Michael Kaeshammer and his band in concert – Victoria B.C.
When Michael Kaeshammer sits down at a grand piano worthy of his dynamic range, the genuflection towards the likes of Albert Ammons, Meade Lux Lewis, Big Joe Turner and Pete Johnson (the Grand masters and caretakers of the Boogie Woogie music genre of the 30’s and 40’s…) is immediate, respectful and unmistakeable.
Born in Germany, but relocated to Canada as a young adult, Michael Kaeshammer has toured and recorded tirelessly and brings an energetic show to virtually every stage. His visit to the McPherson Playhouse on a crisp night on November 27th, 2015 was no exception. With 6 Juno nominations to his credit and numerous music awards, Michael is a veteran of several classic musical idioms including but not restricted to boogie-woogie, Fats Waller inspiring stride piano, Chicago blues, straight ahead Jazz and The Great American Song book.
This was my third time at a Michael Kaeshammer concert and if one thing is assured, it is a sudden release of musical energy that is off the charts. Michael Kaeshammer does not simply play the piano as much as he pushes it to the outer reaches of the instruments spectrum. A Michael Kaeshammer show is a tribute to 20th Century piano history and within the realm of Michael’s humility, he makes the 88 key piano the actual star of the show with his seemingly limitless mastery of the instrument taking the piano places it has never been.
Michael Kaeshammer also leaves his ego in the dressing room as band members, Nick La Riviere on trombone, Paul Pigat on Fender Telecaster guitar, Devon Henderson on acoustic and electric bass, a nuclear powered Roger Travassos on drums, a hirsute and Miles Davis inspired William Sperandei on trumpet, and an endlessly soulful Eli Bennett on tenor saxophone take turns raising us into the stratosphere.
In an almost 3 hour show, Michael Kaeshammer and his band seamlessly cross the boundaries of a more formal tribute to a classic American musical genre into the realm of a piano masterclass. What’s quite apparent early in the 1st set is that Michael is so giddy to be back home among friends that the audience is treated to a first class jam session where there is no play list or expectations – it’s just all fun from the word go. And the McPherson audience is the sole beneficiary at this house party. By the second set the band has settled into a groove somewhat reminiscent of a New Orleans Mardi Gras street party. At one point the horn section leaves the stage with Michael on tambourine to go “walk-about” ending up in the Upper Balcony entertaining a surprised and appreciative audience, the rhythm section below never missing a beat.
In another section of the 2nd set, Michael Kaeshammer and guitarist Paul Pigat are “cutting heads” duking it out between piano and Fender guitar. To his credit, Pigat takes the classic country-rock Telecaster guitar to places normally unexplored for this 6-string, squeezing out riffs generally more suited to a Gibson or Gretsch – and doing it with experience and aplomb.
Overall, this was the most spirited outing from Michael Kaeshammer that I have seen proving again that he is an exceptional performer, a true master of the piano and a great bandleader that brings out the very best in his musical team members. Bravo Michael Kaeshammer! Good show.
You can find out more about Michael Kaeshammer at his website Kaeshammer.Com
When Michael Kaeshammer sits down at a grand piano worthy of his dynamic range, the genuflection towards the likes of Albert Ammons, Meade Lux Lewis, Big Joe Turner and Pete Johnson (the Grand masters and caretakers of the Boogie Woogie music genre of the 30’s and 40’s…) is immediate, respectful and unmistakeable. Born in Germany,…