look at the new look Tedeschi Trucks Band reveals two survivors from the former DTB (keys/flute wiz Kofi Burbridge and vocalist Mike Mattison) and one member of the STB (drummer Tyler Greenwell) along with a couple of not exactly surprising enlistments.

The chief of those is bassist Oteil Burbridge, who, apart from providing a strongly grooved anchor provides a visual counterpoint to the invariably undemonstrative Derek Trucks.

With the lineup sorted it becomes a matter of repertoire, and here again the obvious approach would be to take a bit from here, a bit from there and glue the disparate elements together with some newer material, the sort of thing you could work up as you go along.

That's not, however, the way things have gone here. While there are a couple of covers, notably the old Leon Russell/Joe Cocker Space Captain, which I've personally found almost invariably underwhelming and Sing A Simple Song (which worked a treat for Sly & The Family Stone, roared along nicely for Jeff St John and roared along wonderfully here) most of the rest of the set was new, presumably purpose created material, the best of which was the Mike Mattison penned Midnight In Harlem.

The release of Revelator, the first Tedeschi Trucks Band studio album would clarify a few minor matters like song titles through the rest of the set, but from the opening Bound For Glory, everything thundered through just fine, with repeated solos from Mr Trucks producing roars of approval from a crowd who were, presumably, there with a reasonable expectation of what they were likely to get, and if they weren't there for Derek and Susan, they'd have had high expectations of the opening set from Robert Randolph & The Family Band, who would, more than likely, have stolen the show from any act short of potential superstar status.

If you'd gone straight from Live at the Wetlands to last year's We Walk This Road you might well have suspected that those long passages of high intensity sacred steel virtuously had been relegated to the background, but that approach to things probably has limited appeal as a commercial recorded proposition anyway.


© Ian Hughes 2012