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Montreux spy report from 3121 3121 Spy Report: Montreux
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justcoco said: 3121 Spy Report: Montreux
As we wandered into the venue at the Montreux Jazz Festival, we could hear the entire new Planet Earth CD playing over the speakers. My friend and eye both agreed that "The One U Wanna C" was our favorite so far but we knew that would probably change over the next 500 listens we anticipated having very soon. The NPG kicked the night off by marching in thru the crowd playing "When The Saints Go Marching In." A hot jazz set then began with a healthy dose of the funk and all the band's solos met with some well-deserved applause. It was Jazz Cuisine on Funk steroids! Prince slipped in quietly and proceeded 2 bring the house down as the band once again segued from "Down By The Riverside" in2 "Satisfied." Some wonderful highlights included Shelby's amazing rendition of "Love is a Losing Game," Josh getting a shot in the spotlight, Cora playing drums with her HANDS at one point, and a funky "I Feel 4 U" going right in2 "Controversy," with chants of "Eye Like Funky Music" sprinkled on top mixed with P's greazy guitar chops just 4 fun. The Musicology dance party was a blast as always, and when a dude came up 2 sing "Play That Funky Music," his english wasn't happenin' so P asked him 2 sing it in French! C'est Magnifique! The crowd chanted "Come 2gether" during the NPG's rockin' version of the Beatles classic and kept the chant going a while after P and the band left the stage b4 coming back 4 more. Late in the show Prince played Little Red Corvette "acoustic style" followed by a touching "Sometimes it Snow in April," that had everyone singing along. A beautiful night, P was clearly having fun, and the entire crowd couldn't have been better -- all left smiling and soaked! Updated by 3121 ~ Monday 7/16/2007 [Edited 7/16/07 18:01pm] Did anyone from the .org attend this show? To MJ: "You Rock My World, You Know You Did. . ."
My Band: www.musiquenoire.com and www.myspace.com/musiquenoireband Listen to us here: http://www.reverbnation.c...pak/687223 CD ON SALE: www.cdbaby.com/cd/musiquenoire | |
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just been on 3121 and the report has been updated with this
UPDATE: The aftershow just kicked off at the Jazz Cafe. No rest happenin' here! Brick house was the opener with Prince on the keys. Followed by some hot "3121" action. P came onstage with an open umbrella and started passing it around. Silly! More soon.
love the bit about him coming on stage with an umbrella i can just imagine it  hope we get some pics from this[Edited 7/16/07 18:44pm] With Love there is no Death | |
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damn right, no rest there.. lol !
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Meh setlist.
"Talking about music is like dancing about architecture." - Thelonius Monk. | |
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Funkmeimfamous said: Meh setlist.
This better not be the deal in London. Or what? | |
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thanks for the pictures With Love there is no Death | |
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This article is published in an italian newspaper. I can't translate cuz my english is crappy. It says, by and large, that Prince is a genius and that this has been the concert of the year. There are also seven pictures.
In God we trust. | |
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This one says, more or less, that P is a REAL artist.
In God we trust. | |
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Flowerz said: 
[Edited 7/17/07 0:16am] wow! great pictures! mine are all crapy :-S please post more !! i think the show was a good match for montreux! here is what the local music mag 'vibrations' had to say: 2 heures 30 d’un concert très spécial hier au Montreux Jazz Festival: Prince et son “Special Unit” ont revisité cinquante ans de Great Black & White Music
Des petites lampes de poche éclairent le côté droit de la salle. Greg Boyer, Mike Philips et William Lee Hogan déambulent dans le public, tous cuivres dehors, avant de monter sur scène sur un air de marching band. Il est 21h45 à Montreux, et le public prend lentement place dans l’auditorium Stravinsky, complet ce soir (les 4000 places ont trouvé preneurs en quinze minute). Le ton est donné d’entrée. “When The Saints Go Marching In” ouvre le concert, enchaîné à un standard de Miles Davis, à une longue relecture du “World Is A Ghetto” du chanteur soul Donny Hathaway, puis à “It Don’t Mean A Thing” de Duke Ellington. Message subliminal: If it ain’t got that swing, ce n’est pas la peine! En trente minutes à peine, avant même l’entrée du maître, le groupe a traversé cinquante ans de musique noire. Et ce n’est pas fini. Roger “Prince” Nelson arrive nonchalamment sur la scène, une bonne demi-heure après le