NONKINSENSE
Adventures of an Analog Man in the Digital Universe, with a little help from my friends and relations.
Wednesday, March 08, 2006
Home at Last, at The Beacon.
Detailed account by Buddy Lions: The band came on at 8:15. They all came out to their spots first and to great applause. Then Donald came out to a long ovation and sat in front of the keyboard, which he took time to adjust, that was located at the front center of the stage. He is all in black. He is wearing a black casual jacket, open, over what appears to be a black turtleneck. His hair is mostly gray, closely cropped, thinning as a bald spot is starting to peek through.
1. Here at the Western World (Greatest Hits)
Background went bright red. Completely reworked. Keyboard intro, then turned into an upbeat song with a Latin flair. Herington played some rock solos, punctuated by horns. Then Krantz played a fast lead at the end. DF very into it. Excellent start.
2. The Nightfly (The Nightfly)
Very true to album version. Keyboard driven.
“Independent Station WJAZ” background vocal sung by Cindy Mizelle and Carolyn Leonhart. Krantz got the guitar solo.
Says hello. Says he’s going to play songs from his three “bold” albums. Crowd laughs. Also add in some songs from the Steely Dan file, and some surprises. Mentions his new album, Morph the Cat.
Says next song is from The Nightfly.
3. Green Flower Street (The Nightfly)
Carlock very fast on drums. Keyboard driven. Heavy on backing vocals, which are excellent. Michael Leonhart and Wayne Krantz trade lead licks, Leonhart playing the synth lead from the album. Tight and very good.
Talks about records, remember them? This is from the same album. Mentions when you dropped the stylus on the first song on side two this was the song you heard.
4. New Frontier (The Nightfly)
Fast drums, synth shimmering just like on album. Good bass line. Driving song. Herington has the solos, and he handles them tastefully.
Introduces the band.
Far left – in black, he teases him about it, Jon Herington on guitar. Curly hair, tall. Looks the same.
Nearer left – also in black, Wayne Krantz on guitar. Hair parted down middle, glasses
Rear far left – also in black, Walt Weiskopf on saxophone. Bald. Looked the same.
Rear nearer left – black short sleeve t-shirt, Michael Leonhart on trumpet. Sideburns, youthful.
Far right – Cindy Mizelle and Carolyn Leonhart on backing vocals.
Rear far right – sitting on keyboards, Jeffrey Young. From Jackson Browne’s band. Fagen says he used to be local, now L.A.
Right side, slight rear in front of Carlock – on bass Freddy Washington.
Rear center – Keith Carlock on drums
5. Third World Man (Gaucho)
Right after intros, soft keyboards, then somebody counts 1-2-3-4 and they break into it. Song is soft but intense and poignant. Herington’s solos are urgent and screeching and true to the LPs. “Bye and bye when the sidewalks are safe for the little guy.” Carolyn and Cindy very good on background vocals. Carlock excellent on the drum fills.
“We’ve been having some trouble with them lately. And the second and first as well.”
6. Home At Last (Aja)
Piano beginning. Michael has what was the synth solo on the album. Herington has the classic solo. Taut song, horn-driven. Excellent.
Talks about the release of his new album on the 13th. Somebody in the audience corrects him, says the 14th. “Whatever,” he says. Morph the Cat. Talks about having read the bio of W.C. Fields, describes death as “a fellow in a bright nightgown”. Each verse of the song is an encounter with death.
7. Brite Nightgown (Morph the Cat)
Spooky keyboards, white lights illuminate the stage like a ghost is present. Song is very Steely-esque, keyboard driven. Krantz has the screeching solos. Bass and drums are funky. After song, he singled out both Herington and Krantz.
Introduces a surprise guest, a singer, a friend of mine. The beautiful, talented, and definitely dangerous Martha Wainwright. She is wearing a short black skirt, fashionable blondish hair, and big gold dangling earrings.
8. ?????????, Martha Wainwright song
She has an acoustic guitar, plugged into get volume. Donald is standing for the one time in the night as she sings a song. At one point he is blowing into a crimson instrument that is box shaped and sounds like a harmonica. Like the rest of her family she has a folkie voice, and she wiggles her hips as she sings and plays guitar. Sexy girl, in spite of the song being very depressing. There is only light accompaniment from the drums, bass, and horns. Some backup vocals. No keys or guitar. Herington is actually off stage. Song ends, Martha waves and goes off to the left.
