Boz Scaggs Music Community


Boz Scaggs Concert Reviews - 2009


Boz Scaggs Musicians & Set List 2009

Drew Zingg - Guitar
Richard Patterson - Bass
Deron Johnson - Keyboards
Khari Parker - Drums
Eric Crystal - Saxophone
Monet Owens - Backing Vocals

Look What You've Done To Me
Miss Sun
Thanks To You
It All Went Down The Drain
Until You Come Back To Me (Monet)
Lido Shuffle
Slow Dancer
Loan Me A Dime

Boz Scaggs - Minneapolis, MN - Sept. 24, 2009

State Theatre
Minneapolis, MN
September 24, 2009

Lowdown in Minneapolis

September 27, 2009 Posted by Scott at 10:30 AM

We saw Boz Scaggs perform live with a jazz combo in Minneapolis at the Dakota Restaurant and Jazz Club earlier this year. Boz put on an awesome show in an intimate setting, covering some of the standards he has recorded in recent years as well as reinterpreting his hits of the 1970's. We sat about five feet from Boz, who is still lanky and cool after all these years. (The video below from his 2004 "Greates Hits Live" DVD gives a pretty good idea of how he sounds nowadays.) We loved the show.

This past Thursday night Boz returned to town with a new touring unit to play the State Theater before a sold-out crowd of old fans. Before a larger audience, the emphasis was naturally on his old hits rather than his new recordings. Singing the old songs, Boz sounds better than ever. During the first of two encores he played a smoldering version of Fenton Robinson's "Loan Me a Dime," from his first solo recording forty years ago. The guitar solos inevitably brought the late Duane Allman's essential contribution to the original recording to mind, but Boz's vocal plumbed new depths. The man can sing.

On earlier stops of this tour, Boz has played with Michael McDonald. In Minneapolis, Boz easily sold the house out on his own. He spoke fondly of Minneapolis as a venue when he returned for his second encore, recalling his first time through town many years ago at the old Guthrie Theater as well as subsequent stops at First Avenue. I can't find a list of upcoming tour dates online. If you get a chance to see him perform, though, don't miss it.

Boz Scaggs - Clearwater, FL - July 2, 2009

Ruth Eckerd Hall
Clearwater, FL
July 02, 2009

by Eric Snider (Creative Loafing, Tampa Bay - July 03, 2009)

Most pop singers from the ’60s and ’70s who are fortunate enough to still be touring resort to what I call vocal cheats. That’s when they get to a point in an old hit that has a particularly high note they can’t hit — a note that especially resonates with the baby-boomer audience — so they either drop it an octave or turn it over to the background singers.

There’s nothing really shameful about these vocal cheats — it would be worse, for instance, if Daryl Hall tried to hit that big release note in “She’s Gone” and failed miserably. Or if Roger Daltrey attempted to render the big scream in “Won’t Get Fooled Again” and sounded like a frog.

I tell you all this because I saw Boz Scaggs last night at Ruth Eckerd Hall and he didn’t resort to any vocal cheats. He’s 65 years old. Very impressive. When, on “Lido Shuffle,” it came time for the “Lido, whoa, whoa” part, he was right on it — with the backup singers helping, yes, but not drowning him out and thus protecting him. Scaggs came up a little short or a little thin on some of the high notes, but he went for them all.

It wasn’t just the lack of vocal cheats that made Scaggs’ 75-minute set in front of a near-sold-out crowd a success. His voice still has that full, creamy texture of the old days, and his delivery and phrasing brimmed with nuance. (more photos below; all are by Tracy May - Thank you Tracy.)

Scaggs’ most recent albums have been made up of standards from the Great American Songbook. He set that material aside at REH, opting instead for a compendium of hits from the latter half of the 1970s and early ’80s (”Jojo,” “Lowdown,” “Georgia,” “Look What You’ve Done to Me” and others) as well as blues and R&B tunes from his early, early career. His encore was an extended version of the slow blues “Loan me a Dime” from his 1969 self-titled album.

Scaggs, who played guitar as well, was backed by five instrumentalists and a dynamic background singer who, I think, went by Miss Monet. She was as torrid as Scaggs was ultra-cool, and provided the ideal vocal foil. Miss Monet took center stage for a roof-raising version of the Aretha Franklin vehicle “Until You Come Back To Me.” Her performance drew a big smile from the perpetually laid-back Scaggs.

The band’s dynamics were impeccable, dialed back at times in order to make room for Scaggs’ supple pipes to take the spotlight, allowing him to contour the lyrics in fresh ways.

Besides the fact that he omitted “Breakdown Dead Ahead” and declined to sing any standards, I was thoroughly pleased with Scaggs’ set. A longtime fan, it was my first occasion to see him in concert.

