This is an email from Alan Leeds to ?uestlove of The Roots:

prince, live in chicago, by alan leeds
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Taken from http://www.okayplayer.com...31227.html

{{{If you are a Prince fan from the days before he was a slave or a symbol, RUN, don’t walk (fly if you have to), to one of the venues on his immediate itinerary.}}} For those of us who have become increasingly convinced that time and mis-direction had hopelessly robbed Prince of his potential to grow older with us, the new RAINBOW CHILDREN tour on display this weekend in Chicago (2nd and 3rd shows of the brief tour), were not just a re-birth but a complete revelation.
Sure there’s more proselytizing than most of us would like, and sure, a few of his references to the scriptures, sexism and race could be confusing out of context, but it was hardly invasive. Whatever your feelings, don’t get stuck on it and miss out on the real point of the show. REAL music is back – and SO IS PRINCE!
For the purple one, that means a sophisticated stage set that subtly incorporates three video screens, brilliantly classy lights (reportedly designed by Prince himself and Roy Bennett who did the landmark 1980s Prince tours), a grown-ups wardrobe (he actually wore a suite and tie most of the show), and, most importantly, a rompin’, stompin’ band that can hang with the best of past Prince units.
Always as tight as a stripper’s thong, the greatest Prince bands usually include at least one great soloist to share the spotlight, but recent Prince shows sometimes jammed aimlessly into oblivion when less interesting players soloed too long and too often (read: the popular but hardly profound saxist Najee putting people to sleep on the last Prince tour). HOWEVER, the new band neatly showcases both the legendary Maceo Parker and awesome Brazilian keyboardist Renato Neto. Experienced and with stories of their own to tell, both Parker and Neto are granted plenty of solo space and Prince is the richer for it. No longer a “featured guest soloist”, Parker’s signature funk fits perfectly in the context of the RAINBOW CHILDREN material and the fresh arrangements of older, often obscure Prince material. To the eyes and ears, Parker has been neatly integrated into the band as an involved and ever-creative force. Simply put, he looks like he belongs up there. Even ex-Pfunk trombonist Greg Boyer rocked the house on his two or three solo opportunities.
The band, a sextet, is really what this tour is about. Prince is the unequivocal leader, just as he’s the one who sells the tickets (and expensive tickets too, ranging from $65 to $125), but he is not merely a singer/player standing in front but also clearly one of the band – something to be viewed NOT as a downgrade of his involvement, rather an upgrade for the more than worthy musicians alongside him. The jazz-inspired arrangements deserve much of the credit, highlighting levels of interplay only hinted at in previous Prince incarnations. Shelving his trademark choreography and often distracting garb, he was telling us to expect an “adult” Prince show for adult fans. But it doesn’t end there.


