Jon Brion, Largo at the Coronet, December 21, 2018
Tonight, an opener: the magician Derek Hughes, who -- holy symmetry, Batman -- I last saw at Largo almost exactly 10 years ago. Funny how the numbers work sometimes! Like all of us (surely), he looked a little different, and in fact, he reported on the changes in his life, including fatherhood and moving to Minnesota. As he bantered, he also pulled off a number of impressive illusions (not tricks!) with the help of several members of the audience, including some skeptics.Jon's setup for this show included the video screens, a bunch of guitars, and a random keyboard, but no drums. As typical, he settled at the piano for his portion of the show, and here, I have to throw my hands up in futility because, as usual, I couldn't tell you the name of the wordless songs he played even if I wanted to. This is when I admit that my default guesses usually go to "My Funny Valentine" for sad-sounding songs and "Ain't Misbehavin'" for higher-tempo numbers. You're totally right to scoff at the fact that those are the only two standards I can name when they're played as instrumentals.
Jon commented it's "all uphill from here," and to emphasize his point, he played the classic funeral march from Chopin (I actually knew the theme, but had to look up Chopin for this post) and remarked on his fixation with G sharp minor. Relatively warmed up, he broke into his own "Knock Yourself Out" on piano, manipulating the keys for a tinny, old-fashioned sound effect. He also interspersed the song with snippets from "Jingle Bells" -- his first nod to the holiday.
He stayed at the piano but added a harmonica for the next song, drawing out a Dylanesque intro for "Someone Else's Problem Now." Because I don't go to Largo as often as I used to, I have no idea how often Jon breaks out his vintage tunes. I'm always happy to hear them, and maybe I'll get in a request for "Nothing Between Us" or "Amateur" next time.
Jon asks for requests and went with -- guess what -- an instrumental tune I can't name. Context clues indicate that he might've played the coda to "Layla," and he even rolled out a video clip of Clapton for accompaniment. But don't quote me on that.
The Christmas songs continued with "We Wish You a Merry Christmas," which included a beautiful filigree in the middle. That somehow became the audience request for "Don't Stop Believing." I'd like to mention here that once upon a time, Jon rarely entertained these more populist requests. In fact, he was more likely to dig into obscure artists, whether we knew them or not. But of course, the audience and the venue have changed, and you can't expect time to stand still. Perhaps in acknowledgement of this shift, he had the crowd sing along instead of providing the vocals himself. And they did!
Jon returned to the holiday spirit with "Dance of the Sugarplum Fairy," which morphed into "Incense and Peppermint," then shifted again as he called up footage of a symphony orchestra and dialed up the trusty Moog and Casio keyboard that line the piano. This became "Everybody's Gotta Learn Sometimes," which is always worth revisiting. Jon brought it back to "Sugarplum," but my notes indicate that he went on a lot longer, giving us the Christmas Freakout of 2018 (likely his words).
The guitars finally got a look for two whole songs: first, "Excuse to Cry," then a request for "Girls Just Wanna Have Fun," drenched in feedback and sounding a lot like the Hendrix version of "The Star-Spangled Banner" at first. Honestly, it could've used more Dave Rawlings.
Jon's crew had set up a smaller standalone keyboard at centerstage, so inevitably, Jon went to it, partially by audience demand. Also, somewhat by audience demand, he led us in a Bowie Christmas singalong, the sublime "Life on Mars." To bookend the keyboard section of the show, he worked in notes from "Sugarplum Fairy."
But it was then back to the classic piano for "We Are the Champions." I can't recall the impetus for this song, except that maybe it was one of the more vocal audience requests or perhaps Jon had snuck in a few notes in an earlier song. The audience ate it up, roaring in full voice.
Once more, I default to my bad guess regarding the follow-up jazzy instrumental tune. I'll pencil in "Ain't Misbehavin'," but there's little reason to trust me.
I don't think the next song came from an audience suggestion, but whatever its origins, I'm more than thankful that Jon plucked it out of his vast catalog. It was "Happiness" from Elliott Smith, so gorgeous in all its forms. There's a lot to love about this obvious gem of a song, but I can't help but focus on Jon's ability to draw out the rhythm. I guess it shouldn't be a huge surprise, given Elliott's occasional forays behind the kit, but it's easy to miss all of its moving pieces amid the sublime melody.
Jon went back to requests, and a long build became "How Soon Is Now," with the harmonica providing the song's trademark dissonant note. In the 30-odd years since I first heard this song, I've sort of learned how Johnny Marr created that signature effect, and yet I still marvel at its sound. Jon then segued into a Morrissey's own "The More You Ignore Me, the Closer I Get."
Jon broke out into a semi-medley of Christmas-theme tracks: "A Charlie Brown Christmas" and "The Christmas Song," before shifting to one of his favorites: "Waterloo Sunset." To the crowd's credit, our harmonies were fantastic on the "sha la la" bits, which I didn't hear a whole lot in the past. Jon did bring up some footage of Andres Segovia and slip in a few notes of "Tomorrow Never Knows" as he stretched out the tune, but all you need to know is that "Waterloo Sunset" remains a beauty.
Jon returned for one more song on the main stage, and by audience request went with "California Dreaming." It seems so obvious that I'm surprised it hasn't come up sooner (in my experience). But Jon being Jon, he sprinkled more sugarplum fairy dust toward the end.
In an unusual move, Jon invited us to the Little Room, where he said he'd play piano for anyone who wanted to listen. He was true to his word, treating us to about 30 minutes of music, all free of lyrics. There might've been tunes by Cole Porter and Scott Joplin, but I can't say for sure. But I can report he did a few of his own songs, including "Little Person" (by request) and "Punch-Drunk Melody." At one point, he set up all the wind-up toys around the piano, but alas, it wasn't "Voices." Instead, he threw in "We Wish You a Merry Christmas," and to end the night properly, he concluded on a grand note with a musical nod to Bugs Bunny.
That's all, folks!
-- Derek Hughes opener
Setlist
-- piano
-- Knock Yourself Out
-- Someone Else's Problem Now
-- We Wish You a Merry Christmas
-- Don't Stop Believing
-- Dance of the Sugarplum Fairy
-- Everybody's Gotta Learn Sometimes
-- Excuse to Cry
-- Girls Just Wanna Have Fun
-- Life on Mars
-- We Are the Champions
-- Happiness
-- How Soon Is Now/The More You Ignore Me, the Closer I Get
-- Charlie Brown Christmas
-- The Christmas Song
-- Waterloo Sunset
-- Telegram Sam
-- California Dreaming
The Little Room
-- We Wish You a Merry Christmas
-- Punch-Drunk Melody
-- Little Person
Ghosts of Christmas past:
» let your heart be light
» i'm offering this simple phrase
» it's been said many times, many ways
» with soul power
» it's the end of the things you know
» you could say one recovers
» a really good time
» the things you do to keep yourself intact
» i've heard a rumor from ground control
» strangest times
» i'll be a rock 'n' rolling bitch for you
» purple rain
» a few of my favorite things
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