Eric Clapton Gels With J.J. Cale, Trucks & Bramhall on Live In San Diego (ALBUM REVIEW)


clapton-live-in-san-diego-jj-cale-released-2016-recorded-2007Live in San Diego appears so quickly on the heels of Eric Clapton’s latest studio album, I Still Do, a cynic might attribute the quick release to the lack of success generated by Slowhand’s twenty-third solo album. It is risky to compare the two titles, but even purely on their own terms, the differences are too marked to ignore: this near-decade old concert recording crackles with an energy far, far greater than the other EC record of 2016 (or, in fact, much of his recent output, from the studio or the stage).

Of course that’s due in large measure to the distinct differences in the musicians and this 2007 lineup may be the most guitar heavy ensemble Clapton has ever had. Still, the archetypal guitar hero finds his own level within this talented triumvirate and is ultimately inspired by his fretboard partners Derek Trucks and Doyle Bramhall II. The latter also lends husky vocals at various points such as this upbeat arrangement of “Key to the Highway,” itself an example of an elevated level of imagination brought to bear on this choice of material.

Equally representative of the vintage tunes included in these seventeen tracks is “Got to Get Better in A Little While,” a selection from the days of Derek & the Dominos suffused with syncopation and including a flinty bass solo from Willie Weeks and drummer Steve Jordan’s short, sharp percussion interlude. Michelle John and Sharon White’s voices are as angelic as they are haunting on “Little Wing” and from the days of Cream, “Crossroads” finds contemporary bluesman Robert Cray sitting, but not superfluous. “Layla” also appears here next to the usual staples of Clapton’s repertoire in the form of “Cocaine” and “After Midnight,” yet the presence of the author of those two songs, J. J. Cale, permeates them  with a  passion comparable to the intricacy Trucks weaves into the coda of Clapton’s masterwork (all of which Simon Climie preserves in his production of Alan Douglas’ original recording).

His playing as well as Bramhall’s is similarly informed with as much intelligence as excitement , no doubt in part because they are performing the work of an artist–and with the artist himself–that moved each of them to pick up the guitar in the first place. Listen to how their  instruments bristle throughout “Anyday:” all three men parcel out a surplus of ideas with the kind of restraint that only enhances the power of their musicianship. And, in fact, the generally emotive and often feverish vocal delivery of Eric himself is one of the real highlights here, bespeaking a level of enthusiasm far greater than that which he’s displayed within the more low key approach he’s taken to his various projects in the interim since this show was recorded.

It should then come as no surprise then, that on Live in San Diego, blues outnumber the middle-of-the-road likes of “Wonderful Tonight.” “Further On Up the Road,” “Little Queen of Spades” and “Motherless Children” pepper the set-list, the latter in a take much more aggressive than the one that opened Clapton’s 1974 comeback album 461 Ocean Boulevard; even as his commercial success often seemed to drain the fire from his guitaring, Slowhand’s always flashed intensity time and again, but rarely if ever in such sustained fashion as is documented here.

Related Content

11 Responses

    1. @himijendrix BC of Derek Trucks! simple enough. Duane Allman and EC had a musical relationship like no other, that EC said DA was his musical brother he never had and wanted. EC played with DT and the allman brothers band in 2009 and said playing with DT took him back to the time with DA and rejuvenated him. EC has stated that Derek Trucks and Doyle Bramhall were two of his current favorites. the Layla and other assorted love songs list are some his favorites and come to life with Derek Trucks and his slide play. At least thats my thought, haha.

    2. A/Trucks wanted to play them
      B/Selling points on live album
      C/Sperior to much (most?) of EC’s solo stuff

  1. For me… refreshing to listen this style of music….wrong side of 60 myself….I know where it comes fm…..and at the same time saddens me….I think the wheel is too far turned to turn back….we’re in another planet “out here”….only sheep surround US….nice try ….but like many others….doomed to oblivion…just as we are…. brothers!
    Paz…Amor ….& all that good stuff!!

  2. Clapton needs all the help he can get to push him past years of clichéd playing. his solos usually sound like 2 and 4 bar phrases strung together from every blues guitarist he’s ever heard. if you want to hear some surprising playing listen to willie nelson’s solos on the cd he did with wynton marsalis. he rarely goes where you think he’s going.

    1. I find your comment absurd. You can talk about Clapton’s “blues cliches” when you can play with his touch, feel, and passion, and put out HIS body of work.This music isn’t “Old Sock” which did suck and never should have been put out.

  3. If Eric is using the great Doyle Bramhall of the Arc Angels and previously Stevie Ray Vaughn, at least give him some decent volume!!

  4. It was such a pleasure to see Derek Trucks channel Duane Allman and stretch out ( usually he just teases you with a few subtle notes, and of course he can do so much more), HE, Cray, J.J., and Bramhall just melded and pushed this performance to wonderful Heights.

Leave a Reply

Your email address will not be published.

Recent Posts

New to Glide

Keep up-to-date with Glide