P.2

Sensitive to fans who might have come expecting the usual Prince circus and greatest hits medley, the show’s pacing and his conversational rapport with the audience went a long way towards convincing the crowd that there’s more reasons to jump up and party than gaping at a star dry humping a stage floor or revealing his cakes in a peek-a-boo jumpsuit. We used to think Prince was afraid to rely on music alone to rev up a crowd – that he felt it necessary to hedge his bet by surrounding his craft with overdone carnival-like affectations. If so, this time he boldly decided to take the plunge and depend on the music.
There will always be that fan who lived through PURPLE RAIN and refuses to read today’s calendar (a handful of boos circulated the theatre prior to the encore), but Prince seems prepared for that and twice shrewdly defused the handful of skeptics. After a long, exciting, fusion jam, Prince confronted a woman in one of the front rows. “Oh, so you just wanna hear ‘Kiss’ huh? Bored?”.
Turning his head towards the audience as if to include them in his plight, Prince continued, “Let’s see…hmmm…I know what’ll get someone like you up on your feet. In fact, is that your husband? Boyfriend? Well, bring him up here…I mean it…you two get up here. Because you’re gonna WANNA dance to this one.”
With that he counted off “Mellow”, a bluesy mid-tempo jam from RAINBOW CHILDREN and sure enough, the couple spent most of the song dancing on stage to the joy of the rest of the audience.
Later in the show, after a ballad he again chastised the crowd for sitting down. “Don’t worry, this next one will get even the ushers off their butts”.
He need not have apologized. What followed was as funky a version of “Sing A Simple Song” as any Sly & The Family Stone did back-in-the-day. And, sure enough, about a dozen uniformed theatre ushers made their way on stage to free-style. It was obviously pre-planned but his point was made. He was gonna do the music he wanted to do and on his terms – but that fact alone was hardly intended to tune out the audience. Like a master chef, he wasn’t gonna serve the food the audience may have ordered but he thrived in knowing they were gonna like the food anyway.
Prince reportedly intends the current tour as a forum to “explain” his RAINBOW CHILDREN album. As the new material unfolded, what became clear was that if it weren’t for the annoying distorted “emcee” voice between tracks and the sometimes confusing lyrics, the wonderful music on the album wouldn’t need explaining at all!
The show began with a creatively funky drum pattern from behind the curtain while a spotlight turned on the audience revealed Maceo Parker working his way down the center aisle from the back of the theatre. The rising curtain was perfectly timed for Parker to climb on stage just as the feverish groove turned into the new albums’ title song. Under-rated bassist Rhonda Smith laid a tension-filled, dramatic foundation as the building groove introduced Renato Neto who proceded to rock the house with a chop-laden solo that left even the better-educated Prince fans clamoring to know who he was. Prince finally emerged from stage right and reciprocated a buoyant welcome with a fiery guitar solo. The opening seamlessly shifted into “Muse 2 The Pharoah”, also from the new CD. The trilogy peaked with an unknown (to these ears) jazzy riff called

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“Xenophobia” – in all, a lengthy, brilliantly constructed and paced jam reminiscent of the better fusion bands like Return To Forever and Weather Report.
If Scott and, particularly, flashy drummer John Blackwell lack the jazz vocabulary of a Weather Report, they make up for it in taste and funk power. They may not have played traditional jazz licks but what they played swung in its own way. And, if Blackwell is the “weak link” in this band, it’s only by degrees. In fact it’s difficult to imagine too many drummers with the versatility to flow as well from fusion to funk to straight up rock - like their sparkling version of “When You Were Mine”. In this band genres disappear and the various styles of Prince’s music jelled as a whole – no easy task and one previous Prince bands have struggled with.
The show evolved into a savvy potpourri of RAINBOW CHILDREN, clever covers such as Prince’s moving take on Joni Mitchell’s “A Case Of You” and choice, seldom-performed nuggets from his archive. Highlights were in abundance – “Mellow”, “Strange Relationship”, Maceo’s revival of The J.B.’s classic “Pass The Peas”, LOVESEXY’s gorgeous “Anna Stesia” and a show-stopping ballad, “I Love You But I Don’t Trust You”. As if to reclaim it from Alicia Keys hugely successful album, “How Come You Don’t Call Me Anymore” climaxed by leading his standard, unaccompanied “piano medley” into a full blown band arrangement. At the end one wanted to hear him say, “Who’s house is this?” And, believe me, HE owns the KEYS to the this house!
One particularly fun segment of the show fell under the umbrella of a Prince dissertation on the sorry state of radio. HIS radio station, if there were one, he explained would play songs like “Strange Relationship”, “Sing A Simple Song”, The Delfonics stunning “La La Means I Love You” and Erykah Badu’s “Didn’t You Know” – the latter being the night’s only clinker. A well-intentioned attempt to focus attention on Badu’s under-appreciated 2001 album, never-the-less “Didn’t You Know” (a charming song) failed to catch fire and added nothing to her original version.
All-in-all, the show struck me as a rehearsed, focused and polished version of one of Prince’s fabled “after-shows”. Unlike some of his meandering late-night sessions, no jam went on too long and none of the many solos were filler. The musical palette was powerfully dense when appropriate but breathed intelligently at other times. Though spending much of the night behind keyboards, Prince’s guitar – particularly his jarring rhythm playing – was as vital and funky as ever. And his solos as smartly conceived and dynamically executed as ever.
Whatever else he may have done, or not done since the days of cutting edge spectacles like PURPLE RAIN, SIGN O THE TIMES and LOVESEXY, this is one tour that Prince has carefully thought out with attention to every detail. It shows, and both the tour and he are better for it.
As theatre the show is professional and totally on point. Despite the deceptively informal aura, nothing that transpired on stage lacked purpose - all the while maintaining the spirit of spontaneity. George Clinton once joked that Prince “even rehearses his spontaneity”. What’s important is that he doesn’t OVER-rehearse it. The nearly three hour set list was strategically devised and cohesive – the theatrics classy and tasteful.


