Getting To Know James Casey: The Saxophonist For Trey Anastasio Band And Meghan Trainor

first_imgJames Casey has made quite the name for himself lately. As a previous member of the Lettuce/Soulive family, he’s been an official member of Trey Anastasio Band for the last few years, and is currently wrapping up his first full tour with pop star Meghan Trainor. Hired as a saxophone player for the Trainor tour, Casey now sings John Legend‘s verses for the radio hit “Like I’m Gonna Lose You” in their live performances. The two-time Grammy nominated Berklee graduate, who grew up playing in his family’s church choir, has seen quite the diversity in his accomplishments. A go-to player for all things musical, meet James Casey.Live For Live Music: Can you tell us about your very first experience with music?James Casey: No, but my dad tells this story all the time of me … My dad was a choir director at the church that we grew up in and my mom played piano, and obviously when they’re both at choir rehearsals, the kids had to be there too. They had me and my brother and my sister there. I was 2, my brother was 4, my sister was just born, something like that.They had rehearsal and my dad was teaching a song and apparently I just busted out laughing and couldn’t stop laughing the whole time. He came over and was like, “Hey, what’s wrong? What are you doing? What are you doing?” I said, “The tenors are off.” I just kept laughing. That was at 2. I don’t know the veracity of it, but my dad’s been telling that story since I was a kid.L4LM: Did they start you on an instrument or were you gravitated towards something in particular?JC: The first instrument I picked up was drums. I was probably three when I first started playing. I would just sit behind the drummer at church and literally just watch him. My whole goal back then was to be able to play for my dad’s choir. Yeah, I was like a little kid, that’s how it all started! That was the end all and be all for me at the time. That was my goal.L4LM: When did you finally reach that goal?JC: When I was 9. Well, 8 really, but 9, I guess. I got my first drum set when I was 9, but I was that kid who would like build a drum set out of pillows and blocks and pots and pans or whatever, and when I finally got my first set was when I first got my first gig playing at a church.L4LM: Did you ever see yourself becoming a touring musician?JC: Man, I was supposed to be the best football player ever. That’s what I wanted to be. In my mind, football was it, you know? Music was just something I really liked to do, but football, that was going to be my ticket. I was going to make it and blah blah blah. Then I got hurt my freshman year in high school and all that just ended. Can’t really play football when you’re a 13 year old with a torn ACL.L4LM: So when did saxophone come into the mix?JC: I started playing saxophone the same year I got my drum set when I was 9. When I was in 2nd grade, my brother was in the 5th grade and started playing saxophone in the school band. But in 2nd grade I was 6, so I didn’t really have any front teeth at all, so I couldn’t play it. He brought it home to play and everybody, my sister even, got to play it. I didn’t get to play it and I was really really sad about that.When the time came for me around 5th grade, I had to play the saxophone. I could have played anything, but I really wanted to play the saxophone just because I didn’t get a chance to do it back then. I mean, we were broke. My mom said – I remember this plain as day – she said, “If we rent you this saxophone, you can’t quit.” So, yeah. My brother quit after that one year, so I kept it up.L4LM: And here we are. The first time I remember hearing your name was when you were playing with Soulive and Lettuce. Tell us how you went from playing in the church band to with some of the funkiest bands in all the land?JC: Well, there’s this club in Boston called Wally’s. Wally’s is where Lettuce came out of. Up until recently, any instrumentalist who was worth anything that came out of the Berklee, N.E.C., Boston place, they all had a night at Wally’s. When I first got to school there, Sam Kininger had a night at Wally’s. Sam Kininger is the old saxophone player for Lettuce and Soulive, in fact the original- him and Zoidis.Sam was up there and I had no idea who Soulive or Lettuce or any of that was, so as an 18 year old, people got me into the little small club and I would just stand up right next to the stage because I was 18 and not 21. I’d watch Sam play twice a week every week on Sunday nights and Tuesday nights, never, ever making my 9 o’clock class on Monday or Wednesday because we all were out there until 2:30 – I was taking it all