The Alexis P. Suter Band featuring Garth Hudson

Just Stay Live

Nola Blue/Big Mama Productions

When Alexis P. Suter opened for Levon Helm nearly ninety times at his barn in Woodstock, it became clear that audiences were hearing an extraordinary talent emerge. Suter’s second studio recording, “Two Sides,” released in 2011, earned her a 2012 Blues Music Awards nomination for Best Soul Blues Female Artist of the Year. After signing with American Showplace Music, producer Ben Elliott understood exactly how to position her gospel-shaped bass-baritone voice for blues radio. Using Big Mama Thornton as a model, Elliott helped shape Suter into a powerful blues-rock presence by turning up the volume on Jimmy Bennett’s guitar. The albums “Love The Way You Roll” in 2014 and its follow-up “All For Loving You” both exceeded expectations and further established her voice in contemporary blues.

Often compared to Mavis Staples, Alexis P. Suter and her band were joined by Garth Hudson of The Band for a special live concert. Hudson, a Rock & Roll Hall of Fame member, contributed piano and accordion throughout the performance. The band lineup included Suter on lead vocals, Jimmy Bennett on guitar, Peter Bennett on bass, Ray Grappone on drums, and Vicki Bell on harmony vocals. Additional musicians included Benny Harrison on keyboards, Connor Kennedy on guitar, and Linda Pino on vocals. The album was recorded live at The Falcon.

The album opens with “John the Revelator,” written by Blind Willie Johnson and first recorded in 1930. Suter delivers the opening with commanding force, singing, “tell me whose that rising…John the Revelator, wouldn’t the good lord tell me who”, while Jimmy Bennett’s guitar and Hudson’s expressive piano immediately set the tone.

“Garth Piano Solo” is exactly what its title suggests. Suter introduces Hudson, who then delivers a five-minute solo piano performance that showcases his inventive creativity and unmistakable touch. On “It’s Not My Cross To Bear,” the Gregg Allman classic, Suter sings, “I have not come today to testify, about a bad, bad, bad disposition…but I’ll do so, it’s not my cross to bear, I’ll be long ’cause it’s not my cross to bear”.

“Whistling in the Dark,” written by Vicki Bell and Jimmy Bennett, features Suter moaning, “the world’s gone crazy as I’m whistling in the dark, everybody’s crazy…whistling in the dark, hiding behind my fears”. The song carries a modern unease while staying rooted in the group’s gospel-blues foundation.

“Knocking on Heaven’s Door,” the classic by Bob Dylan, becomes a deeply emotional exchange between Suter’s voice and Hudson’s piano. Suter groans, “I feel like I’m knocking on heaven’s door, knock, knock, knocking on heaven’s door”.

“Hole That I’m In,” written by Bell, Suter, and Grappone, finds Suter crying, “I’ve been searching for ya, that’s the hole I’m in…what we need is love”. On “Rise,” also written by Grappone, Suter, and Bell, she belts, “I’ve been thinking about my heart, I’ve been thinking about walking alone…rise, oh, oh, oh”.

“Only I,” written by Bell, gives Suter another emotionally rich vocal setting as she shouts, “only I still talk about her, I could never make you happy, I can never be what you want me to be…but life is like a river and I’ll just keep rollin’ on”.

On “Turn On Your Love Light,” written by Joseph Wade Scott and Don Robey and first recorded by Bobby ‘Blue’ Bland, Suter wails, “like a warning, you broke my heart…I’m beggin’ you please let it shine, shine, shine, turn on your love light, let it shine on me”. The performance carries both grit and revival energy.

The closing track, “Isn’t It a Pity,” by George Harrison, brings the evening to a reflective finish as Suter croons, “isn’t it a pity…how we break each others hearts…I’d like to take you back, isn’t it a pity”.

The group captures the emotional weight of the evening in their own words: “Hearing Garth pour his heart and soul into the music this night had all of us enchanted. We were transformed in that moment-singing, playing, connecting with the people and healing at the same time. It was an emotional full circle, and a profound moment for all of us. We’re eternally grateful to have this recording of a special moment in time. We hope you feel the magic too.”

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