![]() ![]() ![]() Those legends took care in their performances to vary moods and tempos, branch away occasionally from lightning-fast fury to let their playing breathe – smolder as much as smoke. Go back to myriad live sets available from Hendrix or Clapton, or dust off another touchstone for this offspring, 1986’s “Live Alive” from Stevie Ray Vaughan. It shouldn’t be all there is to Randolph’s sets, especially this far into his career, when his intermittent studio work – like Lickety Split, last year’s solid first effort for venerable jazz label Blue Note – shows him capable of a wider array. Yet that kind of wow has inherent limitations: the more you see it, the less effective it becomes. You won’t soon see another pedal steel handler set off flurries of sparks via a standup model of the flat-laid guitar, nor watch one slump forward on his seated version, head slung low and eyes closed as if divining the moment’s passion, while the contraption tilts closer and closer toward the crowd – until you think it just might come crashing down on the Coach House’s table-tops. Such pyrotechnic displays of his ability are stunning, even jaw-dropping. ![]() ![]() Within any given groove, be it slow and sultry or hopped-up with gospel frenzy, he will make it swoop wildly, squeal with delight, sing eloquently, almost operatically. In his restless hands, which box the strings as much as caress them, the pedal steel doesn’t just weep – it howls and hollers, barks and brays. Randolph, who drew a modest-sized crowd to the Coach House in San Juan Capistrano on Thursday night, conjures emotions out of his axe no Nashville session master would dare approach. His talent is unquestionably remarkable – calling the Jersey native the Jimi Hendrix of his stationary instrument, as critics so often have, may be misguided, but the intention of such over-the-top praise isn’t misplaced. A decade since first gaining attention as an innovative virtuoso of the pedal steel guitar, there remains a noticeable disconnect between the multifaceted recording artist Robert Randolph has become and the often inspired yet sometimes one-dimensional and directionless jammer he can be on stage. ![]()
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