Just for the record, Michael McDonald played the second set of the double bill. I’m not a fan, so only caught a few tunes and left. As a result, I’ll pass on offering commentary here — except to say that he sat facing the crowd behind an electronic keyboard as his feet pumped on pedals … and he was wearing flip-flops. Yeesh.

Here’s a photo, however.

Boz Scaggs - Albany, NY - June 22, 2009

Hart Theatre at the Egg
Albany, NY
Jun 22, 2009

Boz Scaggs puts on powerful show at Egg

Tuesday, June 23, 2009


ALBANY - In his first-ever Albany show at The Egg on Monday - 40 years into a hit-making career spanning blues, rock and pop - Boz Scaggs turned his back on the vintage jazz chestnuts of his most recent albums in favor of a crowd-pleasing greatest-hits (his own) song survey. Even at $96 for top tickets, it felt like a bargain for its song choices and for high-precision performances that were always clean and powerful and in their best moments achieved a swaggering soulfulness.

Fans screamed in recognition as "Jojo" made a mellow introduction, then "Payday" felt even more mellow, a let-down, actually. But Scaggs recovered instantly with a fervent (and naturally slow) "Slow Dancer" and the throbbing New Orleans funk of "Hercules." In this Allen Toussaint classic, Conesha Owens set her sassy alto on "stun" for the first time and just lit up the place. The straight rock of "Georgia," the slow, soft soul of "Harbor Lights," the tuxedoed suavity of "Lowdown," the New Orleans return of "I'm Sick and Tired of Fooling Around with You" and the mellow/melancholy of "Miss Sun" - as strong as these songs all were - they all somehow seemed to melt away from memory when Owens once again took over with "Until You Come Back to Me (That's What I'm Gonna Do)." She ate up the spotlight, inspired screams of awe, adopted the whole audience and put a Minnie Ripperton falsetto flourish on the coda that all but cracked The Egg in two.

Scaggs - who sang smoothly and sweetly all night, but without her fireworks - stood in the dark behind her, grinning and dropping short, sharp licks into the band's Cadillac groove. For all its play-'em-like-the-records precision, the band had plenty of personality and Scaggs generally played like part of the band himself - in other words, really, really well. The sound was beautiful, and had to be for the songs to soar like on the well-remembered hits. All the signature riffs were right in place: the bass thump that kicked off "Lowdown," the piano solo in "Harbor Lights," the quiet verses that built up to the steamroller chords in "Lido Shuffle" to close the set.

But Scaggs' and the band's most remarkable achievement was the epic slow blues of "Loan Me a Dime." Scaggs and second guitarist Jonathan Zingg tackled the incendiary licks the late, great Duane Allman welded into the original and they both nailed it. Recorded in 1969, the song hasn't lost its impact, and neither has Scaggs.

Singer-songwriter Sean Rowe simmered and sizzled in his opener. He wrapped his Greg Brown-deep voice around both originals from his "Magic" album and a newer number or two. But apart from his opening "Old Black Dodge," these seemed a bit episodic and unfocused alongside the classics he borrowed and transformed. To be fair, his "Dodge" and "Surprise" especially are very good songs, but his covers are great ones. He revved and rebuilt Richard Thompson's "Vincent Black Lightning 1952," substituting a wordless croon over driving strums for a skipped verse; turned on the "jazz knob," as Dan Hicks likes to say, in Leonard Cohen's "Bird on A Wire" before scorching it with the declamatory, Ray Charles-like force of a full-on soul singer; and going full adrenaline on a B.B. King blues.

Boz Scaggs @ The Egg - June 22, 2009

Boz Scaggs shines, shares limelight

June 24, 2009 at 11:36 am by

By Michael Eck
Special to The Times Union

ALBANY — Boz Scaggs has one of those special voices that you can identify by its shape. Before he’s even finished singing a note, much less a phrase, you know the owner of the sound.

Scaggs brought that voice to The Egg Monday night, for a long overdue Albany debut that found the singer bouncing back and forth from smooth ’70s hits to the earthier R&B of his roots.

After a decade of journeyman work, Scaggs finally scored big in 1976 with the multi-platinum selling hit-factory, “Silk Degrees.”

At The Egg he drew heavily from the album, culling classics like “Georgia,” “Lowdown,” “Harbor Lights” and the strutting “Lido Shuffle.”

Only on the latter did Scaggs’ voice seem a little older and wearier than before. The tune was pitched lower and delivered a bit less aggressively, but the same couldn’t be said of the bright “Georgia” or the still-funky-after-all-these-years “Lowdown.”

Scaggs’ very talented band delivered “Lowdown” note for note, but their boss also gave them room to roam on other tunes.

