Little Feat: Wellington Town Hall. Sunday 4th July.

Little Feat, long acclaimed by the music press as the greatest thing to happen to rock and roll in many years, won over a Wellington audience with a display of most inventive precision rock. The two concerts were two hours late due to several delays in getting the massive load of equipment down from Auckland. The wait, however, was worth it and Little Feat delivered the goods.

On stage they play straight and hard; none of the rock-star-pissing-on-the-audience syndrome. Just good, hard, musicianship. Lowell George center stage stood there in Levis and floral shirt pulling out the type of guitar licks that have sent Mick Jagger, Jimmy Page and all other rock afficiendos into rapturous applause. He sang like he meant it, as if he personified the lyrics.

Paul Barrere effortlessly kept up the rhythm and then would change to lead while Lowell George took his turn on the rhythm. The guitar work between the two of them was inventive at all times, not once did they indulge in a lead break fight as is the tendency for many bands with two guitarists.

Bill Payne's keyboards were lush and well mixed and he displayed a variety of styles from a gothic down-south boogie rhythm to classical pieces. He managed to look all the time like a PhD student; unruffled while turning out some great runs on the boards. His lengthy solo on Tripe Face Boogie' led into two superb solos from Barrere and George.

Feat went through the whole gamut of their music. A lengthened version of 'Dixie Chicken' had the crowd up and stamping for more and the unruffled Feats did just that, pushing on into 'Cold, Cold, Cold' which George sang with real feeling.

Their music is so alive and vibrant, totally personified in Ken Gradney's animated prancing while playing the most fluid of bass lines. His thunderous bass introduction to 'Romance Dance' was greeted with enthusiastic applause and Paynes electric piano/synthesiser tripping notes soared with the whole band driving on like there was no end. Sam Claytons conga playing was so totally in tune with the funky drumming of Rich Hayward that nothing could fail.

The Last Record Album seemed to be the strength of their set really, with a fair sprinkling of songs from 'Sailing Shoes' and 'Feats Don't Fail Me Now'. 'All That You Dream' was a real high spot as everything fitted in. By now the band were sailing just like that shoe. Payne and Barrere put the vocals in on this their own song. Then their version of Allan Toussants New Orleans boogie song drove me all nostalgic.

This basically is what is so good about these boys. They can lift you, drop you and make you feel so good in the space, of two hours.

The mixing was great and the lyrics were right up front and the fine balance was maintained right throughout; The sign of a really great rock-n-roll band tried and true!

For those of you who missed it I really do feel sorry, as what was presented by Little Feat in the Town Hall was true rock and roll with all its many moods, brilliantly played by the funkiest band in the States.

The crowd went beserk and they just had to come on again; 'Feats Don't Fail Me Now' with its brilliant twangy guitar rifts was just what the Doctor ordered, oh and what a version! Half way through it George stops is musically the boys whip up the chant "Roll right through the night".... the crowd responded.... and one by one the band departs from stage the crowd up front singing "Roll right through the night' those up back calling for more .... but we Feats fans knew they didn't leave a song unfinished! Sure enough the band could still be heard singing that line out out back and as they drifted back on stage the crowd went up on their feet clapping and dancing; Lowell George gently walking the stage drooping his mike into the crowd while the chant of "roll on right through the night" was sung by the now frenzied Feat-o-maniacs!

The highlight of the concert.... simply beautiful.. the applause was well deserved from a now rapt audience. "Teenage Nervous Breakdown" came as the last number, tight and the living incarnation of rock and roll it put the icing on the cake.

Our into the crisp winter air after the show and everyone was six inches off the ground.......thanks Feat!

— Grant Cairncross

Concert Review: Jean Luc Ponty: Town Hall 5th June.

Wellington got a taste of something special when Jean Luc Ponty with his band performed for the half full audience He came with the Mahavishnu orchestra in '74 but visited only Auckland and Christchurch. The majority of the people who attended had not heard him live.

Jazz music is 'live' music and has to be taken this way. Ponty and his band brought the best of contemporary jazz to a Wellington that has been much neglected in this area.

As a jazz ensemble, they were superb: as soloists, they were magnificent. Ponty was the grand master leading the band. He was relaxed, confident and gave a spectacular display on his multi-coloured violins. He became intimate with his audience within a short time and had them hanging on every sound that he and his equipment, which included sophisticated reverberating amplifiers and a synthesiser, could manufacture. He surely must be one of the greatest musical craftsmen playing today.

Ponty's playing reflected many of the influences that he must have incorporated over recent years. His music is a little 'classical' at times with clever contrasts in key and rhythm while at other times the strong jazz feel of Stephane Grappelli and later, John MacLaughlin, penetrates into it.

The first piece played by the band was "Is Once Enough" - also the first track off"Aurora '. Almost at once, the lead guitarist Darryl Stuermer, soloed with bite and pace. This guy is out to eat John MacLaughlin, and considering his age, probably will.

