Delta Moon in Berlin
By Torsten Meyer
Photos: Torsten Meyer, press material (top)
What is one to hope from a concert of a band called DELTA MOON from the state of Georgia in the United States? Probably decent delta blues, with a proper spoonful of swamp or southern rock, definitely something reminiscent of the band’s southern origin. Well, these hopes were fully met last night in the Maschinenhaus, because DELTA MOON offered a superb mix of exactly these elements.
In 2010 the band hit Berlin for the first time. At that time it was rather a
chance that gave Tom Gray and his men their entrance in the GARBÁTY. I was
not there myself, but if you believe the eyewitness accounts,
it was a
memorable, legendary night because DELTA MOON rocked
the house like no one before.
My personal live premiere of the quartet from Atlanta, Georgia, was almost
to the day a year ago, when they played exactly as
yesterday in the Maschinenhaus, one of three concert venues on
the site of the Kulturbrauerei. It was such
a fantastic evening on April 4, 2012, that an
unconditional repetition was even
then a done deal for me.
As so often in Berlin this weekend there were more shows than you could
visit. In the Kulturbrauerei on Friday two wonderful events under the same roof threatened to steal
the visitors from each other. In the Kesselhaus was JAN PLEWKA with his RIO TRAVEL program, while
upstairs DELTA MOON awaited the acclaim of ordinary visitors. What I decided
you know.
With this decision, I was fortunately not alone. It was revealed that the
band enjoys increasing popularity, and thus are beyond the status of an insider
tip. In addition to my German colleagues Thorsten Mugge and Wieland who, as I,
appreciate terrific live music, I discovered WALDI WEIZ and MATZE STOLPE, two
musicians from our German blues scene, among the cheerful and joyful expectant
spectators.
At the heart of the band are the two guitarists, Tom Gray and Mark Johnson.
How the two friends got to know each other is a funny story. A few years ago in
the parking lot of a music shop Tom Gray wanted to sell Mark a Dobro guitar.
Mark did not buy the guitar, but phone numbers got exchanged, and the two began
making music together. That’s how it started, and what it has become we saw and
heard yesterday evening. The origin of the band name is also worth mentioning.
When Tom and Mark one day returned from a trip to MUDDY WATERS' shack in
Clarksdale, in the Mississippi Delta, they were so under the impression of the
experience that Mark said DELTA MOON would be a very nice name for their band.
So then it was. This village of Clarksdale with just 20,000 residents, by the
way, offers a lot of room for stories about the blues, because from here and
from the surrounding area came unforgettable musicians like JOHN LEE HOOKER,
MUDDY WATERS or SAM COOKE. There is so much more to tell about Clarksdale, but
there is no section for this type of report in Deutsche Mugge.
Now it is in itself nothing unusual for a band to have two guitarists in
the line-up. The special feature of DELTA MOON however is that they both play
slide guitar. Surely that is much less common. Supported by bassman Franher
Joseph and Darren Stanley on drums, they formed a unit that was from the outset
a lot of fun and gained much approval from the audience. That is not always easy
because Berlin concertgoers have to be won over first. For DELTA MOON, no
problem. Even as the "Midnight Train" arrived shortly after eight o’clock,
it spilled over this incomparable southern feeling and had the crowd cheering
in front of the stage and falling into rhythmic twitches. Over the next two and
a half hours, nothing changed. At most the intensity increased.
Two equal slide guitars leading the sound -- that calls for sophisticated
arrangements. I do not know how they managed that, but it succeeded
excellently. While Mark Johnson favored the classical bottleneck technique and
executed it to perfection (which also MATZE STOLPE appreciatively noted), his colleague
Tom Gray preferred to play the guitar in the lap-steel style, which sometimes
seemed a little daring. The guitar lay on his thighs with the strings up. Gray did
not put his hand around the guitar neck, but over the neck, the slide not over
a finger as usual, but somehow wedged firmly between thumb and forefinger. The
strings were plucked with the help of small claws [fingerpicks], which were pushed by the
ring finger. As I said, it seemed bold. But the sound captivated, fascinated
and aroused enthusiasm. It felt downright like tramping through a greasy
Mississippi swamp. A perfect fit to Tom Gray's rough, slightly hoarse voice,
which created an atmosphere in harmony with the music. Talk of old-time ZZ Top,
when they still indulged in the blues, raised wistful memories. In short,
exactly as Southern music should sound! Slightly dirty, rough, impulsive and
boiling with sweat. For the necessary groove Franher Joseph, a native of Haiti, pulled his four-string bass with the typical Caribbean laid-back cool, and
drummer Darren Stanley played with enormous force. The latter impressed in the
middle with a short but intense drum solo, which the audience quite rightly
rewarded with a big ovation.