in. I had learned vocabulary there. After I left, I was in a band with Louis Cato, who’s now my brother in law.So me and Cato went to school together then we worked in a band together called Six Figures and we all lived together in this house in Brooklyn when he had just started playing with Eric Krasno in Chapter 2. Krasno was starting up this new group called Chapter 2 and Cato was playing either bass or drums depending on the situation, I don’t remember which one. They had a show and there was a little after party thing – this was in 2009. There was an after party.They invited me and I went to it, you know, and at the after party they had a band setup set up so me and Cato just went up there and wrecked shop. That was the first time they all heard me play. That year from 2009 to 2010 New Year’s was mostly the first gigs that I played with Lettuce and Soulive. I was subbing for Ryan Zoidis, and that was my first foray into Lettuce and Soulive and all that.Right after that, Sam decided he was going to take a hiatus and I literally got a phone call at midnight asking me if I could fly out to L.A. the next day and then learn all this music on the flight because Lettuce and Soulive were on tour and they needed a saxophone player. That was it.Learned all the music that night and played it the next day. I was playing with them for the next four years.L4LM: How did that turn into your gig with Trey Anastasio Band?JC: Okay. I want to say the third Bowlive … 2012, Jennifer Hartswick was a special guest, and I’d never met Jennifer, I didn’t know who Trey [Anastasio] was, I didn’t know who Phish was, I mean, I had heard rumblings of something called Phish because I had started playing all these festivals with Lettuce, but I really had no idea. Jennifer had never seen or heard me play before, and I’d never seen or heard her play before, so we just kind of kicked it off and I was like, “Yo, you sound great.” And we were both like, “Yo, we should talk and play.” “That’s cool, let’s play.”That year at Jazzfest, I saw her again. I saw her and I met Natalie [Cressman] there as well, and again, I had no idea who they were and I was joking, I said, “Hey, Jennifer. This is the year of James getting all the gigs. Let’s all get gigs for James.” Like in a joking manner, of course. But she said, actually, I’ve submitted your name for a few things, so I said, “Well, I appreciate it!”Cut to August, I was in Arizona writing an album and I got a text message that woke me up from Jennifer saying, “Trey’s about to call you.” I didn’t know who Trey was, and then I got a phone call. I was asleep, I was tired, I didn’t answer it. It went to voicemail and it was this dude on the other end, it was like, “Hi. This is Trey Anastasio. I have a band called Phish and I want to talk to you about joining my band the Trey Anastasio Band. Give me a call when you get a chance, blah blah blah blah blah … ” Okay. I woke up, listened to the recording, turned my phone off and went back to sleep. I didn’t know who he was. It didn’t matter.Later I wake up and then I called up Adam Deitch because I was sure that he would know who this other person was or who these people were. I called him and said, “Yo, who is this person?” He just kind of flipped out. He was very happy for the whole situation.L4LM: Given the extremity of this offer, was it easy for you to make a decision?JC: I mean, at the time, nothing overlapped. Any time that there were Trey shows, there were no Lettuce shows, so it was just kind of sure, why not? I wasn’t positive on doing it at first, but then Deitch and Kraz were like, “No, you have to. You have no choice. You have to join this band. You have to, you have to.” To their credit, they’re definitely two of the reasons why I was in that band at all.L4LM: How did you deal with the transition from touring with a band like Lettuce to going on the road with Trey’s band? Musically, they are different. But also the whole logistical side of it was probably a lot different than what you were used to – getting a phone call and flying across the country to join a funk band.JC: Well, yes. Everything I had done up until that point, and even through now is just kind of like a stepping stone in a sense that the next thing is just a little bit bigger, you know? Overall, just a little bit bigger.I was in a pop rock band right after school and we were touring around in an SUV, in a Toyota Highlander. There were five of us and we were carrying a trailer up and down the east coast. I go from there to Soulive and Lettuce and from there to Trey. Those were pretty interesting leaps. It’s not necessarily musicality, because music is music. It’s more just a leap of … without making it