In combination with the wonderful Sharon Robinson, who had her own showcase on Alexandra Leaving they provided ethereal harmonies that provide a striking counterpoint to Cohen’s battered baritone. On their own they mightn’t necessarily melt a heart of granite, but they’d go mighty close.
But the vocal trio is only one part of a lineup that’s as impressive in their own way as their boss, who displays his respect for the virtuosos gathered around him throughout proceedings.
Bassist and Musical Director Roscoe Beck’s association with Cohen goes back to 1979, and you’d have to think he had a fair bit to do with assembling the rest of the band. According to Cohen’s official website he filled that role back in 1988. You’d guess he’d have been called to do the same when financial double-dealing forced Leonard back onto the road.
Keyboard ace Neil Larsen arrives with an extensive list of session credits, including George Harrison, Rickie Lee Jones, the Rolling Stones, Jimmy Cliff and Richard and Linda Thompson (big tick in that department) and string and horn arrangements for, among others, Gregg Allman and B.B. King.
Cohen introduced him as Professor, and guitarist Mitch Watkins has spent some time teaching at the University of Texas at Austin, but like Roscoe Beck his association with Leonard runs back to 1979. In between he spent a lot of time working with Lyle Lovett as well as Jerry Jeff Walker, Joe Ely and Jennifer Warnes. Watkins chipped in with some ringing Wes Montgomery styled guitar licks and Larsen got plenty of opportunities to work out on the Hammond B3 and other keys.
But the real stars on the instrumental front were Javier Mas, whose flamenco and gypsy-infused contributions on bandurria, laúd, archilaúd, and, occasionally acoustic guitar were once again stunning, and Moldovan violinist Alexandru Bublitchi, who regularly went close to stealing the show from the man who, last time I saw the ensemble, regularly threatened to steal the show from the front man.
All in all, a show that was at least as good as Brisbane, and possibly better. Leonard seemed relaxed. Our seats were much better (which, in terms of performance isn’t important, but definitely enhances the enjoyment). The only negative factor, in there was one, came in the absence of Dino Soldo, the keyboard, saxophone and assorted woodwind player who added tones of light and shade last time. Iif he had been there we wouldn’t have had the violinist, would we?
But when you’re looking for an assessment, it’s best to turn to some of my fellow attendees, two of whom find Hughesy’s predilection for multiple Bruce Springsteen and Elvis Costello concerts inexplicable. Both of them reported they’d have been happy to front up for Leonard the following night if that had been possible.
Me? Given the fact that you’d almost certainly get the same set, I don’t think so.
But if he’s back, by which time he’ll probably be into his eighties, I’m going again. After all, it might be the last time.