début du concert. Ce n’est pas une star conquérante. Chapeau gangsta vissé sur la tête, il observe son groupe, s’installe petit à petit dans le groove, d’abord par de brefs soli de guitare saturés, puis au chant. Il est élégant dans chacun de ses gestes, en chef d’orchestre ou en guitar-hero. Et lorsqu’il invite une poignée de spectateurs à investir la scène, il les place correctement et respectueusement au milieu des musiciens, avant de se nicher derrière un ampli. La musique et la danse avant tout. A la manière du Miles Davis des années 90, Prince donne sa direction musicale. A son invite, les trois cuivres chorusent en force, les deux pianistes – Morris Hayes et le Brésilien Renato Neto – sortent régulièrement des grilles. La batteuse Cora Duham et son mari Josh à la basse sont les dernières recrues de ce New Power Generation rebaptisé Special Unit. Prince les a engagés l’an passé lors de jam-sessions et after parties inofficielles. Lorsqu’il a entendu Cora, il lui a offert une batterie toute neuve. Elle était engagée. C’est un bel orchestre, sans doute le meilleur qu’a eu Prince depuis de longues années. “Vous voulez des vieux morceaux ou des nouveaux?”, lance le chanteur. La réponse est indécise. “Bon, alors on va jouer des vieux et des nouveaux.” Le public aura ses “Purple Rain”, “Controversy”, “Nothing Compares 2 U” (et à la fin “Little Red Corvette”), mais c’est sur le nouveau single “Guitar” qu’il s’emballe. Preuve que, question hit, ce tube en puissance n’a pas à pâlir de ceux des années 80. Les reprises sont légions, mais ne sont pas lancées comme des balises à la mer. On pense encore et toujours à Miles Davis qui s’emparait des mélodies du moment. Ce soir, celle de “Crazy” (Gnarls Barkley) fait l’affaire, tout comme le “Come Together” des Beatles, le morceau le plus groovy des Fab Four. On parlait beaucoup en coulisse de l’after show que Prince donna vers trois ou quatre heures du matin au Montreux Jazz Café. Ce fut plus tard. A l’auditorium Stravinsky, débarrassé des écrans vidéos, le musicien a délivré deux heures et demie de Great Black And White music. Sans interruption. C’est vrai, ce que dit la chanson: Prince aime sa guitare. i'm labeled as a bad character
no matter what i do i'm labeled as a bad character | |
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dayzofwyld said: Funkmeimfamous said: Meh setlist.
This better not be the deal in London. Or what? | |
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Man I've been wanting some new pictures! Thank you so much! He looks | |
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Uhmmm
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Flowerz said:
LOVE this. | |
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HamsterHuey said: Uhmmm
Am I the only that thinks that a somewhat more JAZZY setlist would have been more fun? I mean, this is the famous Montreux Jazz Festival, fcs! He could have been jamming to Miles Davis tunes, soloing into the night. Girls & Boys? Oh my... missed chance. I am with you man !! I have been waiting for years for prince to abandon the cheesy pop / pop rap sound and push forward the jazzy side that was always in his music. And now, with such a jazzy groovy band ... and think of all the jazz musician that would have loved joining him for a jam. but thats agains his ego i would guess ... still sounds like an amazing concert i wish i was at. counting the days for london ... | |
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2 heures 30 d’un concert très spécial hier au Montreux Jazz Festival: Prince et son “Special Unit” ont revisité cinquante ans de Great Black & White Music
Des petites lampes de poche éclairent le côté droit de la salle. Greg Boyer, Mike Philips et William Lee Hogan déambulent dans le public, tous cuivres dehors, avant de monter sur scène sur un air de marching band. Il est 21h45 à Montreux, et le public prend lentement place dans l’auditorium Stravinsky, complet ce soir (les 4000 places ont trouvé preneurs en quinze minute). Le ton est donné d’entrée. “When The Saints Go Marching In” ouvre le concert, enchaîné à un standard de Miles Davis, à une longue relecture du “World Is A Ghetto” du chanteur soul Donny Hathaway, puis à “It Don’t Mean A Thing” de Duke Ellington. Message subliminal: If it ain’t got that swing, ce n’est pas la peine! En trente minutes à peine, avant même l’entrée du maître, le groupe a traversé cinquante ans de musique noire. Et ce n’est pas fini. Roger “Prince” Nelson arrive nonchalamment sur la scène, une bonne demi-heure après le début du concert. Ce n’est pas une star conquérante. Chapeau gangsta vissé sur la tête, il observe son groupe, s’installe petit à petit dans le groove, d’abord par de brefs soli de guitare saturés, puis au chant. Il est élégant dans chacun de ses gestes, en chef d’orchestre ou en guitar-hero. Et lorsqu’il invite une poignée de spectateurs à investir la scène, il les place correctement et respectueusement au milieu