sound too fucked up, it’s just a leap of money. You know? Financial backing. That’s definitely a big thing. The amount of people you’re playing in front of, everything. It’s a huge difference.L4LM: You were on Paper Wheels and Big Boat, correct?JC: Yeah. I got a pretty interesting story about that whole thing.I’m on my way to do this Phish record, going to the studio for Big Boat. While I’m on my way there, I get a phone call from a friend of mine who’s a producer asking me if I could put together some singers for a song to go into the studio. We were in the studio for a day already, so we had this one day before I had to leave town the next day to go on tour. I’m like, “Yeah, yeah. I can put something together for you. I can’t do it, but I can put something together.” So I put these singers together for this song that needed to be re-cut and what not and it turns out … I mean, I put my sister on it because my sister can sing really well. It turns out that it’s Chance the Rapper‘s new single. It was his new single and is now up for a Grammy, so now my sister’s nominated.L4LM: Wow. That’s incredible.JC: Yeah, so, that’s pretty cool. I was literally in the studio with Phish while I was dealing with that.L4LM: Then you left for Trainor tour. How did that come to be?JC: I have some great friends, I have some great friends. I went to school with a lot of musicians who are great musicians already, but they’re some great friends too. We all kind of look out for each other. When there are things that we can’t do, we put each other on just so everybody comes out. I have some friends who have been trying to put me on pop tours for years. I’ve always said no for one reason or another, but this time I had no reason to say no. I got a phone call and he was like, “Yo, man, can you do it?” I looked at my schedule and I said, yeah. The things that I have, I can move around, so let’s see what happens. It’s been way more than I was ever expecting it to be, so it’s a pretty interesting scenario.L4LM: Are you happy with that decision?JC: Absolutely.L4LM: Did they hire you knowing that you could also sing on top of playing the sax?JC: About a month into the tour, we were having a soundcheck. We do this thing called soundcheck parties where people who paid for VIP tickets can come and watch us do a soundcheck. We were doing that and the band was playing something and I was messing around singing into my saxophone microphone, and [Meghan Trainor] had her in-ears on and so she could hear it and I didn’t know she could hear it and I didn’t even know she was around. She comes around on stage in her onesie with her arms wide screaming, “Oh my God, James! You sing, I didn’t know!” I was like, wow, that’s what’s up. She’s like, “You’ve got to sing a song with me. You’ve got to sing a song with me.” I’m like, “Ha ha ha ha ha. Sure, of course.” In the back of my mind, I figured there was no way. She’s going to forget this tomorrow.The next time we had soundcheck, she’s like, “James, you just let me know when you’re ready.” I’m like, “Okay, yeah, I’ll let you know.” Literally the next day, she’s like, “James, I’m serious. You let me know when you want to sing.” I’m like all right, okay. Okay. This is more than enough time for her to be safe, but she’s still bringing it up, number one. Number two, I felt like I would really regret it if I said no.I watched this movie that Trey actually got me onto. It’s called 20 Feet From Stardom. It’s about all the people who were background singers who wanted to be leads and they never got the opportunity to literally just step on stage, and I’ve had all these crazy opportunities and I’ve always said no. So this time I said, why not? That’s really why that happened.L4LM: Obviously, the size of the room has increased enormously from the church to these huge stadiums and arenas. I can’t even imagine what that’s like for someone who originally wanted to play football.JC: Yeah, I mean, I was thinking about this the other day and I actually called my mom to talk to her about it. It’s like everything that I’ve gone through, musically – even the “failures” that I’ve had – really really positive things have come from it all. Everything that I’ve really put my mind to when it comes to music stuff has come into fruition pretty much. Some things have taken a lot longer than others, but it’s kind of nuts. It’s easy for me to not think about it like that, and just say like, okay the day to day to day, what am I doing tomorrow? What’s next? What’s next? What’s next?A couple of days ago, I was sick in my room, so I couldn’t really do anything. I couldn’t go out or go to the studio or anything, so I was actually thinking back on everything that