Lost in The Music with Lisa Fischer and Grand Baton
Being isolated on a rock in the Pacific, we’re lucky when we get top-notch entertainment that comes through our towns. Kahilu’s Artistic Director Chuck Gessert had the foresight to bring in the great vocalist Lisa Fischer last Friday. He’s been raving about her show for about a month and even screened the Oscar-winning documentary she stars in, 20 Feet from Stardom, to get folks excited, too. But all the pre-show hype and pre-recorded footage don’t even compare to seeing Lisa Fischer and her band Grand Baton live.
Fischer won a Grammy with her 1991 hit “How Can I Ease the Pain,” and paid her dues for decades on the road and in the studio singing behind pop legends like Luther Vandross, Tina Turner, Sting, Alicia Keys, and the Stones. She’s now stepped into the spotlight and deserves every moment of her fame.
After a few quick band introductions, Fischer jumped into a fiery version of “Message in a Bottle.” Fischer’s 90-minute set was mostly filled with cover versions of hits by artists she had sung backup for, but the arrangements were almost unrecognizable, featuring polyrhythmic explorations and gospel/spiritual elements. “We like to be able to sing songs great artists made popular, and reinterpret them our own way," Fischer said in a soft, whispery voice she used for between-song patter. Fischer used two microphones throughout the show. One handheld mic was for straightforward singing, while the other produced ethereal echoes and delays. Offstage, a Kahilu sound tech watched for Fischer’s cues on which vocal parts to emphasize. The result was phenomenal.
When Fischer isn't singing, she dances, sways, and performs mesmerizing gestures with her arms. It’s easy to get absorbed in the dreamy music and stage visuals.
Before starting the “Immigrant Song,” Fischer delivered a heartfelt introduction about discovering her DNA roots from one of those mail-away kits. She learned she’s partly African, Indian, and a small portion from the UK showed up in her ancestral pie chart, but she had no American roots – “Does that mean I could be an immigrant?” said Fischer in a paranoid yet humorous tone. Although we have differences, Fischer said we should remember that we are “one beautiful world with beautiful countries.” At that moment, a baby in the audience made a loud noise. “Yes! The baby knows,” replied Fischer.
JC Maillard. Photo: Steve Roby
Fischer’s band, Grand Baton, is the powerful force behind her vocals. The trio features Musical Director and multi-instrumentalist JC Maillard. He alternates between electric guitar, keys, and SazBass, an 8-string electroacoustic instrument inspired by the traditional Turkish “saz” and Greek bouzouki. It was created and designed at Maillard’s request by French luthier Herve Prudent. Maillard also provided backup vocals and was given a center-stage solo, which he mostly performed on his knees.
Throughout the evening, drummer Thierry Arpino demonstrated he was a master at jazz, rock, African rhythm, R&B, and pop rhythms. He’s backed legends like Joe Beck, Larry Coryell, and Jean-Luc Ponty. Arpino played Zildjian cymbals of all shapes and sizes that sat on a pole towering above his head. He’s endorsed by Yamaha, which explains the double floor bass drums. Before the show, I asked him how many pieces were in his kit – we counted and came up with twenty-four, not including the cajon, the box-shaped percussion instrument he used on “Fever.”
Aidan Carroll. Photo Steve Roby
Aidan Carroll played both electric and stand-up bass throughout the show. Carroll has had successful stints with Donald Fagen, Warren Haynes, Fred Hersch, and other notable artists. He has been with Fischer for several years now and is allowed to improvise freely during solos, as he did brilliantly on “Fragile.”
Thierry Arpino. Photo: Steve Roby
During her concert, Fischer wanted to connect more closely with the audience and go out among the crowd, but the portable wooden staircase had been stashed away. Gessert and a stagehand immediately jumped into action for the spontaneous event and quickly wrestled the bulky contraption. “I love it when men use their muscles,” said Fischer as the stairs became available. “I feel like a princess!” During her time with the fans, she pointed out a few single men and sang a sultry version of “Fever.”
Fischer and Grand Baton closed the show with a slow, funky Stones’ medley of “Jumpin’ Jack Flash” and “Miss You.” JC Maillard played lead on SazBass while the rest filled in with a Middle Eastern beat – Fischer scatted brilliantly over trance-inducing rhythms. Everything built to a feverish pitch before fading into a calming melody.
Gessert and Kahilu’s executive director, Deborah Goodwin, came out to place leis on everyone. Some thought it was the end of the show and started leaving, but the faithful were treated to an otherworldly version of “Gimme Shelter.” Her haunting vocals washed over the crowd, resulting in wall-to-wall “chicken skin.” Aidan Carroll played a solo on upright bass, while Arpino quietly used brushes on his snare. Fischer traded vocal lines with the audience – “Listen to the choir,” she said. As the audience sang, Fischer joined them, saying, “We need more love, sweet love, today and every day,” and adding, “In a world as cold as stone / Must I walk this path alone / Be with me now,” from the song, “Breath of Heaven,” a 1997 tune she did with Grover Washington, Jr. By far, this was the best pop concert for Kahilu’s 2018/2019 season. Bravo!
Set List: Message in a Bottle | Lost in the Music| Rock and Roll | Immigrant Song/Fragile | Blues in the Night/Laid in Earth | Heart and Soul/Fever/ Guitar/Cajon Solo | Superstar/ How Can I Ease the Pain | Jumpin’ Jack Flash/Miss You |
Encore: Gimme Shelter/Breath of Heaven (Mary’s Song)
Steve Roby is a music journalist and best-selling author, originally from San Francisco. He’s been featured in the NY Times, Rolling Stone, and Billboard Magazine. Roby is also the Managing Editor of Big Island Music Magazine.
Photos: Steve Roby