des musiciens, avant de se nicher derrière un ampli. La musique et la danse avant tout. A la manière du Miles Davis des années 90, Prince donne sa direction musicale. A son invite, les trois cuivres chorusent en force, les deux pianistes – Morris Hayes et le Brésilien Renato Neto – sortent régulièrement des grilles. La batteuse Cora Duham et son mari Josh à la basse sont les dernières recrues de ce New Power Generation rebaptisé Special Unit. Prince les a engagés l’an passé lors de jam-sessions et after parties inofficielles. Lorsqu’il a entendu Cora, il lui a offert une batterie toute neuve. Elle était engagée. C’est un bel orchestre, sans doute le meilleur qu’a eu Prince depuis de longues années. “Vous voulez des vieux morceaux ou des nouveaux?”, lance le chanteur. La réponse est indécise. “Bon, alors on va jouer des vieux et des nouveaux.” Le public aura ses “Purple Rain”, “Controversy”, “Nothing Compares 2 U” (et à la fin “Little Red Corvette”), mais c’est sur le nouveau single “Guitar” qu’il s’emballe. Preuve que, question hit, ce tube en puissance n’a pas à pâlir de ceux des années 80. Les reprises sont légions, mais ne sont pas lancées comme des balises à la mer. On pense encore et toujours à Miles Davis qui s’emparait des mélodies du moment. Ce soir, celle de “Crazy” (Gnarls Barkley) fait l’affaire, tout comme le “Come Together” des Beatles, le morceau le plus groovy des Fab Four. On parlait beaucoup en coulisse de l’after show que Prince donna vers trois ou quatre heures du matin au Montreux Jazz Café. Ce fut plus tard. A l’auditorium Stravinsky, débarrassé des écrans vidéos, le musicien a délivré deux heures et demie de Great Black And White music. Sans interruption. C’est vrai, ce que dit la chanson: Prince aime sa guitare. my translation: 2 hours and a half of a very special show yesterday at the montreux jazz festival: Prince and his "special unit" revisited 50 years of great black & white music. Little flash lights lighting the right side of the stage. Greg boyer, mike phillips and william lee hogan, strolling through the audience, all horns on, before climbing onto the stage to the sound of a marching band. It is 9:45pm in montreux, and the audience is slowly taking seats in the stavinsky auditorium, sold out tonight (the 4000 seats found takers within 15 minutes) The direction is given from the start. "when the saints go marching in" opens the show, tied to a standard miles davis, a long lecture of "world is a ghetto" from singer Donny Hathaway, then "it don't mean a thing" from duke ellington. Subliminal message: if it ain't got a swing, don't even bother! Within only 30 minutes, before the master's entrance, the group travelled through 50 years of black music. and it's not done yet. Roger "prince" nelson arrives "nonchalent" onstage, a good half hour after the begining of the show. It is not a star in search of conquest. Gangsta hat twisted on his head, he observes his band, moves in little by little into the groove, first with brief saturated guitar solos, then singing. He is elegant within each of his moves, whether orchestrating or guitar hero. And when he invites a handful of spectators to invest to the stage, he respectfully places them in the middle of the musicians, before retrieving himself on the top of an amp., Music and dance before anything else. In the way of miles davis in the 90's, Prince gives his musical direction, to his invite, the 3 horns follow in force, morris hayes and the brazilian renato neto, come regurlarly out of the lines. the drummer cora dunham and her husband josh on the bass are the latest recruits of this new power generation, rebaptized "special unit". Prince hired them last year during jam sessions and unofficial after parties. When he heard cora, he bought her a brand new drum kit. she was hired. this is a beautiful orchestra, probably the best Prince has had in a long time. "would you like to hear old pieces or new pieces?" asks the singer. the response is indecisive. "Ok we will then play old and new". The public will get "purple rain", "controversy", "nothing compares to you",(and at the end "little red corvette"). But it is the new single "guitar" that takes off. Proof that, hit wise, this powerful song has nothing to shy away from those of the 80's. The covers are legions, but not thrown in as beacons into the sea. Still reminded of miles davis who would appropriate himself melodies of the moment. tonight gnarl barkley's "crazy" works out, as well as the "come together" from the beatles, the grooviest piece of the fab four. There was a lot of talk backstage of the aftershow prince gave at 3 or 4 in the morning at montreux jazz cafe. That went on later. At the auditorium stravinsky, cleaned of video monitors, the musician delivered 2 and a half hours of great black & white music, Without interruption. It is true what the song says: Prince loves his guitar. [Edited 7/17/07 11:25am] | |
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