I really wanted to do musically, from way back when I was a kid from playing in my dad’s church to when I wanted to play a saxophone solo one day in a jazz band to when I wanted to see what it’s like to go on tour to when I wanted to be an artist, I wanted to write my own music, I wanted to be on the radio, I wanted to … It’s all pretty much happened.L4LM: Today you’re a two-time Grammy nominee (J Cole’s 2014 Forest Hills Drive and Trey Anastasio Band’s Paper Wheels). Have you received any particular advice that has really stuck with you? Or was there an experience that particularly affected you?JC: As far as experiences are concerned, every experience changes your course in a little way, whether you want it to or not. I would say to just be open to whatever comes your way, because you never really know what’s going to lead to what. For instance, the trumpet player that I brought with me on this tour, he was a Julliard student, and he played trumpet in my boy Igmar [Thomas]‘s big band, which I mean, we all do it because we love music and Igmar’s a homie and it’s a lot of fun, but it doesn’t pay very much. It doesn’t pay very much, and it’s a nice amount of commitment for something that doesn’t pay that much, but we did it anyway, and we do it anyway, and that’s where I met him. Him doing that one 70, 75 dollar gig made it so that he can do all this other stuff, because I wouldn’t have known who he was if he didn’t do it. So, number one, say yes. Say yes to whatever musical opportunities that won’t be detrimental to your health. There’s a lot of bad music out there too.The thing that it took me a really long time to understand … or really grasp a hold of … is the concept that failing is fine. It’s okay to fail, you know?We’re all going to fail, but how you respond to that failure is what changes your life, you know? I mean, I’ve failed so many times … There are videos of me playing awful, awful, awful solos, there’s videos of me singing terribly, and it’s all documented because everything’s documented and it’s just terrible. I’ve done shows with my own band that had more people in the band than the audience. I’ve done all sorts of stuff, so I’ve realized that if things don’t necessarily end up the way you want, that doesn’t necessarily mean that it’s a bad thing. If you keep at whatever it is you’re trying to do, chances are you’ll get to where you’re trying to go if you put enough work into it.L4LM: Tell us what’s been the best experience in your career thus far.JC: The best moment of this past year on stage was in Madrid with Meghan Trainor. We played the Barclaycard Center to like 18,000+ and at the time it was the biggest single room I’d ever played. The surreal part was going out to sing the duet (“Like I’m Gonna Lose You”) with her, and the stage had a catwalk into a big circle at the center of the arena. It’s a ballad, so people turn their phone flashlights on. Having all those people in a room surrounding you and singing all the words to a song that’s not their original language…was amazing. It was one of those times in life where after it’s over, you kinda sit back and log it away to think on later.L4LM: And what’s the craziest moment of your career been?JC: The craziest moment of my career came in 2009. The Roots had recently moved to NY to do the Fallon show and they were doing a ‘jam session’ every Wednesday at Highline Ballroom. (I wouldn’t really call it a jam session since there were around 1000 people there every week, with lots of special guests and artists there all the time.) Thanks to Meghan Stabile (founder of Revive Music) and Igmar Thomas, he and I played many weeks with them as the horn section along with others who were either locals or on tour and passing through.This particular time, Igmar and I were playing with 1 or 2 other horn players who were having a very difficult time hearing and playing back the horn parts I was coming up with (side note: a lot of times, especially in situations like this, we make up horn lines on the spot and play/harmonize them immediately. It’s not something everyone can do offhand, but it is a vital part of being a horn player and a necessary skill). I was frustrated with the horn players who weren’t getting it quickly enough to play, so i walked to the back of the stage, stood next to Questlove and seethed internally while I contemplated the fact that something had to change. Then something did. It just so happened that night was less than a week after Michael Jackson died and everyone was still kinda in shock about it. While I was standing back next to the drums, The Roots went into a Jackson 5 song. I don’t remember exactly which one but I do know that there was no lead