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Prince last toured with a career retrospective show. At the time it seemed that he, of the auto-pilot hits medleys, quasi-dated arrangements, frustratingly derivative new material and a production that was less than inspiring, was destined for Las Vegas. Perish the thought. This “grown up” Prince obviously has more stories to tell and more rivers to cross before anyone dare relegate him to the has-been dumping ground. Like Muhammad Ali’s triumph over George Foreman to dramatically recapture his championship, Prince’s return to the musical forefront is both a surprise and a cause for celebration.
Nearly twenty years after his ground-breaking tours, there is STILL no one else like him. No one whose musical and performing gifts cover as much ground. There’s never been anything wrong with his singularly exciting brand of showmanship and surely even his most outlandish efforts in those areas deserve as many props as his songs. BUT it’s no less than thrilling that he finally respects his musical gifts enough to allow them to stand on their own merit.
With “real music” already making a comeback in the hands of those influenced by Prince, he has once again raised the bar. For a fan it was breath-taking to witness. And for those who never Prince fans, it’s an opportunity to finally understand what all the commotion has long been about. The tour is no less than a rare opportunity to see a genius at his best. The King is back!

The original post was made by ?uestlove at his official website at http://www.okayplayer.com/

Excited yet?
m @ http://www.freemyheart.com/

Great review, positive. There is nothing like cing Prince and his band per4orm.

A great, great review. One would expect as much from Alan Leeds. But I think it's also great that ?uestlove and others are giving Prince props where props are due.

I've always thought that The Rainbow Children represented a return to true form for Prince and that the album and now indeed the concert is as much for other musicians as it is for fans.

Oh - and all of the sudden there is a lot of reading to do lately.

Nice review, but it sure isn't the first time he's cut the theatrics and just let the music speak for itself. He did that on his previous 2 tours, Hit&Run and Jam of the Year -- unless you're gonna count a dancer as
excessive theatrics.

And John Blackwell as the weak link? Naaaaah.

dubiousraves said:

Yeah, I didn't quite understand the "John Blackwell as a weak link" comment either. If anything, Blackwell was the one who saved Prince's band from the abyss. I think his point though was that Blackwell is more of a "funk" drummer and to have Prince delve into more of the jazz setting was sort of taking Blackwell away from his "roots". But "weak" was the wrong word to use.

I agree with u all 2 - John Blackwell is certainly no weak link. His arms r flyin all over the place - he's so quick with those sticks. I think he's goin start a fire someday.

When he mentions that "the greatest Prince bands usually include one great soloist to share the spotlight", Alan's brother Eric immediately came to mind. I hope Prince & Eric can reunite someday.
Surprised to read that another person from Prince's past, Roy Bennet, is back in the fold.

hey doesnt it sound dead canny????
any1 seen mr.bootlegger?????

I think the JohnBWell as the weak link comment just meant out of these players if you HAD to pick one it would be him. And as amazing as he is, that's a big compliment to the rest of the band.

Can't wait to see the show!

If this review doesnt make you want to see this show then nothing will.