Vocalist Monet, for example, was given a solo turn on Aretha Franklin’s “Until You Come Back To Me” that, by its end, had some in the sold-out crowd asking, “Boz who?”

She meshed wonderfully with Scaggs on “Lowdown” and “Miss Sun.”

Other hits included the opening “Jojo” and “Look What You’ve Done To Me,” but Scaggs seemed more interested in deeper tracks like Allen Toussaint’s “Hercules” and the title track from the 1974 chestnut, “Slow Dancer.”

Perhaps Scaggs was feeling wistful about his early days.

Introducing “Slow Dancer,” he recalled working at Muscle Shoals Sound Recorders and the great feeling he had at the Alabama institution.

Then, introducing his encore, he gave a nod to Muscle Shoals founder and keyboardist Barry Beckett, who died earlier this month. As a swirl of organ (courtesy of Deron Johnson) arose it became evident that Scaggs was reaching back to his eponymous debut album for his burning slow-blues take of Fenton Robinson’s “Loan Me a Dime.”

That’s when things went from simply impressive to transcendent.

“Dime” — due in large part to Duane Allman’s scorched earth lead guitar — was an early ’70s FM radio staple, and given the fact that Scaggs topped it with his later hits it came as a surprise.

A glorious surprise. Steely Dan guitarist Drew Zingg (CQ) burned on the tune, Johnson shone and even Scaggs let loose with some serious Texas blues.

It was — and I had vowed not to use this phrase anymore — worth the price admission.

Albany songwriter Sean Rowe has a voice just as distinctive as Scaggs. He opened the show with a set that surely garnered him a number of new fans.

Rowe largely ignored his brilliant new album, “Magic,” in favor of wowing the crowd with stellar renditions of Richard Thompson’s “1952 Vincent Back Lightning” and Leonard Cohen’s “Bird On A Wire,” but his own tunes were delivered just as confidently.

He’s one to watch.

Michael Eck is a freelance writer living in Albany and a regular contributor to the Times Union.

BOZ SCAGGS, with Sean Rowe
When: 8 p.m. Monday
Where: The Egg, Empire State Plaza, Albany
Length: Rowe, 30 minutes; Scaggs, 1 hour, 45 minutes
Highlights: A blazing take of “Somebody Loan Me A Dime.”

Boz Scaggs - Albany, NY - June 22, 2009

The Egg
Albany, NY
June 22, 2009

by Tom Pierce

Given that his career started in the 60's with rocker Steve Miller, and progressed to even greater fame in the 70's and 80's as a “Blue-eyed Soul” singer with his own bands on memorable R&B hits, some might ask: “Why review a Boz Scaggs concert on a Jazz web site”?

Others, more aware of and impressed by his two extremely well-reviewed jazz-oriented CD's of Great American Songbook standards (“But Beautiful” in 2003 and “Speak Low” in 2008), might understand, but still question it. This is especially true if the band and music to be played had been correctly described on the Egg's web site ahead of time (which it wasn't), to be geared exclusively toward his earlier R&B hits, with none of the jazz-related material or musicians from the two aforementioned CD's.

All that being said however, this reviewer, an admittedly passionate admirer of this extraordinary artist performing BOTH genres, can unequivocally say that he (as well as the near capacity audience at the 982 seat Hart theatre) found his concert of 14 songs to be consistently well executed and very exciting. In addition to the quality of the songs and musicians, a good deal of the credit goes directly to Mr Scaggs, the person and the professional.

Exactly two weeks before the concert, this former Texan celebrated his 65th birthday; but has maintained his tall, lean body and uniquely moving voice in excellent shape. He was easily able to project the necessary energy and vitality throughout the more than 90 minute set; and was singing with as much heartfelt warmth in the encore (his 1969 composition, the extended, highly emotional Blues “Loan Me a Dime”) as he did in the set opener.

While many other aging Pop performers also have similar stamina, what sets Boz Scaggs apart is the calm, unself-conscious, almost humble manner in which he carries himself on stage. He projects an intelligent, knowing sense of himself, life and people that meaningfully informs his vocal delivery and guitar work. It is a highly engaging presence - at one and the same time, relaxed yet intense, seemingly simple, yet sophisticated. He exudes an Everyman type elegance that is enormously appealing, with a solid rhythmic foundation.

His vocal timbre and delivery never was what many would consider technically “perfect”. But he effectively uses his distinctive ability to powerfully, but smoothly, put across his songs with strength and vulnerability, in a style that transcends all the various genres (Blues, R&B, Rock, Country and Jazz) that he's influenced by. He is clearly much more than just a “Blue-eyed Soul Singer”.

