http://www.buffalonews.com/entertainment/story/267205.html
If there’s Doors music in heaven — and my heaven wouldn’t be complete without it — it would probably sound like the Buffalo Philharmonic Orchestra’s “The Music of the Doors.”
The Doors’ psychedelic rock with an edge of blues hooked a generation when the sound was produced by just four guys — one of whom played nothing more complicated than the maracas. Add the soulful power of the orchestra and the audience got a glimpse of what the music could be.
Under the guidance of arranger Brent Havens, who also conducted, the orchestra enhanced, without ever trampling, the purity of the keyboard- drums-guitar sound.
The sold-out crowd was made up mostly of people in their 30s, 40s and 50s with a sprinkling of children and teens. A few people wore Doors T-shirts; a couple of the longhaired bearded types looked like they could have been Jim Morrison, back to hear his music in this perfect hall.
The evening began with the usual subdued, graceful notes as the orchestra members tuned up and settled into their chairs silently. Then Havens took the podium and the rock band at front and center — guys on guitar and bass, a drummer and a keyboardist — launched into the rollicking opening notes of “Touch Me,” drawing yells from the crowd. “Touch Me” was one of the triumphs of the night, with the depth and power of the Philharmonic musicians enhancing the simple melody and intricate guitar work of the original. (Real Doors fans will recall that the band was backed by a brass section and violinists when they did the song on the Smothers Brothers show in 1968.)
Randy Jackson, lead singer of the rock group Zebra, did the vocals, and while he was good, his smooth baritone lacked Morrison’s richness and his phrasing was occasionally more mechanical and singsongy than heartfelt. Still, it takes a confident man to sing Morrison’s tunes, and Jackson did well with a tough gig.
“The Music of the Doors” was a masterfully mixed selection, with both radio hits (“People Are Strange,” “Love Her Madly,” “Roadhouse Blues”) and more obscure (“20th Century Fox,” “Wishful Sinful,” “The Unknown Soldier”). One true rarity was “Ghost Song,” a lyrical spoken-word piece written by Morrison and put to music after his 1971 death. Unfortunately Jackson’s recitation was mostly drowned out by music.
The throbbing chords and soaring transitions of “Hello I Love You” particularly benefited from the majestic orchestral sound, and “Riders on the Storm” was a triumph, with mixed rain and thunder sounds playing off gorgeous violin and cello work and tinkling, rippling keyboard runs.
Havens saved some hits for the encore, closing with “Break on Through” and the long version of “Light My Fire.”
It was, as Jim might have said, an hour (or more) for magic.
(thanks, Don)
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