The band worked through tracks off 'Upon the Wings of Music" and "Aurora" becoming more cohesive and sharp as they went on.

Tom Fowler on bass played with rhythm and skill, allowing the rest of the band to improvise frequently. Fowler himself soloed twice at great speed on his Gibson bass - not heard often at New Zealand concerts.

Aggressive drumming was provided by Mark Claney who achieved a genuine jazz feel, but who occassionally showed too much vigour and volumn. Considering his short time in the band, his work was particularly enjoyable. He shined most in playing duos with Ponty and the others. He is also the first person I have seen playing the bass and the drums concurrently.

Alan Zavod from Australia was a disappointment and really did not seem like part of the band. I was particularly disappointed with not seeing Patrice Rushen who played keyboards on "Aurora" - she stayed in the States to study music and will tour when finished.

For me there were three highlights of a brilliant concert overall. The acoustic section of "Renaissance" and "Question Without an Answer" were delicate and beautiful, especially after several powerful pieces Ponty on acoustic violin and Stuermer playing Spanish guitar were perfect together as well as soloing skillfully.

If one piece sent the audience into raptures (and it did) it was "Fight for Life". This must have been the most incredible cadenza ever played. Ponty started by mimicking a waterfall using a multitude of effects that left the audience wondering if it was indeed a violin he was playing. Soloing for 10 minutes, he shook the foundations with foghorn-like moans, stabbed his victims with daggers of synthesised stacattos and thrilled them with lightning runs.

"Aurora" parts one and two demonstrated the excellence of the band, both combined and individually. Ponty played as a supreme virtuoso using all his incredible skills. He proved conclusively that he was as much a driving force behind the Mahavishnu Orchestra a John MacLaughlin.

Darryl Stuermer played with sting and yet combind well with the rest of the band - bringing a distinctive rock n roll feel to the music.

Ponty gave generous portions of time to the others for improvisation - he simply stood back and gently swayed to their music - violin under arm. His playing cast an aura around him as he fixed his gaze down the strings of this violin. The crowd responded well to his subtleties and musical ad libs.

When he finally went off stage - it was hard to believe the end of the concert had come - but French violinists always come back for an encore. He did, telling the audience "It is wonderful playing music for you" - and launched into a further piece. He was given a standing ovation for his trouble.

The audience were enthralled and exhilarated with the man and his music. Ponty is guaranteed a full house next time around - here's hoping.

- David Murray

Cry Tough - Nils Lofgren; A & M Records.

Its cold outside and here I am home in an alcoholic haze - or am I? Maybe its just the trance Nils Lofgren has me in.

I can't fight it.....I have to admit that it is my pleasure to bring to you a challenger to Bruce Springsteens rock-punk crown; Ladies and Gentlemen may I present.... Nils Lofgren

'Cry Tough happens to hold 9 of the best rock songs my ears have had the pleasure of listening to; and let me say to you that I wasn't asked to do this review its just that the whole album is so bloody good! You've a right to know about it.

Our Nils has been around a bit now, he's trucked with Neil Young in Crazy Horse; produced average-only music with Frin and produced one solo effort simply called "Nils Lofgren". Ah yes "Nils Lofgren' pointed the way to "Cry Tough".

This is his second solo effort and from beginning to end everything gels as there isn't one bum track.

Side One starts out with the title track "Cry Tough", in which Nils sings about new British rock phenonemon Dr Feelgood, and Nils thinks they are up his alley, he really wants to dance to 'em:

"Cry Tough" is a little more complex than the other cuts on tis album and as such highlights the emphasis he has put on production this time around.

"Its not a Crime" finds Nils out front on guitar and strutting his street punk stuff in the truest fashion. His singing is very easy to listen to and this song, in particular, has a very cruisy feel to it. "Incidentally.... its over", shows just how tight he can work within the three man combo; English maniac Aynsley Dunbar (Ex-Mothers) is on drums and Wornell Jones on Bass. This is the group that backed him on the first album; the percussion lines are strong and flowing and Jones' bass has a real gut rock feel to it.

On other tracks such as "For Your Love" he is back by such notables as Al Cooper and his brother Tom Lofgren. "For Your Love", I hope you will remember is the old Yard birds classic and party standard Here Nils does a brilliant cover version; far slower and more laid back, but damn it the mans got me walking round all day humming his version to myself... it so infectious! He changes the style of the original completely and introduces an upbeat tempo in the middle with rapid snare drumming from Emil Richards very much akin to what Jay Dee Daugherty does on Patty Smiths 'Horses' album.

An opening like that takes you back; and if released as a single it would have to be a hit, it feels right the whole way. Just give it a listen

Honestly, in a year of excellent albums. Nils Lofgrens 'Cry Tough' is special; he's not a profound artist but, he is highly talented and definitely inspired. I can't recommend this album highly enough, he deserves listening to just as Little Feat do.... if you want to know just "Cry Tough".

— Grant Cairncross.