He better bring it to Australia.

Alan Leeds

excitingly wrote:

Isn't that the truth Alan. Really, evertime I see or hear a "new" "artist", whether in R&B or Rock...I always hold them up to Prince (Sign "O", Lovesexy, Rainbow, 1999, PR...era's) to ask myself if they are any good, or even worth an effort to get into, and no one comes close...no one.

*
[This message was edited Tue Mar 5 15:54:20 PST 2002 by FlyingCloudPassenger]

XtrueX said:

So true, I hope Eric and Atlanta come play with Prince again soon. Eric is fabulous. I was reading recently the article on Madhouse in Uptown Magazine, Eric is greatly admired and respected by Prince, enough to let him work alone with Prince's music. His tenor sax ideas are just fantastic.

Mmm Mmm Mmm.....can't WAIT!!

?uestlove, u better host my PhillyGlamSlam when i have it!! ( :

But who didn't expect a good review from the guy who wrote the liner notes to the hits???

Its like asking a parent if their kid is bad. Good review, but not exactly middle ground.

Why were there boos in the audience? Because paying members of the public expect old and new, not just new. Middle ground is needed.

Hell, I would love a show of nothing but B sides, but I'm thinking of the other people who pay good money but haven't been tipped off that the hits are dropped again.

& now that Mr. Leeds is no longer part of the PAYROLL we can hear The Truth from some1 who's been there. or is he trying 2 get back in2 the Camp. hmmm, i wonder

People who blindly buy tickets without bothering to find out about the show they are seeing deserve not to be listened to if they are disappointed. The ONA press release places a strong emphasis away from a Hits-based show (although it implies that a few will be played).

These mindless fools irritate me. Begone!

Now I can't wait 4 this show! Just wish I had the $100.00 to join the NPGMC and get all the perks that go with it. I saw Prince's show last year and it was good hearing the hits, even better hearing the new joints. Glad he listened 2 us hardcore fans and is now playing his current new/ material. There have been enuff hit-song-tours 4 all the 1984 concert-day-wanna-be-fans-who-saw-Purple Rain:oops:. Bring on tha new funk!8)

I asked a question on the PPML a month ago about what would Alan Leeds have to say summing up Prince's years after The Hits package. . .this is obviously my answer!
[This message was edited Tue Mar 5 22:32:00 PST 2002 by floralelephants]

SquirrelMeat said:

Well I didn't. The Hits was in 1993 and since that time Alan Leeds hasn't exactly been overflowing with praise for Prince in terms of his decisions and musical direction.

This is definitely a positive sign!

well someone with ears 4 music gives a review 4 once, i knew it would take a musician 2 c this 4 what it is.critics sometimes are useful but, they tend 2 put 2 much focus on what a musician should have done rather than focus on what he did. and with an artist an free sprit like prince u have 2 go with the flow and take the sounds as they come and expect the least expected.he's great.but a real musician will not b happy pleasing others unless he pleases himself first. they did not tell van gogh what 2 paint did they. who would want 2. same with prince let him do as he feels that way we wil get all the goodies. put it on video 4 sell so all can c. hey someone tell me when do they go on sale in atlanta?

A not so sexy review.

Prince Chicago concert review..

Confusion reigns over the 'Rainbow'

March 4, 2002

BY JIM DEROGATIS POP MUSIC CRITIC

Always elusive and ever mysterious, Prince was considering doing a few interviews for his current tour behind last year's ambitious album, "The Rainbow Children"--but only by e-mail, and only after journalists saw the concert, because he wanted them to fully understand "the concept."

Well, I saw the concert Saturday night at the first of two sold-out shows at the Chicago Theatre. And though I lauded the album as one of the 10 best of 2001, I not only emerged from the show still clueless about the concept, but liking the new music a lot less.