The set list included vintage tunes that some in the spirited crowd recognized within a few notes, and joyously yelled out the titles. The swinging opener, “Jo Jo” from his 1980 “Middleman” album, accented with Eric Crystal's torrid tenor sax, followed by the mellower “Pay Day” (from his interestingly complex and quite modern 2001 CD “Dig”), set the tone for the evening. They quickly captured an enthused hand-clapping, toe-tapping, sing-along audience reaction, despite most attendees being in their late 40's to late 60's.

His revealing introduction to the title track of his 1974 “Slow Dancer”, his first major success, included a brief story of the inspiration for the song. This was a leisurely visit a number of months prior to writing it to Macon Georgia - “not doing a lot of writing at the time, but playing cards, drinking beer and fishing”, but later recalling images of the area. “Hercules”, written by the much acclaimed (by Scaggs and numerous other artists) New Orleans singer-pianist, Allan Toussaint, had a throbbing, almost staccato feel, and featured a fine guitar solo by Drew Zingg. While most of Scaggs' songs have been originals, he has also drawn on fine other songwriters, who he consistently acknowledges.

He demonstrated his still remarkable falsetto at 65 on “Georgia”, one of the half dozen hits songs from his classic 1976 “Silk Degrees” album. It was followed by another favorite from that recording, his composition of “Harbor Lights”. This is an entirely different song than the standard of the same name that was actually written in 1937 by two English songwriters and not published in the U.S. until 1950. But Scaggs' song was a movingly poignant and popular ballad whose jazz-tinged qualities, were an early sign of his ability, to find inside himself the stillness and nuance to effectively deliver this type of material. He and the band then had the audience really moving, and giving perhaps the loudest applause of the night for his iconic “Lowdown”, which was the biggest hit from “Silk Degrees”.

He varied the pace of the concert by including gritty Blues numbers, such as “Sick and Tired” from his stirring, down-home 1997 “Come on Home” CD, delightful medium tempo grooves like “Miss Sun”, touching ballads like “Look What You Done to Me” from the “Urban Cowboy” soundtrack, as well as fast burners like “Lido Shuffle”, yet another big hit from “Silk Degrees”.

“Props” need to also be given to his accomplished 6 piece band, most of who have been with him for a number of years. They consisted of talented vocalist Monet Owens (Ms. Mo'net) whose featured turn on the Steve Wonder penned 1974 hit for Aretha Franklin - “Until You Come Back to Me” - earned a standing ovation, Bassist/musical director/back-up vocalist, Richard Patterson, drummer Khari Parker and Deron Johnson on keyboards, as well as the previously mentioned Eric Crystal and Drew Zingg.

The opening act was singer-songwriter Sean Rowe in a 35 minute solo set. He used his vibrantly powerful voice and supporting guitar, whether doing originals from his own two CD's or songs by artists like Richard Thompson, Leonard Cohen and B.B. King to show why he's received a number of very positive reviews and has opened for a variety of established performers. He ingratiated himself to the crowd early on, when he openly indicated his excitement and gratitude for appearing at the Egg, where although he's from this area, he had never been - even to attend a show by other artists.

All in all, it was an outstanding evening that could only be matched by Mr Scaggs, who was making his first trip ever to Albany, returning with those musicians and performing songs from his two standards CD's, for those of us who also appreciate his talents in that arena.

Tom Pierce has had a burning passion for Jazz for over 45 years, initiated and fueled by seeing live in New York City, starting in the early 1960's, virtually every major artist still performing. He's been very happily living in Guilderland the last 8 years, as an active retiree sharing his love of music by writing online reviews for a number of web sites, preparing DVD presentations to various groups, co-Hosting Radio programs showcasing his favorite artists and busily supporting A Place for Jazz and the SwingTime Society in a variety of ways.

Boz Scaggs - Hyannis, MA - June 20, 2009

Scaggs, McDonald a dynamic double bill

By Kathi Scrizzi Driscoll
June 21, 2009 6:00 AM


HYANNIS - It was '70s night at the Cape Cod Melody Tent on Saturday, as two longtime friends whose voices were a big part of that decade's soundtrack kicked off a summer long joint tour.

Boz Scaggs and Michael McDonald evenly split the bill, each playing a 75-minute set heavy with their hits, but with nods toward the genres they've recently favored. The crossover artists are both described as "blue-eyed soul singers" on their Web sites, but McDonald veered into Motown when he went beyond his Doobie Brothers standards, while Scaggs favored a New Orleans flavor.

Both were in strong voice, despite McDonald's jokes about reaching AARP status (Scaggs just turned 65; McDonald is 57). The musicians - McDonald behind his keyboard, Scaggs on guitars - were each backed by six-member bands that included outstanding female vocalists. Scaggs offered bluesy numbers and a more laid-back mood, while McDonald's segment was more hard-driving.

