You would have to be really, really new to not know who Ray Manzarek is, right? Wrong, I think. In the early 60s, fresh out of college, Jim Morrison and Manzarek started a music group that broadened many generations’ perspectives on the significance of pop and rock music in a rapidly changing American society. Yes, Manzarek was the keyboardist for The Doors, the very influential blues, psychedelic and hard rock band from the 60s and 70s. Once Morrison died and the hubbub faded away, shouldn’t Manzarek have faded away? Well, he didn’t.
Since those early “acid-head” days, as he describes them, Manzarek has produced, written, performed, made films, and collaborated with an eclectic group of talented performers and artists, maintaining a strong artistic presence. Notably, some of his activities have seriously pissed off more than a few people concerned about the The Doors’ legacy. From 2003 to 2005, Manzarek and Robby Kreiger, original Doors guitarist, toured in a group they called The Doors of the 21st Century, which used Doors songs and imagery from the band’s early days with great success. The ensuing lawsuit went badly for Manzarek, however, and he was yet again in the headlines.
On to now… Manzarek is touring with legendary slide guitar player Roy Rogers, one of the best and iconic blues players out there. Rogers has received many accolades over his long career as a performer and producer. For his work with artists such as John Lee Hooker and Ramblin’ Jack Elliot, Rogers has two Grammy nominations, numerous Grammy credits, eight solo albums, and his live performances are recognized worldwide as virtuosic and electrifying.
Manzarek and Rogers’ set at The Triple Door was largely composed of the blues, of course. Both musicians are well versed in many styles of the blues, and their attempts were effective and entertaining. Manzarek led off with a boogie-woogie welcoming the incoming president: “Goodbye Bush, Hello Obama!” The duo then continued with almost new-age sounding instrumentals. While taking turns on the mic, they traded in some blues styles for others. Manzarek and Rogers have a recent album out entitled Ballads Before the Rain (yes, Mr. Manzarek, it’s wet in Seattle). Alas, no copies were available for sale at the venue.
The stage arrangement was simple: just two guys playing their instruments together. In fact, they could have been comfortably jamming at home. Interspersed between musical numbers, Manzarek was resolute in his storytelling of his days with The Doors, recalling drug related adventures and mishaps during their exciting touring days. He also spoke of growing up in Chicago and listening to legendary DJ Al Benson on the radio and falling in love to the music of Howlin’ Wolf and Muddy Waters. Entertaining to me was the fact that after the intermission, Manzarek’s playing suffered a tiny bit, but his storytelling actually improved! Hmm…
Manzarek, though not an amazing piano player, showed great adeptness on the keyboard at stock blues riffs and atmospheric ballads as well as trademark Doors figures and themes. Some of those signature Doors figures and chord progressions found their way into improvisational numbers that Manzarek described as interpretations of Gil Evans’ arrangements of Miles Davis’ “Sketches of Spain.” I know, try following that one.
Rogers showed his versatility as both a side- and frontman with his ability to get under the delicate instrumental arrangements and then burst out with straight-ahead Delta blues raunchiness as needed. His dynamic playing ramped one song up to the point where the crowd began shouting and clapping in time. A memorable example started out as a bit of jamming, which then solidified into a good chunky dirty blues with Rogers singing, “I’m a Politician!” This number kind of reminded you of a Doors tune, and then happily medleyed into “Back Door Man.”
Manzarek took some time for a question and answer period that consisted of mostly “thank yous” and “ Where does (did) the music come from?” Manzarek and Rogers then ended the night with an instrumental of “Riders on the Storm,” complete with guitar solo and tinkly, gentle piano outro.