“What, what?” Donald asks the crowd as the momentum has changed and we wait as Donald regroups in his keyboard chair. Crowd does the usual yelling out requests, including some ninny who yelled for ‘Soul Ram’.
9. FM (film soundtrack)
Familiar two-tone lead in, Carlock tapping the high hat. Familiar guitar. Herington has the leads. Weiskopf has the sax solos.
10. H Gang (Morph the Cat)
Thumping, quick moving song heavy on drums. Weiskopf has an extended solo. Herington has the guitar solos. The first one is a rock solo. The latter is screechy. Lyrics about a female ex-con singer and her band. “Slammin’ into Hinktown”.
Introduces the next song as an imaginary conversation with the ghost of Ray Charles.
11. What I Do (Morph the Cat)
Soft, soulful, bluesy song with a punch. “It’s not what I know, what I think, or say. It’s what I do.” I liked it. Herington has the solo. Backing vocals very audible, and I think Young did the high backing vocals in addition to the gals.
12. The Goodbye Look (The Nightfly)
Latin flavor. Krantz did the leads. There were some funky staccato notes. DF shook his head to get his hair to be messy. It evolved into an extended jam with Donald getting very into it and pounding his keyboard like a mad professor.
He singled out Krantz after this song.
“All right. Take it easy.” Extended time between songs, he whispers in his bands’ ears. Krantz is smiling.
13. I.G.Y. (The Nightfly)
Spooky keys at startup. “What a wonderful world it would be?” Weiskopf has an extended solo. Krantz has the guitar solo at the end.
Good night. Waves and leaves. For about 3 minutes, applause and wait.
Comes back on. Soft keyboard intro for…
14. Pretzel Logic (Pretzel Logic)
Herington gets the solos. Crowd is loving it, singing along. Jeffrey Young sings “I stepped onto the platform. The man gave me the news. I said you must be joking, son. Where did you get those shoes?” Very bluesy. Blistering Herington leads. DF sings “Oh yeah” in the chorus with extreme definiteness like he is driving home the point of the song. Roar of applause afterwards.
15. Viva Viva Rock and Roll
Chuck Berry cover, good funky old school rock. Krantz has the lead. “Rock on, go 'head and shake it.
I can take it”.
He waves goodbye. They exit, this time for good. Lights on at 9:57.
1. Here at the Western World (Greatest Hits)
Background went bright red. Completely reworked. Keyboard intro, then turned into an upbeat song with a Latin flair. Herington played some rock solos, punctuated by horns. Then Krantz played a fast lead at the end. DF very into it. Excellent start.
2. The Nightfly (The Nightfly)
Very true to album version. Keyboard driven.
“Independent Station WJAZ” background vocal sung by Cindy Mizelle and Carolyn Leonhart. Krantz got the guitar solo.
Says hello. Says he’s going to play songs from his three “bold” albums. Crowd laughs. Also add in some songs from the Steely Dan file, and some surprises. Mentions his new album, Morph the Cat.
Says next song is from The Nightfly.
3. Green Flower Street (The Nightfly)
Carlock very fast on drums. Keyboard driven. Heavy on backing vocals, which are excellent. Michael Leonhart and Wayne Krantz trade lead licks, Leonhart playing the synth lead from the album. Tight and very good.
Talks about records, remember them? This is from the same album. Mentions when you dropped the stylus on the first song on side two this was the song you heard.
4. New Frontier (The Nightfly)
Fast drums, synth shimmering just like on album. Good bass line. Driving song. Herington has the solos, and he handles them tastefully.
Introduces the band.
Far left – in black, he teases him about it, Jon Herington on guitar. Curly hair, tall. Looks the same.
Nearer left – also in black, Wayne Krantz on guitar. Hair parted down middle, glasses
Rear far left – also in black, Walt Weiskopf on saxophone. Bald. Looked the same.
Rear nearer left – black short sleeve t-shirt, Michael Leonhart on trumpet. Sideburns, youthful.
Far right – Cindy Mizelle and Carolyn Leonhart on backing vocals.
Rear far right – sitting on keyboards, Jeffrey Young. From Jackson Browne’s band. Fagen says he used to be local, now L.A.
