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West
Regional Report
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Edited by Gordon Wilson
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Robert
Walter s 20th Congress: They Just Play Music by Whitney Youngs
Robert Walter s 20th Congress: They Just Play Music Pinching street curbs upon rolling into live-act pit stops along the California coast, Robert Walter s 20th Congress has acquired stout followings in such cities as Los Angeles, San Luis Opbispo and San Francisco as well as notable exposure on the East Coast. Keyboardist Robert Walter, formed the San Diego based group in 1998 following the rocky demise of the original Grey-boy Allstars. The newly assembled quintet creates a sound, which emanates through a kaleidoscope of vibrating organ jive and spunky rhythmic gyrations resembling a hip hugging, Sanford & Son neighborhood prowess. The band claims their collective musical influences stem from a garden of organic artists including James Brown, Miles Davis, Thelonious Monk, Stevie Wonder and the Beatles. Walter s own influences come from several dynamic guitar players such as Grant Green, George Benson, Pat Martino, and Melvin Sparks. I think it's more fun to learn stuff from guys who play instruments other than mine, he said. It makes me approach playing in a new way. Despite varying opinions surrounding the definition of a Jamband, Walter and company refrain from using this term or any other label when describing their sound, which diminishes the quality of music in it s purest form. I'm not a big fan of Jamband, Walter said. We are an instrumental group that uses rhythms from black American music. We do improvise, but a Jamband implies some kind of Grateful Dead\Phish connection, and that's definitely not where we are coming from. Drummer George Sluppick agreed and added that an appreciation of music comes free from labels. It's not really indicative of what we do, he said. People need labels so that they can categorize things. I believe that if you just let it be what it is instead of putting this label on it, then you will probably get a lot more out of it. We do so much more than just Jam! Robert Walter s 20th Congress presents moments of dissonance, swallowed by their consistent consonant focus. The group strives for authentic, timeless funk arrangements giving the music a classic sound converse to the archaic example of Billy Cobham s, A Funky Thide of Sings. Walter claimed the music is written allowing for diversity in every performance. I try to write music that can be played differently from night to night, he said. That way, emotions that the musician is feeling at that moment can be expressed in the piece rather than something determined ahead of time. I always do get emotional when I play, but not in any particular way. Both Sluppick and Walter agreed that their style is always a work in progress. Developing a style takes many years, and should grow naturally, Walter said. I've been told that I have some signature things that I do. Most of them are stolen I'm sure. I'm just beginning to stop referencing other players all the time and just play what I feel. I think I'm still very underdeveloped. Sluppick added that by developing his own style, he contributes to the overall style of the band. It's a constant battle for me to find my own identity behind the drum kit, he said. I have so many influences, but I try to forget about them and everything else when I am playing. I try to become a vessel for the music to speak through. I know that sounds kinda metaphysical, but if I sit and think about the people that I'm influenced by, then I will end up sounding like them. But if I put them out of my thoughts while performing, then it's easier to connect with the guys in my group, the audience, and most of all my instrument. The music features chunky bass lines from Chris Stillwell, who plays with a conciseness, using the rhythms as springboards from which the other members may counterpoint the origin of their solos. If all things are in order, it sounds good and the equipment is working properly then I am in a good headspace, he said. Then it comes down to how the band is playing. Whether I am complimenting the musicians or making mistakes. What I am striving is for the instrument to almost play itself, where I am not really thinking about it. Saxophonist/Flutist Cochemea Gastelum phrases with a note eruption sparked by thoughtful moderation, which plateaus in unpredictable places along Sluppick s dime-dropping time. During a solo, I try to and remain as open as possible, patient, and loving, said Gastelum. Although their albums convey the band s style in an accurate light, their performances are far more animated, especially that of percussionist, Charles Prada. Prada who plays the bongos and congas generates a cubic resonance poking through the rest of the instrumentation. He weaves his beats within Sluppick s fills adding to the texture of the rhythm. The fact that I've worked with Robert many years ago in another group (Daddy Long Legs) and have known Chris for years helps, he said. Although the song Vegetarian Bake Sale from their Health and Fitness album resembles time similar to that of Cobham, Walter s blurred and crackling comping beneath Gastelum s simultaneous two-toned solo creates a balanced composition of classically influenced soul groove. Sluppick explained that the connection among the band members is often times, remarkable. It's very strange, he said. I've never really experienced the level of connectedness that I feel with the members of the 20th Congress. It's almost telepathic at times. Walter added by saying that the most important component in the band s connection is the ability to feel the rhythm in a similar way. That's important in any band, but especially in dance music, he said. Also, since we improvise so much, we have developed a chemistry and sense of pacing. Sometimes I know exactly what the other band members are going to play next. We try and hold each other up and push each other to play new ideas. In recent months, the band released their latest album titled Money Shot which features guest performances from drummer Stanton Moore and guitarist Elgin Park.