McDonald started the night, with his mane of white hair grown out since his role in the "He Needs a Kidney" parody in the "30 Rock" season finale. He relied heavily on Doobie Brothers standards, starting with "Real Love" and "It Keeps You Runnin'" and moving through "What a Fool Believes." Highlights of his 14-song set, though, were his yearning "You Don't Know Me," and a rousing Motown medley.

Scaggs brought the crowd to its feet with "Lido Shuffle" after slower-tempo, sometimes torchy versions of hits like "Georgia," "Lowdown," "Slow Dancer" and "Look What You've Done to Me." Vocalist Ms. Monet stopped the show with "Until You Come Back to Me" and Scaggs seemed happy to yield her the floor.

Scaggs and McDonald will be at Bank of America Pavilion in Boston on Thursday.

© Cape Cod Media Group, a division of Ottaway Newspapers, Inc. All Rights Reserved.

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Boz Scaggs - Ft. Worth, TX - May 13, 2009

Bass Hall
Ft. Worth, TX
May 13, 2009


FORT WORTH — From the moment Boz Scaggs opened his mouth on Jojo, his first number Wednesday night at Bass Hall, it was like nearly 30 years had been erased.
It wasn’t just that the 1980 hit had a smooth R&B groove that was common in radio songs back then; it was that Scaggs’ voice — that velvet-soul voice behind so many late ’70s and early ’80s hits — sounded just like it did on the records, even though the guy doing the singing turns 65 next month.

Scaggs could have rested on hits like Jojo and Lowdown, his big smash, which came about midway through the show, in a slightly extended version that highlighted keyboardist Deron Johnson and guitarist Drew Zingg. Predictably, Lowdown got some people out of their seats for a standing ovation; less predictably, it kicked off a stretch that really got the audience going.

The band’s background singer, Ms. Monet, had already been gaining some attention with some dance moves. On Miss Sun, the song that followed Lowdown, she began bouncing her vocals off Scaggs’ guitar lines, and then she and Scaggs engaged in a fierce duet that was a thrilling step away from being a duel. Ms. Monet then took the spotlight, with a long, brash version of Aretha Franklin’s Until You Come Back to Me that pretty much stopped the show (although if she milked it anymore, it would have slowed the show down).

Scaggs, a former Plano/Dallas resident, had the relaxed, confident air of a man who has been in the music biz off and on for 40 years and really doesn’t need to prove himself, but still wants to show his audience a good time. His mix of hits (Look What You’ve Done to Me and Slow Dancer, not a big hit but familiar to Scaggs’ fans) and less-familiar material (Desire, off his 2001 album Dig; Allen Toussaint’s Hercules) made for a well-paced concert that was like hanging out with an old friend who understands the pleasure in the element of surprise.

The show opened with a 30-minute set by Kat Edmonson, an Austin singer whose jazz style was a little reminiscent of Norah Jones.

Edmonson’s Billie Holiday-influenced vocals might have been an acquired taste (judging from the line to buy her CD, a decent portion of the crowd acquired that taste quickly), but she knows how to take risks: It’s not too often you’ll stumble across a singer who will turn the Cure’s propulsive 1987 hit Just Like Heaven into a ballad so smoky you can practically hear ice clinking in highball glasses.

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Boz Scaggs - El Paso, TX - May 12, 2009

Plaza Theatre
El Paso, TX
May 12, 2009

[Doug Pullen writes about the national music scene for]

Scaggs, EP meet, fall in love at Plaza

EL PASO — There's nothing like the sense of discovery to elevate a performance. 

Walking into the Plaza Theatre Tuesday night before Boz Scaggs show, I heard more than a few middle-agers relating to one another how the common response they got when telling friends who they were going to see that night was "Who?"

Walking out nearly two hours later, they were saying "Wow." It was pretty obvious a lot of people didn't realize just what a high-caliber, and high-class act the silky smooth singer has been all these years.

Of course, it's a little hard to believe that Scaggs, a former Texan more than a quarter century removed from his hitmaking machine days, has never performed here before. "I don't think I've ever been to El Paso before," the singer, now 65, said incredulously one song into his performance at the Plaza Theatre, "and I can't believe it. I'm happy to be here."

Turns out the feeling was mutual.

There was the usual kind of checking each other out that goes on when an audience and artist meet for the first time. But song by song, hit by hit, soaring vocal by savory lick, the singer and his seasoned six-piece band found common ground with the mostly middle-aged crowd of 1,620. 

The sense of discovery that didn't so much come with the slowed down, slinky version of "Jojo" with which he opened the show, but lesser known but no less worthy songs like the funkified "Payday" from 2001's "Dig," the closest thing to "Silk Degrees" he's made since that blockbuster came out in 1976," and the Southern lilt of "Georgia," one of four songs he performed from "Silk Degrees."