It was delightful as Tom Gray and
Mark Johnson repeatedly played slide solos.
Both are absolute masters of their craft. Even though they are so
professional, they nonetheless noticeably found fun and joy in what they
did there. Often
the audience was carried away
with spontaneous applause for solo performances, which the musicians acknowledged with a satisfied
smile. The highlight of this for me was
the theme song of their 2004 album Going Down South.
The number was suitable because of its funky rhythm,
perfect to serve as
a playground for extended solos and
jamming. That’s exactly what happened and culminated when Gray and Johnson suddenly sat
down side by side on the edge of the stage, and the song stretched
out in a minutes-long slide duel. It was as
if the two guitars were talking together in
a very intimate way. Simply
gorgeous. Tightly surrounded
by enthusiastic fans, these moments generated a real goosebumps atmosphere.
But otherwise the successful song
selection ensured a consistently high entertainment value.
It was nice to experience not only
current material, but also some older numbers,
such as the beautiful
forward-marching "Shake
'Em On Down" from the debut album Delta Moon (2002), "That's
it" from 2004, or "Jessie
Mae", "Blind Spot"
and some other early works of the Southern blues-rockers,
although, of course, most of the titles
came from the last two albums, Hellbound Train and Black Cat Oil. Here I particularly
liked the swampy "Hellbound Train" with its immense groove and
"Black Coffee", which shook right down to the ground. Most of the songs were works of their own, of course, but
they did perform a few covers, especially one that’s been played probably a thousand times, the age-old "You Got to
Move" from veteran MISSISSIPPI FRED McDOWELL.
There are numbers that you can strum still another
hundred years without wearing
them out -- "You Got to Move" is that way for me.
Anyone who had ever before attended a DELTA MOON concert was probably
just as delighted as I with the last song of the evening. Band and fans (which everyone
in the hall had now become) had
reached a superb mood
level, so it was easy for singer Tom Gray to lead
the audience to sing along to the repeating "all
night long" choruses. Meanwhile
the musicians dismantled Darren's
drum kit, but of course that did not
stop them from further drumming. As each of
the musicians held his own drum part in hand, they walked off
the stage Polonaise-style all the
way through the crowd, playing percussion and continuously singing together with everyone present, "All
night long.”
Loud cheers accompanied the men when they returned
to the stage and rang the
final chord of a thoroughly grand
concert. Immediately following their exit from the stage Tom Gray, Mark Johnson, Darren Stanley and Joseph Franher
appeared at the merchandise booth and chatted with
visitors, sold and signed their CDs and T-shirts
and thus ensured
a perfect ending to a really great evening.
On the way home I thought - for whatever reason – to the people who watch the Saturday evening mess with the Pop Titan and his casting puppets, and may even make RTL and Telekom rich through their calls, I can say only one thing: people go out, visiting the many small music clubs around Berlin. Because honest, handmade live music for all tastes is available for little money. These musicians deserve to have you watch them, and they thank you for it with power. Last night in the Maschinenhaus it was again exactly this experience. An incredible concert by a fantastic band that will surely have a full house for their next show in Berlin. In addition, anyone who has a little something left for blues and its many varieties should always check out the GARBÁTY concerts. The schedule for the coming months fills me with tremendous anticipation for expected concerts.
On the way home I thought - for whatever reason – to the people who watch the Saturday evening mess with the Pop Titan and his casting puppets, and may even make RTL and Telekom rich through their calls, I can say only one thing: people go out, visiting the many small music clubs around Berlin. Because honest, handmade live music for all tastes is available for little money. These musicians deserve to have you watch them, and they thank you for it with power. Last night in the Maschinenhaus it was again exactly this experience. An incredible concert by a fantastic band that will surely have a full house for their next show in Berlin. In addition, anyone who has a little something left for blues and its many varieties should always check out the GARBÁTY concerts. The schedule for the coming months fills me with tremendous anticipation for expected concerts.
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