Les Paul Live At Iridium, NYC

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Paul described his Bing Crosby connection--his first big hit was a duet with Crosby, and it was a big one, number one all around the world in 1949: 'It's Been A Long Long Time.'
Les Paul
New York, New York
Any Monday Night

It was 46 degrees in the rain, and 9:45p.m. outside the Iridium Jazz Club on Broadway. Yet there was a huge queue for Les Paul, the inventor of the solid body electric guitar, developer of multitracking and, now 93, about to play his third set of the night at Iridium. Paul plays at Iridium every Monday and first played professionally as a boy in 1928, so clearly he has a secret! What is it?
Inside, the new arrivals were being seated. Posters advertising '30s and '40s gigs by jazz greats (for example, Benny Goodman, Earl Hines and Cab Calloway) lined the walls with, in addition, a number of dramatic jazz paintings, the latter perhaps favoring representations of modern jazz. Iridium is probably the best-organized jazz club as far as seating areas are concerned, at least in this writer's experience— spacious yet private.
The stage has a large grand piano extending toward the middle from stage right. Paul's barstool was positioned at the crook the piano's soundboard, so that when he arrived on stage, his feet would be resting on a covered box or crate set up in front of the stage. On top of this stand was an effects box, or rather, a long oblong plastic box holding several standard Boss effects pedals and a collection of screw drivers—the inventor is clearly never far away, with "Les Paul," moreover, embossed on his equipment. To the left of the piano was space for the bassist, and at far left there was a barstool for the rhythm guitarist.
The lights went dark as the MC announced the arrival of the band: "He's the person who changed the music for all of us.... " The four-piece band walked on in the darkness, Paul saying to the audience "I feel like Ray Charles" as he reached his seat! The musicians began the first number, an easy-swinging jazz standard, the style typical of most of the set. The pianist (today it was someone named Smith) segued into "East of The Sun West Of The Moon" for his solo section. At the end of the tune, the rhythm guitarist, Lou Pallo, went straight into another, singing the lyrics. Paul played a solo in octaves, his slip-on black shoes occasionally pushing at an effects pedal at his feet.

Earl Bostic's "Flamingo" continued the set, Pallo vamping one chord per two beats, as was his custom for the evening. His guitar was, of course, a Gibson Les Paul—it was unlikely that there would be any rival Fender guitars here tonight! His amp was a rickety-looking, yet authentic, pile of boxes: a small Crate amp on top of a larger speaker cabinet. Very '50s/'60s.

The band swung immediately into Jimmy McHugh's "On The Sunny Side of The Street." A flash of "Tea For Tea" came along in the bridge passage, with Paul perched on the firm two-layered barstool, tapping his right foot loosely on the stool bar, while his left foot was grounded on the large crate box before the stage- -that also held his effects pedals. Without a pause, the band began "Brazil," Paul using open strings as the sunny tune spread its Latin light through the club.

The next tune was Irving Berlin's "Blue Skies," and it highlighted a classical chamber music aspect of the group, reminiscent of Benny Goodman's famous quartet. The comparison is further emphasized as there is no drummer in the band. There were swift rhythmic changes in the tune, as the band went from the main tune to a fast chordal passage, and then into a smooth series of Les Paul octaves. A fast Benny Goodman Sextet-like passage then led to the piano's solo. The rhythm was of course provided by the piano, bass and rhythm guitar, yet in a way it is primarily the bass, in such a format, that stands out as the rhythmic vehicle- -as in a classical string orchestral setting. The bassist, the attractive and blonde Nikki Parrott, awed audience members who flashed cameras when she first arrived on stage alone, to tune up before the set.

Gershwin's "Embraceable You" followed. Pallo suddenly began singing the words, and Paul pretended to look surprised at this sudden vocalizing. Paul played a strong dominant note in the bass of the guitar— throughout the set he occasionally provided high and low contrasts, dropping down to play a piece of melody on the bass strings and then reverting to the top strings—before ending the Gershwin classic with a brief reference to Glen Miller's "Moonlight Serenade," a great finish.

It was time for a boogie, and the band began a loping blues in E, similar to the '40s popular Benny Carter hit "Cow Cow Boogie." Paul then played the well-known second section of W.C. Handy's "St Louis Blues," employing a kind of alternate "index finger and pinky" style of note-picking. His pick-up selector stick was on treble for the night. Parrott played a bass solo, drawing admiring glances from Paul: he also appeared to appreciate her eminent musicianship! The latter was soon to be even more illustrated when she sang a couple of numbers.


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