He sealed the deal with the surprise inclusion of "King of El Paso," a bluesy cowboy song, also from "Dig," that he said was inspired by literary giant and former El Pasoan Cormac McCarthy. The song took on added resonance with that evocative landscape of the Franklin Mountains, which usually serves as a backdrop for the El Paso Symphony Orchestra, as a backdrop.

By then, the artist and the audience had become something of a mutual admiration society. When hits like the jazzy "Harbor Lights," highlighted by a soaring electric piano solo by ace-in-the-hole Deron Johnson, and "Lowdown" started subtly working their ways into the 1-hour and 45-minute set, the dye was cast.

The set hit a peak when Scaggs led the group into a lush, restrained version of "Miss Sun," turned the spotlight over to his vibrant backup singer Monet Owens for an explosive version of the Stevie Wonder-penned "Until You Come Back to Me (That's What I'm Gonna Do)" that was such a vocal powerhouse that Aretha Franklin, who recorded the definitive version, would be hard-pressed to top it. She got the biggest ovation of the night and it's a safe bet that most in the audience will remember her, even if they didn't knew her name.

Scaggs couldn't possibly match her vocal pyrotechnics and wisely didn't try — it's impressive he can still sing falsetto so well at this stage of the game — following her showcase with an impeccable, restrained version of the "Urban Cowboy" ballad "Look What  You've Done to Me." Owens, who was just about as impressive in a supplementary role, layering her harmonies on top of his dulcet voice.

That mix of restraint and dynamics was the hallmark of the night, from Owens' visual foil and on-the-money vocals to Johnson's colorful keyboard work to lanky guitarist Drew Zingg's consistently tasty solos to Scaggs' often overlooked talent for funk guitar flourishes and noodling, smartly picked solos (remember he used to be Steve Miller's other guitarist) that just drip his blues, rock, R&B and jazz predelictions.

By the time the regular set ended with a disappointingly muted version of his biggest hit, "Lido Shuffle," the artists and the audience were getting along like old friends. They certainly didn't overstay their welcome with the two-song encore of "Breakdown Dead Ahead" and a blow-out version of the slow blues "Loan Me a Dime," unearthed from his 1969 debut album (with Duane Allman on lead guitar) that gave Scaggs, Johnson and Zingg one last chance to show this virgin audience just what they've been missing all these years.

Guess the question they'll be asking today is "When's he coming back?"

Set list

1. Jojo

2. Payday

3. Slow Dancer

4. Hercules

5. Georgia

6. King of El Paso

7. Harbor Lights

8. Lowdown

9. Sick and Tired

10. Miss Sun

11. Until You Come Back to Me (That's What I'm Gonna Do)/Monet Owens

12. Look What You've Done to Me

13. Lido Shuffle


14. Breakdown Dead Ahead

15. Loan Me a Dime

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Boz Scaggs - Santa Rosa, CA - Apr 28, 2009

Boz Scaggs
Wells Fargo Center
Santa Rosa, CA
Apr 28, 2009

An outstanding show once again! Boz seemed in great form playing lead like I've not seen before! Ms Monet strapped on a guitar behind Boz's back and when he turned to see what Rich was pointing out, everyone on stage cracked up! The two of them went back to back for a few licks and it became clear that Ms Monet chose the right profession! She is doing an awesome cover of Aretha's "Until you come back to me"! It was all I could do not to jump up and dance! It was fun to see everyone having a great time doing what they love! No Barbara this year so Rich Patterson was helping with the vocals which just didn't seem as strong without our 2 girls belting out the notes! Miss Sun was cute as ever with Monet pointing to herself when Boz sang "Been thinkin' bout ya all night"! Can't wait for Saratoga!


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Boz Scaggs & Allman Bros - Beacon Theatre - Mar 13, 2009

The Allman Brothers & Boz Scaggs
Beacon Theatre
March 13, 2009

Allman Brothers 40th Anniversary Performances
with Boz Scaggs *

Set List

Set 1:
Midnight Rider
Don’t Keep Me Wonderin
Done Somebody Wrong
New Instrumental
Into The Mystic w/The Juke Horns
One Way Out w/Bruce Willis
Smokestack Lightning w/Bruce Willis
Southbound w/The Juke Horns

Set 2:
It’s Takes A Lot To Laugh (It Takes A Train To Cry) w/Boz Scaggs *
Sick and Tired w/Boz Scaggs and The Juke Horns *
Ain’t No Love In The Heart Of The City w/Boz Scaggs and The Juke Horns *
Loan Me A Dime w/Boz Scaggs and The Juke Horns *
The Same Thing w/The Juke Horns
Wasted Words
No One To Run With

Whipping Post

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Boz Scaggs - Englewood, NJ - Jan 13, 2009

Bergen Performing Arts Center
Englewood, NJ
January 13, 2009

Boz in Englewood, NJ

I go to a lot of Steely Dan concerts. At a concert in November, my friend and I were talking to Dan guitarist/musical director Jon Herington before the show and he said he would be doing some dates with Boz in January. We've seen Boz before, but never with Jon so we jumped on tickets and got 6th row center. Although I haven't been to Count Basie, I've heard that the seating was cramped and I knew that wasn't an issue in Englewood as I've seen shows here before.

