CONCERT REVIEW
The Big Man takes center stage
by Seth Rogovoy(PITTSFIELD, Mass., May 23, 1997) --- A small but enthusiastic crowd enjoyed two-plus hours of saxophone-drenched, maximum R&B at the Studio on Thursday night, when Bruce Springsteen saxophonist Clarence Clemons joined forces with Steve Smith and the Nakeds for what turned out to be a big-band, soul revue.
Clemons's signature sound was readily apparent from the moment he blew the first note on his tenor saxophone. With Clemons tone is everything, and he sprayed his big, fat, Junior Walker and King Curtis-influenced messy notes throughout a dozen or so rockers and ballads. Clemons keeps things simple, favoring short, melodic figures that resolve on high-pitched whole notes, relying on dynamics and texture to provide color.
Clemons and the nine-piece band played a mix of originals and classic soul and funk tunes, including "Mustang Sally," "Unchain My Heart" and "Slippin' and Slidin.'" Clemons occasionally sang a tune, and his croaky growl was a stark contrast to vocalist Smith's operatic croon, which owed more to Frankie Valli than James Brown. The two traded vocals on a number of tunes, including a touching rendition of "You're A Friend of Mine," a Top 20 hit which Clemons originally recorded with Jackson Browne.
Throughout the evening, Clemons fended off requests from the crowd for Springsteen songs, until the encore, when fans were treated to "Tenth Avenue Freeze-Out," in which the Boss immortalized Clemons with the line, "the change was made uptown and the Big Man joined the band."
The silver-maned Smith was a hard-working front man throughout the evening, leading his own band through the paces as well as handling the lion's share of lead vocals, sometimes delivered from the crowd via the miracle of wireless remote technology. Smith ingratiated himself with the crowd early on by noting the band used to play Pittsfield when O.B. Joyful was a thriving nightspot.
Local band Ben Jamin warmed up the crowd with a set of its own bar- band R&B music. The core rhythm section of the band was particularly tight and on target, and drummer John Haddad peppered the classic- style tunes with some very contemporary percussive touches without violating the music's integrity.
[This review originally appeared in the Berkshire Eagle on May 24, 1997. Copyright Seth Rogovoy 1997. All rights reserved.]
Seth Rogovoy
rogovoy@berkshire.net
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