player/singer as the whole crowd was singing. Then, they went into “I’ll Be There”. Kirk (The Roots’ guitar player) has a pretty high singing voice and he started the song out singing MJ’s part. I was singing the whole time next to Questlove and when Jermaine (Jackson)’s part of the song came up, he pointed to me to sing it in his mic. So I did. Thing is…it happens twice in the song. When it came up again, he told me to go to the front of the stage and sing it….so I ran up and did it. I had never really sang lead in front of people at the time, but I was too scared to be nervous and it was too surreal to think about, or I would have probably been terrified. Song’s over, and I put the mic on the stand thinking it’s over…then they go into another MJ song. I know the words, so I sing again. And again. And again…I must’ve sang like 5 MJ songs cause I knew the words to everything they played. I remember trying to get both Louis Cato and Gretchen Parlatto (both waaaaaaayyyy better singers than I am) to come up and help, but they waved me off to keep going…..That was the night I decided to be an artist, not just a musician.L4LM: You’re on the second leg of MT tour right now. Are you going to stick with it? Will you be doing any of the upcoming TAB shows?JC: After this leg of Meghan’s tour ends, I will be doing the Trey tour. Unless something crazy happens between now and then, I’ll be doing the Trey tour. And that’s where I’ll leave that.L4LM: I’m curious about the status of your solo project, Animus Rexx.JC: Okay, so one of the reasons why I took the Meghan Trainor tour in the beginning was because it’s hard funding your own band. It’s extremely hard to fund. Everything’s expensive, everything costs so much money. When you’re taking gigs to pay for other gigs, it’s hard to accumulate. So the goal, as of today, is that I’ll be finished with this tour and everything that I have to do at the beginning of next year. Then, I’ll be putting as much time as I possibly can into Animus Rexx and other projects that have had to go on the back burners because, you know, a freaking 8, 9 month tour.L4LM: Sounds like next year is the “Year of James Casey.”JC: It’s going to have to be. It’s going to have to be.L4LM: Or really, every year is the “Year of James Casey.”JC: It is, man. Next year, I’m looking forward to it. Everybody’s way more excited than I am. I’m just a little apprehensive about what’s going on, but everybody’s really excited to see what’s coming up and things are coming into place and hopefully stuff gets to a point where everybody knows who James Casey is.last_img read more

Robert Randolph And The Family Band Testify That They’ve “Got Soul” At Gramercy Theatre [Photos]

first_imgLoad remaining images Robert Randolph and the Family Band | Gramercy Theatre | New York, NY | 4/26/17 | Photos by Stephen Olker Last night, Robert Randolph and the Family Band continued their current tour behind their newly released album Got Soul with a gig at New York City’s Gramercy Theatre. Randolph, a noted master of the “sacred steel” guitar, turned the concert hall into the Church of Soul and the crowd into his congregation as he played preacher–conducting the ceremony with searing rock riffs and compelling his talented bandmates to testify! Dressed in a sharp silver-lapelled suit jacket, Randolph led the evening’s skilled Family Band lineup through a fiery performance. The evening was heavy on tried-and-true rock-and-roll covers and newer material from Got Soul, in addition to a show-closing selection from the band’s 2002 debut live album Live At The Wetlands.The set had a loose, improvisational feel, and for good reason: second guitarist Dean James, who led the band on vocals through a cover of The Band‘s “Up On Cripple Creek,” was a temporary addition to the lineup—Randolph found the guitarist via Instagram and invited him out to play some dates. Robert’s cousin “Little” Steve Ladson, who played an excellent performance on guitar (and sang a cover of Bill Withers‘ “Use Me Up”), usually serves as the band’s bassist. He and Rayfield “Ray Ray” Holloman, the band’s regular guitarist, swapped roles for the night—just for fun, it would appear—and both played so well that the uninitiated likely couldn’t tell that anything was amiss. Keyboardist Kasey Squares and vocalist Lanesha Randolph turned in top-notch performances as well, each adding texture to the electric exhibition. Randolph even welcomed an energetic three-piece horn section (two trombones, one sax) to join him for a pair of Got Soul originals. Randolph’s enthusiasm and his pleas for “somethin’ funky” from the brass-men were so contagious that all three were jumping and dancing by the end of the