Legends of the Fall "You can't write if you can't relate". Nowhere is this adage more true than when finding oneself in the midst of an attempt to provide an opinion of what is and what is not good. This conflict of subjectivity has held a prominent place in my heart and mind for the better part of this year. While working (at times with feverish glee...at others with utter revulsion) toward the completion of what may be my grandest personal accomplishment (of a literary nature anyway) to date, I have had to address not only what is good or bad, but what is in fact the BEST. Rather than restrict this cold razor of qualitatively to the supposed subject matter of this column, I have allowed it to permeate all aspects of my life. To be the best, something or someone must exceed all others in excellence or quality. As trying as some of its moments have been....this year has been the best of my life. To all those responsible...I cannot thank you enough. The year began with the "best musical performance ever". At present I cannot imagine a musical performance of any type which will surpass the excellence and quality of the SHOW at Big Cypress. From the finest threads of cosmic string, Phish wove a tapestry of light, sound, and emotion that continues to cloak my existence in its velvety goodness. Why was the midnight to sunrise set the best? As the definition requires it simply exceeds all others in excellence and quality. It was the stuff of legends. An artistic endeavor which ranks with the masterpieces of antiquity. A musical performance unlike any other before or since. A source of inspiration that will endure throughout my existence. The show was a font of superlatives which has biased my opinion regarding music toward a bent for completely unreasonable expectations. For that reason, it has been hard for me to write about other shows this year. I unfairly compared almost every other jamband performance I attended this year to the pure magnificence of the SHOW. I could not relate the mundane to the majestic....I could not write about the seemingly run of the mill music I heard from other bands as a result. Consequently my contributions to this forum for the past year have been restricted to a review of Big Cypress back in January and my triumphant return to being a jambands contributor in last month's issue. That piece, the first of many others to come, described the events in which I grasped the implications of life-cycle closure as they played out before me at a Widespread Panic show. As I suspected at the Panic show, I now find myself a month later embarking upon an apparent "do-over" of the life I have lived since leaving high school. There is a difference between me then and me now, however. This difference lies in the things I have learned about myself, the people I love, and the universe as a whole in the last fifteen years. With a much deeper well of experiential information at my disposal, I think of the opportunity I am now faced with as a do-better (best?) rather than a do-over. Since I remember the mistakes (lessons) of my recent past, I am free to avoid them in my future. I have experienced reincarnation without physical death. The coda to this, the best year of my life, the year of my second coming, the year I re-learned how to love, is the recent release of the literary masterpiece I referred to above. The Bphook, or Phish Companion to those of you who are not one of we (the elite members of Ellis Godard's pretentious mob of snobs known as) the Mockingbird Foundation, is finally available at a book store near you. The labor of love (self-flagellation?!?!) to which I have devoted a significant portion of my linguistic brain power in the last three years is finally a reality. This encyclopedic guide to the music of Phish is "the best (musical desk reference) book ever". I say this not because I was so intimately involved in its creation, but rather because it too so clearly fits the definition of what is best. It exceeds the excellence and quality of all other books of its type. The blood, sweat, and tears of friends and foes alike who contributed to The Bphook show through in each and every one of its pages. I am proud to have helped in the creation of this work...and I urge you to uncover the treasures (and the inherent imperfections) within its pages. Art is after all in the imperfection. The Phish Companion in all its anal-retentive glory is a work of art. Please read (some if not all) of it....and please let me know what YOU think of it. Through my