It was the "hits" show, and it was good to hear Herington's solos on Lowdown and Loan Me a Dime. During the band introductions, Boz introduced Jon as being from NYC. Jon walked over to him and asked him to instead tell the crowd that he's from West Long Branch, NJ. (That is how he's introduced at NJ Steely Dan shows.) Boz was like "West Long Branch? Sounds like a place with s***-kicker bars." and the crowd laughed.

My only disappointment was not hearing Breakdown Dead Ahead. I've yet to hear Boz do it live.

- davenj50

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Boz Scaggs - NYC, NY - Jan 11, 2009

City Winery
New York City, NY
January 11, 2009

Firstly if you are in NYC or the NY area you must make the effort to see the beautiful new venue - The City Winery. It opened New Year's Eve and it seats around 400 cabaret style and has an amazing wine list as well as some in-house product. Has a nice menu too. Sound was great and Boz was in his usual great form...very fluid on guitar and shared the stage well with the usual cast of characters....

Set list - City Winery NYC January 11, 2009

Slow Dancer
Sick & Tired
Harbor Lights
Miss Sun
Street Life
Look What You've Done To Me
Lido Shuffle

Loan Me A Dime

- rsg010

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Boz Scaggs - Red Bank, NJ - Jan 10, 2009

Red Bank, NJ
Count Basie
January 10, 2009

The Count Basie Theatre is an historic 1926 theatre in downtown Red Bank, NJ 

Thoughts on Boz Scaggs & more...

I thought the Boz Scaggs show last week was terrific, one of the best performances recently. The band were fabulous musicians, the quality of the sound mix had absolute clarity, the volume was appropriate (not too quiet, not too loud, but just right) and the set list was killer; he performed every song that a fan would want to hear.

He kicked things off with “Lowdown,” and you really have to admire an artist who plays his biggest hit first. That shows real confidence. It also lets you know that you’re in for a special night, because if you put the song the fans most want to hear in the first slot, where do you go from there? You better make sure you’re going up. Mr. Scaggs and company did not disappoint.

The next morning I had the pleasure of standing in line at 7-11 buying the Sunday papers behind two people who were at the show, and anonymously listening in while they raved about it.

This show gives me an opportunity to address one of the issues we hear about from customers most frequently: sound quality. The sound at this show was excellent. The sound engineer was Rich Davis, who last mixed at the Basie when he was here with Brian Wilson a year and a half ago for our Gala. One fun thing about show biz is that you keep crossing paths with people on different shows every few years.

The theatre does not own its own sound system. We bring in a sound company when we need one. Sometimes the artist is traveling with sound, but maybe 90% of the time, we supply the sound system. We use the same company: ACIR out of Atlantic City. (Everyone who works for them is named Steve; next time you stroll past the sound board, say “Hi Steve” and you can’t go wrong.) So most of the time when you see a sound system in use for a concert at the Basie, it is the same exact gear you’ve seen and heard before. Sometimes the artist may request a mixing console they prefer, but most of the time it’s the same exact gear.

The big difference from night to night is the performers using the system, and the engineer mixing the system. The artist almost always brings their own engineer, so "the Steves" don’t often get to mix. If you get an artist engineer who is really good at his or her job, the results can be magnificent. You can hear every instrument and voice with clarity, and the volume is not excessive. But if you get an engineer who is not so good at his or her job, well… you know what that result is like.

Of course people ask me all the time: why? Why isn’t the sound good tonight? Why can’t that person make it sound better, or less loud? And the answer is more or less the same answer that applies to any job or career: some of us are really good at what we do, and some aren’t. Why would an artist hire someone who isn’t so good? It’s hard for me to answer that question when I’m not doing their hiring, but I imagine it’s the same as any hiring scenario you encounter in your work.

The other factor is often the performers themselves. If you get a group of musicians who really know how to use a sound system to their advantage, together with a great engineer, it can be a magical night. But even if you have a great engineer, if you get a guitar player who just insists on turning his amplifier all the way up, and drowning out everyone else on stage, then the sound engineer is forced to turn the volume on everyone else up to try to get a balanced mix, and the result is just one big, loud, muddy mess.