sit-in.As always, Randolph brimmed with rockstar mystique and charismatic swagger—playing through a broken string like he didn’t even miss it, standing on his chair, and wrestling with his signature instrument. The soul flowed through him like electricity through holy water. Along with the Band and Withers covers, Randolph and company delivered an instrumental run through Black Sabbath classic “War Pigs” and a particularly lovely solo jam on Stevie Wonder’s “Isn’t She Lovely,” after the rest of the band had left the stage one by one for the show’s end.However, while the covers were fun, the band showed their true powers through their original material, with tunes like “I Want It” and “Got Soul” exuding the raw, emotional, joyous, guitar-fuzz cacophony for which Randolph has become widely known. The show ended with Randolph preaching instructions to the crowd as he played his final notes: “Somebody feel wonderful in here!” And as if by magic—or the grace of soul—the crowd heard him, and abided.Check out a gallery of photos from the performance below, courtesy of photographer Stephen Olker. You can also watch Live For Live Music‘s Facebook Live Got Soul Digital Release Party with Robert Randolph below, featuring live fan Q&A, an impromptu “Voodoo Child” jam with album songwriting collaborator Eric Krasno, and a live performance of Got Soul single “I Want It.”Robert Randolph and the Family Band continue their Got Soul Tour this weekend with performances at Hopewell, VA’s Beacon Theatre tonight, Southside Arts and Music Fest in Bethlehem, PA tomorrow (Friday, April 28th), and Portland, ME’s Aura on Saturday (April 29th). For a full list of upcoming shows, or to purchase tickets, head Randolph’s website.last_img read more

Fire Island Breach Repair Firm Sought

first_imgSign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York The breach on Fire Island at Old Inlet opened by Superstorm Sandy is blamed by some for Long Island flooding and credited by others with improving Great South Bay water quality (FINS).New York State and federal agencies have begun the process of preparing to close the breach on Fire Island caused by Sandy amid renewed debate over whether it’s caused flooding on the South Shore.The New York State Department of Environmental Conservation (DEC) requested Thursday that the U.S. Army Corp of Engineers (ACE) take the preliminary steps to seek out a contractor to fill in the breach—but they haven’t officially OK’d its closure.“If the breach does not close naturally, the closure process will be much further along,” DEC Commissioner Joe Martens said in a statement. He said the request will allow the state and feds “to act more quickly to close the breach if that is deemed necessary.”The breach falls within the remote eastern half of the barrier island in part of the Otis Pike High Dune Wilderness Area—the only such federal preserve in the state—known as Old Inlet, which has opened and closed repeatedly throughout history.The south-facing portion of the breach facing the Atlantic Ocean has widened by more than 1,000 feet since the Oct. 29 superstorm—108 feet on Nov. 3 to 1,171 feet on Feb. 28—and the side facing the Great South Bay more than doubled from 276 feet to 616 feet during the same time period, according to the Fire Island National Seashore (FINS).“It’s not a final decision to close yet but having everything in place so that when a decision is made we have everything ready to go,” said FINS Superintendent Chris Soller, who believes the breach may still close on its own this spring.“It will probably be months rather than weeks,” said Chris Gardner, an ACE spokesman, referring to the time it takes to procure and haul in the required heavy machinery. “There’s a variety of different factors at play. Most importantly there’s not dredges working in the area that we can draw upon.”DEC, ACE and FINS, a unit of the National Park Service, together agreed to begin procuring a contractor under the Breach Contingency Plan, which was used for the first time after Sandy since being inked in 1996 following bungled breach repairs at Westhampton Beach.The plan was used to close two other breaches—one at Cupsogue County Park in Westhampton Beach and the other at Smith Point County Park on the other side of the Moriches Inlet—shortly after Sandy. The third breach has been closely monitored but left to close on its own because it falls within the federal wilderness area.A spokeswoman for Suffolk County Executive Steve Bellone, who called a news conference this week blaming local flooding on the breach and demanding that it be closed immediately, did not respond to a request for comment on the DEC’s announcement.Adrienne Esposito, executive director of the Farmingdale-based Citizens Campaign for the Environment, contends that there is no proven link that the breach is causing flooding along Suffolk’s bay front. But, it is proven to be flushing the polluted Great South Bay.“We need to base decisions on fact, not fear,” she said. “I’m very frustrated that science somehow went out the window here … we shouldn’t substitute political science for good marine science.”last_img read more