participation in the secret agenda which led to the publication of The Bphook, I have made the transition from the critic to the criticized. I have risked failure and now revel in the rewards of our success. I have a much better grasp on how opinion, both public and private (especially my own), can impact the life and work of an artist. I will therefore exercise more care in the future as I issue my reviews of the works of art of others. Which is not to say that I will now produce nothing more than syrupy praise for everything I hear. Some things are just plain bad. With that said, I push on into the remainder of this "Best of 2000" article to announce the rest of this year's winners. In the category "best performance by a jamband other than Phish" the award goes to the June 16, 2000, Portland Meadows Phil and Friends show. I will never forget that night.or the weekend that ensued. I delved deep into the dark recesses of a vacant heart to the tune of the best "Friend of the Devil" I have ever heard. I saw fireworks when we touched. Anybody have a copy to share? In the category "best webcast performance by a jamband other than Phish" the award goes to the recent (November something...not quite sure) Disco Biscuits show from Toad's Place in New Haven. The Bisco sound that night was otherworldly. A must hear show for sure. In the category "best performance by a new jamband which includes a member of Phish" the award goes to the incredible power trio of Anastasio, Claypool, and Copeland....OYSTERHEAD. Never wake a man when he's trying to be dead! In the category "best performance by a new jamband which does not include a member of Phish" the award goes to Colonel/Captain Claypool's Fearless Flying Frog Brigade. The Animals set was impressive. The disco extendo "Tax Man" encore at the Roseland in Portland was just plain crazy. In the category "best album release party" the award goes to the May 21, 2000 Radio City Music Hall Phish show (it was the only one I got to see). The "First Tube" was scalding..the "Down with Disease" got way out. In the category "best short story which describes the feeling of getting IT at a Phish show" the award goes to Franz Kafka's "Investigations of a Dog". Please read it some time. In the category of "best non Big Cypress Phish show I attended this year" the award goes to the October 7, 2000, Shoreline Amphitheater tour closer/hiatus initiater. This performance was also the recipient of the "best non special event (i.e. NYE run, Halloween, Lemonwheel, Went, Ball) Phish show ever" award. Everything about this show was perfect. Everything. The second set is KILLER. Especially the "Tweezer". Sure the rumored third set never arrived. It just didn't matter. I eventually got my "Hot for Teacher" In the category of "best album released this year" the award goes to Trey and Tom's "Trampled by Lambs and Pecked by the Doves". Seriously....if you like Phish in any way...get this. You will laugh...you will cry...you will like it so much you will play it over and over again as you try to come to terms with the fact that the impossible CAN happen. The depth of emotion that went into the creation of the songs it contains is so incredibly tangible. So raw...so alive. Get it. Which brings me to the final award in this litany of the things I have thought were pretty damn good about this year. In the category of "best people you could ever hope to spend significant quantities of time with...whether that time is simply wasted or ravenously sucked dry of every ounce of the goodness it contains" the award goes to all the friends and family (both new and old) that so completely enrich my life and provide me with the opportunity to laugh and cry, each and every day, with such total reckless abandon. I couldn't and wouldn't do any of it without you all. But what of the title to this piece? Obviously the award recipients cover the length and breadth of the entire year, not just the fall. Yet it is here, in the waning moments of the fall, that I am coming to grips with what exactly has made this year so legendary. I have learned what it truly means to be selfless. There may not be an "I" in team, but there couldn't be a team without me. In the curious subculture that surrounds the jambands world there are many teams, krewes, posses, gangs, organizations, foundations, and fam-fams. In the past year it has been my distinct honor and pleasure to have played a vital role in the continued success of two of these entities. Through the devotion of my heart and soul to the well being