrical way, doubled as the Yin to the Never Say Never Yang of that album's melodic pop-blues ode to separation, 'Back To L.A.,' which deservedly retains its place in the current set.
Strong as that new number was, second newbie, 'Coal River,' nearly stole the entire show with its Appalachian blues swagger and Tennessee tumblin’ rhythm (which started with Phil Wilson on shaker percussion and one-stick drum work – who says men (or drummers) can’t multi-task?).
'Coal River' segued directly into 'Cat & Mouse,' which wouldn’t have ordinarily worked if not for the fact the latter has shaken off the funky soul-rhythm of the studio version to become, live, a full-on, sassy rock-blues.
Dropping the tempo and providing mood-setting contrast was the ballad 'Ordinary Life.'
The song, which your reviewer said to Sari Schorr many years ago could have been sub-titled 'The Gratitude Song' (to which the passionate singer with compassionate values agreed) used to feature near show's end.
It has now however become a mid-set dedication (and indeed is introduced as a song of gratitude) to the fans and audiences that come out to Schorr’s shows and support her work.
Driving the tempo (and body temperature) way back up was the band’s hot and rockin' rendition of Willie Dixon’s 'I Just Want to Make Love to You,' which rhythmically pulsates and throbs (steady) on a razor sharp beat from Phil Wilson and Sari Schorr’s husky, lower vocality.
It's also the song-extended moment of the show for the band to fully rock out, with some bubbly and full-throated organ work from Adrian Gautrey, Roger Innis funking the bejesus out his 6-string bass and a fully unfettered Ash Wilson.
Messrs. Innis, Gautrey and P. Wilson then left the stage for a darker guitar & vocal version of 'Damn the Reason,' with Ash Wilson’s raw and unsettling guitar lines dovetailing with Sari Schorr’s hardened lyric of domestic abuse.
It would have made for an even more powerful statement if not for those propped at the venue’s bar, happier to be in loud conversation than respectfully appreciating the music – a minority yes, but it only takes a loud minority to go toe to toe with the PA on a more delicate number to kill the moment (and one of Sari Schorr’s most impassioned vocals of the night).
Not that it was enough to spoil the enjoyment for most of the audience, especially those down the front who wouldn’t have picked up on the other sound issue on the night, a muffled mid-range and guitar too low in the mix (although thankfully fine for the solos); all of which emanated from a hurried/ time limited sound check for both bands.
Off-stage noise certainly wasn’t a problem on an exceptionally powerful performance of 'Black Betty,' which has become Sari Schorr’s calling card – on the Lead Belly classic she isn’t so much singing as directly channelling, and her outro note (and note hold) following a blistering solo from Ash Wilson, confirmed her as Queen of the high C’s. Operatic blues, baby.
The Never Say Never brace of soul-selling rock blues 'King of Rock and Roll' and fiesty alter-ego rock of 'Valentina' brought the main set to a raucous close, while the encore previewed third new song 'Suicidal Nation' (a brooding slow builder with an emphatic "I am free!" chorus tag that book-ends the essence of 'Freedom') and poignant Never Say Never ballad, 'Beautiful.'
The latter, as Sari Schorr left the stage to rapturous applause, featured a big finish/ band finale that showcased Ash Wilson at his most tasteful and melodic.
Having touched earlier on the title of this tour, it’s interesting to note it can also double as the Freedom Sari Schorr has been afforded these last seven years by Manhaton Records, a dozen or so talented contributing band members and welcoming European & UK crowds, to fully express herself as a solo artist – and become the Force of Nature some of us knew she was destined to be, even before the debut album hit the streets.
Long may that Force be with her.
Ross Muir
FabricationsHQ
Photo Credit (all images) - Mark Rutherford
It therefore, in its own "days of wine and roses" lyrical way, doubled as the Yin to the Never Say Never Yang of that album's melodic pop-blues ode to separation, 'Back To L.A.,' which deservedly retains its place in the current set.
Strong as that new number was, second newbie, 'Coal River,' nearly stole the entire show with its Appalachian blues swagger and Tennessee tumblin’ rhythm (which started with Phil Wilson on shaker percussion and one-stick drum work – who says men (or drummers) can’t multi-task?).
'Coal River' segued directly into 'Cat & Mouse,' which wouldn’t have ordinarily worked if not for the fact the latter has shaken off the funky soul-rhythm of the studio version to become, live, a full-on, sassy rock-blues.
Dropping the tempo and providing mood-setting contrast was the ballad 'Ordinary Life.'
The song, which your reviewer said to Sari Schorr many years ago could have been sub-titled 'The Gratitude Song' (to which the passionate singer with compassionate values agreed) used to feature near show's end.
It has now however become a mid-set dedication (and indeed is introduced as a song of gratitude) to the fans and audiences that come out to Schorr’s shows and support her work.
Driving the tempo (and body temperature) way back up was the band’s hot and rockin' rendition of Willie Dixon’s 'I Just Want to Make Love to You,' which rhythmically pulsates and throbs (steady) on a razor sharp beat from Phil Wilson and Sari Schorr’s husky, lower vocality.
It's also the song-extended moment of the show for the band to fully rock out, with some bubbly and full-throated organ work from Adrian Gautrey, Roger Innis funking the bejesus out his 6-string bass and a fully unfettered Ash Wilson.
Messrs. Innis, Gautrey and P. Wilson then left the stage for a darker guitar & vocal version of 'Damn the Reason,' with Ash Wilson’s raw and unsettling guitar lines dovetailing with Sari Schorr’s hardened lyric of domestic abuse.
It would have made for an even more powerful statement if not for those propped at the venue’s bar, happier to be in loud conversation than respectfully appreciating the music – a minority yes, but it only takes a loud minority to go toe to toe with the PA on a more delicate number to kill the moment (and one of Sari Schorr’s most impassioned vocals of the night).
Not that it was enough to spoil the enjoyment for most of the audience, especially those down the front who wouldn’t have picked up on the other sound issue on the night, a muffled mid-range and guitar too low in the mix (although thankfully fine for the solos); all of which emanated from a hurried/ time limited sound check for both bands.
Off-stage noise certainly wasn’t a problem on an exceptionally powerful performance of 'Black Betty,' which has become Sari Schorr’s calling card – on the Lead Belly classic she isn’t so much singing as directly channelling, and her outro note (and note hold) following a blistering solo from Ash Wilson, confirmed her as Queen of the high C’s. Operatic blues, baby.
The Never Say Never brace of soul-selling rock blues 'King of Rock and Roll' and fiesty alter-ego rock of 'Valentina' brought the main set to a raucous close, while the encore previewed third new song 'Suicidal Nation' (a brooding slow builder with an emphatic "I am free!" chorus tag that book-ends the essence of 'Freedom') and poignant Never Say Never ballad, 'Beautiful.'
The latter, as Sari Schorr left the stage to rapturous applause, featured a big finish/ band finale that showcased Ash Wilson at his most tasteful and melodic.
Having touched earlier on the title of this tour, it’s interesting to note it can also double as the Freedom Sari Schorr has been afforded these last seven years by Manhaton Records, a dozen or so talented contributing band members and welcoming European & UK crowds, to fully express herself as a solo artist – and become the Force of Nature some of us knew she was destined to be, even before the debut album hit the streets.
Long may that Force be with her.
Ross Muir
FabricationsHQ
Photo Credit (all images) - Mark Rutherford