Clippers start slowly but eventually rout Detroit Pistons 113-91

first_imgFor Farmar, the 15 points were the most he has scored this season. From late in the first quarter to early in the second, he scored 10 consecutive points for the Clippers, who went from trailing 27-26 to leading 36-32. Then, with 5:08 left in the half, his 19-footer gave Los Angeles a 47-36 lead. It was Farmer’s best game for this team, and not just because of his offense.“He was great,” Rivers said. “I’ve been on him, probably riding him harder than anybody right now because I think he has that in him. And forget the offense. I just thought that Jordan Farmar got into the ball, picked the ball up fullcourt, turned the ball and I thought that turned his energy on.“That’s what I’ve been on him about. I tell him, ‘You’re going to play 20 minutes, no reason to save it.’ And if you do like that, you’ll play more. And I thought he was great. I thought his defense changed the game.”Farmar was stoked.“Just trying to be aggressive, man, and got some good opportunities; the shots went down for me,” said Farmar, who made his first five shots. “Trying to make some plays for myself, for my teammates. We needed some energy. We started off a little slow, so just trying to be a spark plug.”Farmar was asked if Rivers getting on him helped.“Nah, nah, that don’t help me,” he said, smiling slightly. “I’m going to be honest. I’m going to try to continue to play like this.”Farmar also had five assists.Detroit (5-20) got 18 points and 13 rebounds from Andre Drummond and 20 points off the bench from Jodie Meeks.Even though the Clippers snapped their mini two-game losing streak, their slow start was not lost on Jordan.“I think once they made their run, we still came out flat,” he said. “We cannot get complacent with our team. We have got to be able to play 48 minutes worth of basketball.”Redick made his first five shots and finished 7 of 9 from the field. But he did not make a 3-pointer, snapping his streak of 29 games where he made at least one. The franchise record is 30 by Barnes. Pistons coach Stan Van Gundy bemoaned his team’s lack of defense.“We quit getting stops, so we could not run,” he said. “I thought the pace was fine, but we just did not get any stops after that. (The Clippers) shot the ball very well, moved the ball very well, and we could not keep up.” Newsroom GuidelinesNews TipsContact UsReport an Error The Clippers on Monday night entered their game against Detroit having lost the last two games of their three-game road trip at Washington and Milwaukee. That alone should have been enough motivation to come out strong against the Pistons.Coach Doc Rivers scoffed at that prior to tipoff.“If you need that to motivate a team, your team’s not very good,” Rivers said.Detroit, which had won two games in succession — on the road at Phoenix and Sacramento — started quickly and built a nine-point first-quarter lead. Undaunted, the Clippers pulled it together and routed the Pistons 113-91 before a sellout crowd of 19,060 at Staples Center.center_img The Clippers (17-7), who had won nine consecutive games before the two losses, have won 10 of 12. They led 29-27 after one quarter, 55-44 at halftime and 86-63 heading into the fourth quarter. The Clippers led by as many as 27 points at 90-63 early in the fourth.Blake Griffin led the Clippers with 18 points. He moved past Danny Manning into fifth-place on the franchise scoring list with 7,122 points; Manning had 7,120. Griffin surpassed Manning on a 3-pointer late in the third quarter.“He was a great player for the Clippers and everything,” Griffin said, “but I’m not really here to do those kind of things. I honestly didn’t even know. Our main focus is on these games, to be honest.”DeAndre Jordan had 16 points and 15 rebounds, Jordan Farmar scored 15 off the bench, J.J. Redick had 14 points, Chris Paul scored 11 and doled out eight assists and Matt Barnes had 10 points. Four of Barnes’ points came with 4:58 to play in the third quarter when he made a 3-pointer, was fouled and made the free throw for Los Angeles’ first 20-point lead of the game at 73-53.The Clippers shot 53.8 percent from the field, 50 percent (12 of 24) from 3-point range. Detroit shot 42.4 percent.last_img read more