One doesn't necessarily associate punk firebrands the Clash with the radio-ready likes of Third Eye Blind and No Doubt. But in the years since the demise of the Clash, their impact, once localized to the punk underground, has seeped up from the gutter they once championed. ("The truth," rasped Joe Strummer in one of his more memorable couplets, "is known only by guttersnipes.") Burning London affords a dozen-plus popular late-'90s performers the opportunity to tip their hats to the erstwhile scourges of the mainstream. The results, as is common with such tributes, are wildly mixed.
The Borderline, a small club in the heart of London was chosen to stage a revival of Bonamassa’s early career power-trio jam nights. Armed with a Fender Stratocaster – Bonamassa along with a single drummer and bassist launched into a setlist marked with extended takes of songs from his first set of albums including some never before performed live on stage.
Dejan Lazić has long been interested in the art of the transcription, and here his program is built around the piano concerto that Beethoven fashioned from his own Violin Concerto. Lazić gives a fine performance: Trim and punchy, it sits well under his fingers. It was created for London-based Muzio Clementi, pianist and publisher, whose imposing B-minor Sonata makes an apt companion. As does the third panel of this triptych, the Sonata written by Johann Baptiste Cramer, a musician admired by Beethoven and who also settled in London. His dramatic sonata “Le Retour à Londres” is thrillingly played here.