Right side, slight rear in front of Carlock – on bass Freddy Washington.
Rear center – Keith Carlock on drums
5. Third World Man (Gaucho)
Right after intros, soft keyboards, then somebody counts 1-2-3-4 and they break into it. Song is soft but intense and poignant. Herington’s solos are urgent and screeching and true to the LPs. “Bye and bye when the sidewalks are safe for the little guy.” Carolyn and Cindy very good on background vocals. Carlock excellent on the drum fills.
“We’ve been having some trouble with them lately. And the second and first as well.”
6. Home At Last (Aja)
Piano beginning. Michael has what was the synth solo on the album. Herington has the classic solo. Taut song, horn-driven. Excellent.
Talks about the release of his new album on the 13th. Somebody in the audience corrects him, says the 14th. “Whatever,” he says. Morph the Cat. Talks about having read the bio of W.C. Fields, describes death as “a fellow in a bright nightgown”. Each verse of the song is an encounter with death.
7. Brite Nightgown (Morph the Cat)
Spooky keyboards, white lights illuminate the stage like a ghost is present. Song is very Steely-esque, keyboard driven. Krantz has the screeching solos. Bass and drums are funky. After song, he singled out both Herington and Krantz.
Introduces a surprise guest, a singer, a friend of mine. The beautiful, talented, and definitely dangerous Martha Wainwright. She is wearing a short black skirt, fashionable blondish hair, and big gold dangling earrings.
8. ?????????, Martha Wainwright song
She has an acoustic guitar, plugged into get volume. Donald is standing for the one time in the night as she sings a song. At one point he is blowing into a crimson instrument that is box shaped and sounds like a harmonica. Like the rest of her family she has a folkie voice, and she wiggles her hips as she sings and plays guitar. Sexy girl, in spite of the song being very depressing. There is only light accompaniment from the drums, bass, and horns. Some backup vocals. No keys or guitar. Herington is actually off stage. Song ends, Martha waves and goes off to the left.
“What, what?” Donald asks the crowd as the momentum has changed and we wait as Donald regroups in his keyboard chair. Crowd does the usual yelling out requests, including some ninny who yelled for ‘Soul Ram’.
9. FM (film soundtrack)
Familiar two-tone lead in, Carlock tapping the high hat. Familiar guitar. Herington has the leads. Weiskopf has the sax solos.
10. H Gang (Morph the Cat)
Thumping, quick moving song heavy on drums. Weiskopf has an extended solo. Herington has the guitar solos. The first one is a rock solo. The latter is screechy. Lyrics about a female ex-con singer and her band. “Slammin’ into Hinktown”.
Introduces the next song as an imaginary conversation with the ghost of Ray Charles.
11. What I Do (Morph the Cat)
Soft, soulful, bluesy song with a punch. “It’s not what I know, what I think, or say. It’s what I do.” I liked it. Herington has the solo. Backing vocals very audible, and I think Young did the high backing vocals in addition to the gals.
12. The Goodbye Look (The Nightfly)
Latin flavor. Krantz did the leads. There were some funky staccato notes. DF shook his head to get his hair to be messy. It evolved into an extended jam with Donald getting very into it and pounding his keyboard like a mad professor.
He singled out Krantz after this song.
“All right. Take it easy.” Extended time between songs, he whispers in his bands’ ears. Krantz is smiling.
13. I.G.Y. (The Nightfly)
Spooky keys at startup. “What a wonderful world it would be?” Weiskopf has an extended solo. Krantz has the guitar solo at the end.
Good night. Waves and leaves. For about 3 minutes, applause and wait.
Comes back on. Soft keyboard intro for…
14. Pretzel Logic (Pretzel Logic)
Herington gets the solos. Crowd is loving it, singing along. Jeffrey Young sings “I stepped onto the platform. The man gave me the news. I said you must be joking, son. Where did you get those shoes?” Very bluesy. Blistering Herington leads. DF sings “Oh yeah” in the chorus with extreme definiteness like he is driving home the point of the song. Roar of applause afterwards.
15. Viva Viva Rock and Roll
Chuck Berry cover, good funky old school rock. Krantz has the lead. “Rock on, go 'head and shake it.
I can take it”.
He waves goodbye. They exit, this time for good. Lights on at 9:57.
posted by NONKINSENSE @ 11:57 AM 
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