Backed by an impressive six-piece band that included James Brown and Parliament-Funkadelic veteran Maceo Parker on sax and John Blackwell on drums (another astounding player in Prince's lengthy tradition of incredible time-keepers), Prince played most of "The Rainbow Children," merging its jazz-fusion grooves with dollops of old-school funk, psychedelic rock and some B.B. King-style blues.

On disc, the album seems to be another in Prince's series of Utopian visions of a futuristic society free of racial prejudice and dedicated to spiritual transcendence through prayer and/or passionate lovemaking. But the stage show added some disturbing and arguably racist overtones to this alluring ideal.

At one point, Prince flashed a quote on three video screens that posited Abraham Lincoln as a defender of segregation. And while introducing "Family Name," a musing about African Americans being deprived of their ancestral roots, Prince singled out a white fan and gave him the new surname of "Lynch." (He did the same thing at the preceding show in Saginaw, Mich.)

Make no mistake: My problem is not with Prince voicing African-American rage. It's with him doing it in such a muddled, unclear fashion that fans of every color turned to one another several times during the show and asked, " What is he going on about?"

As for liking the album less, when taken on its own terms, "The Rainbow Children" works as a free-flowing jam that tours myriad styles of black music to stand as a trippy if confusing concept album a la the best of P-Funk. But His Purple Majesty did it a disservice in concert by splitting it up, interrupting "1+1+1 is 3" with a snippet of "Rollercoaster of Love," and following his duet with bassist Rhonda Smith on an aimless cover of Erykah Badu's "Didn't You Know" with his own classic "Take Me With U."

Such juxtapositions only reminded longtime fans how thoroughly his Highness has lost the plot. As impressive as the band's musicianship was (and Prince's guitar playing and various vocal styles never sounded better), their nebulous jamming didn't come close to matching the adrenaline rush of the best hooks from his own catalog, or the covers of heroes such as Joni Mitchell, Santana and the Stylistics.

The question remains: With so many brilliant, timeless hits to his credit, why does Prince waste time doing covers at all? Fans have grown used to this, as well as to him truncating songs such as "Raspberry Beret" and "Take Me With U" as part of unsatisfying medleys, as if he's only grudgingly trotting them out. But just because we've gotten used to this modus operandi doesn't mean we have to applaud it.

Prince offered two models for what could have been a great concert on Saturday. One would have been devoted entirely to "The Rainbow Children"--though if he took this route, it would have been nice if he really did explain his concept and engage in a dialogue with the audience instead of doing what was clearly carefully scripted shtick. (Never one to reveal anything too personal, the Artist made no mention of the fact that his mother died at age 68 only two weeks ago.)

The other model would have been the real greatest hits set that many fans have long been yearning for--one where songs were performed in their entirety and with no annoying intrusions from the likes of soft-jazzbo Najee (who ruined the first half of Prince's last show at the Riviera Theatre) or even Parker (who tended toward the jazz fusion end of his repertoire at the expense of the hard funk).

After nearly three hours at the Chicago Theatre, Prince had confirmed once again that he remains a galvanizing live performer. But sadly, he had also proved that he is a frustratingly confusing and inconsistent one as well.


CONCERT REVIEW

PRINCE

AT THE CHICAGO THEATRE

http://www.suntimes.com/o...nce04.html

That reviews already been posted ding-a-ling.

bkw said:

Oops, sorry. When I was a little bitty boy my grandmother bought me a cute little toy. Silver bells hanging on a string.....

Is there anybody who can scan and post some picture(s) of one of the performed shows/ from newspaper articles/magazines?
I would love to see the stage design... or see at least something from the new tour.
You know, and THAT would be news to me if Roy Bennet is the one who designed the stage setup again (together with Prince)...
Man i can't wait to see him over here in Europe.

"Hundelahsaliah!"
(where does he get it from! )

Sounds like a great show. Also sounds like I can finally attend a Prince show without worrying about theatrics that would make the event innapropriate for a Christian to attend. I understand some of you(fans) really liked that Prince, but I hope that you can also appreciate this Prince. I sure do. I will be in attendance when he swings out my way.