Of course, it doesn’t need to be that way, but human nature is human nature, and it’s no different in show business. Some people know how to work with others, and some people just insist on going their own way and making everyone else deal with the consequences.

Of course, even in a perfect world, things still happen. There’s an awful lot of gear on stage at any given concert, and sometimes things break down. It happens, and when it does, we do our best to fix it and get back on track. The surprise is not that things break down from time to time. The surprise is that there’s so much complicated gear on stage that the miracle is that any of it ever works at all.

But at any rate, once in a while the right group of musicians and engineers and technicians catch magic in a bottle, and if you were at the Boz Scaggs show, you know that everything and everyone were on top of their game and working together. It was a great night.

Posted by Count Basie Theatre (Numa C. Saisselin, CEO)

Saw Boz and the band this past Saturday night, absolutely smokin' from start to finish. Band and backup singers were cooking. The one thing that I sensed with Boz is he is a sharing performer, gladly moved to the side when someone in the band had a solo. Had an excellent time.

PS If you are in the area, Count Basie has been completely remodeled and looks fantastic.

- ecline

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Boz Scaggs - Mashantucket, CT - Jan 09, 2009

Mashantucket, CT
MGM Grand
January 09, 2009

Boz Scaggs still a soulful music original

Stephen Peterson [Sun Chronicle]
January 11, 2009

Boz Scaggs continues to be a musical original, creating some of the smoothest "white" soul around.

Scaggs and a crack backup band performed Friday night at MGM Grand Theater at Foxwoods.

The fairly-new theater has been getting rave reviews for its acoustics and the musicians on the stage shined in such a venue, particularly the saxophone player, guitarist and keyboardist. And the singer-songwriter-guitarist's graceful and laid back voice remains steady for his 64 years.

Scaggs has a new CD out, "Speak Low," which features jazz standards - just one of several music genres, including rock and rhythm and blues, he has focused on in his four-decade musical career.

The show opened up with Scaggs biggest hit, "Lowdown," which won a Grammy for best rhythm and blues song and hit No. 3 on the charts. The song was a disco favorite and is one of several splendid songs off 1976's "Silk Degrees," which tapped session musicians who later became the core of Toto. The album, which reached double platinum and sold over 5 million copies, continues to be the peak of Scaggs creative and commercial success.

"Jojo" showcased the sax player. Ray Parker Jr. played guitar on the tune for 1980s' "Middle Man," a Top 10 and Scaggs' fourth consecutive platinum album.

The concert reached into Scaggs early years with the ballad "Slow Dancer," the title song from a 1974 album.

"Desire," from 2001's "Dig;" "Hercules," a song that dates back four decades and was done by New Orleans musician Allen Toussaint, who Scaggs said is one of his favorites; and another New Orleans number, Fat's Domino's "Sick and Tired," showed the audience this wasn't going to be a typical hits show. The pianist and trumpet player sizzled on the latter, and Scaggs has covered the two New Orleans songs on past albums.

One of two female backup singers was spotlighted on one jazzy number that involved an intense exchange with Scaggs, and she stole the show with another jazzy tune, "Street Life" that was done by the Crusaders in 1979.

It was a return to Scaggs popular songs, with the beautiful "Look What You've Done to Me," which was featured in John Travolta's "Urban Cowboy" movie and that three members of the Eagles sang backup on for the album, and the pick-me-up and guitar strong "Lido Shuffle," also off "Silk Degrees."

The band was rounded out with another guitarist, bassist, and drummer.

Missing from the show were Scaggs' popular numbers "Breakdown Dead Ahead," "We're All Alone" and "What Can I Say."

Born in Ohio and raised in Texas, Scaggs played in the late 50s and 60s with Steve Miller, who he met in school and who taught him how to play guitar. Setting out on a solo career, Scaggs initially toured Europe playing folk music before returning in the late 60s to again play with Miller's fledgling band. Scaggs' bluesy, debut 1969 album had the late Duane Allman on guitar. He has been based in San Francisco for decades and pretty much took the 1980s off from the music scene.

Scaggs was also influenced by Lou Rawls, Ray Charles, and Motown, and himself inspired Phil Collins, Huey Lewis and Michael Bolton.

Yet another fantastic performance by the Boz and his accompanying band. This is the third time in 7 months that I have had the priveledge to see the group perform live in CT. The venue at MGM was great but the musician and his band were 'flawless'.

Having listened to Boz for over 30 years, he rates as "THE #1 MUSICIAN" in my book. I keep hearing Dennis Hopper mentioning BOZ SCAGGS on the show "Crash" and can't wait for Boz to show up on one of the episodes. Looking forward to your next trip to the northeast! 8-)

- jazztoons
Official Boz Scaggs Archive

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