and happiness of my dear friends who comprise "Team Ace Bandage" (whether you think you are on the team or not.you are) and the contributions of valuable time and energy to ensure the mutual success of my esteemed colleagues (and friends) in the Mockingbird Foundation, I have built an incredible reserve of self worth. I have found brothers (and sisters) in arms that are beyond reproach and deserving of all the good things that can possibly come their way. We have reached critical mass. We are the champions. Therein lies the trigger which threatens to blow apart the world as I know it. Everything I have experienced this year has led to the precipice on which I am now perched. I've got the rules down now (Is it a wind?). I've just learned how to speak (Or a Bug?). I'm on top of a cliff (Is it a Windorabug?)...and I'm wondering if I should leap (It doesn't matter). You see, I met a new friend this weekend. A woman I am convinced could be "the one". I should be (and truly am) ecstatic. From a year that has featured a continually evolving (High Fidelity inspired..."Best Movie About a Record Store Ever") BCS standings board of the "Top Five Coolest Girls I know" has emerged a shockingly exciting newcomer. Suddenly, from out of nowhere, the top five has been reduced to one. I am prepared to fall completely and without reservation for a woman I have known for a total of less than 48 hours (as I write). I am excited to the point of nausea. Lying at the core of this nausea is a conflict I couldn't have imagined possible. For alas, the beauty of my dreams also met somebody new and exciting this weekend. In an ideal world...that person would have been me. Instead, that person is this year's award winner for "best tour buddy you could ever hope to have"....a man I love like one of the brothers I never had. If you saw the movie from which I borrowed the title of this year in review piece, you know well the impending tragedy with which I am now faced. Two guys...one girl. I cannot and will not compete with him (figuratively or literally). The kid is on such a hot streak. His "Hard to Want" attitude towards the ladies is unbeatable. Yet to win her...I'd stand naked, stoned, and stabbed...A bargain?!?!...Not if I lost one of the best friends I've ever had. I'm a Loser baby....please.. somebody.. kill me.
Living Daylights, Critters Buggin Ski season in the Northwest starts early and stays late. Unfortunately, since I work the much dreaded day job, starting the day out early and then staying up late night for the live tunes seems to be a never-ending grappling match. Throw ski season in the mix, and the opposition between consciousness and sweet sweet sleep becomes an all out battle. While Mt Hood is only a one hour drive from my house, door to mountain, getting in a full ski day up at Mt Hood Meadows(at a ghastly 43 bucks per lift ticket) requires a wake-up time of 6:30am. At the risk of sounding like a tired old man, I just can t get up at 7:00am to go work an eight hour work day, then catch a band and groove until two in the morning, only to snatch 4 hours of drunken sleep before heading to the mountain for a full ski day. What does all this have to do with the Living Daylights and Critters Buggin you ask? Last weekend(Dec. 1st-3rd), both of these Seattle heavy weights strolled into Portland, OR. Usually, it would be a tough decision between live music and skiing. Not this weekend, baby. Screw skiing...you ve got all winter! The Living Daylights would be playing Friday night at Mt Tabor Pub for their first appearance at this venue. I had a hunch that the bigger room might fuel a seriously badass show from them, so there was no way I was missing it. Then on Saturday night, famed Seattle freak Skerik and his bizarre band Critters Buggin would make a rare appearance at Portland s newly reopened Pine Street Theater(formerly La Luna). Sleep and skiing had to go on the back burner. Time to jam. On a typical Portland night filled with rain and darkness, I headed over to Tabor. The night was all about the Living Daylights, so what I did before hand vanishes in the forgotten fumes of my hazy memory. Jumpcut and I m standing right in front of the stage with the ever-present pint of Sierra Nevada cradled in my hot little hand. As I sipped the minimal head off of my tasty beverage, the band took the stage. Jessica Lurie looked relaxed and ready to play some sax, while Dale climbed behind the drums and Arne strapped on his sizable bass. The band really bit into it from the start. Jessica s playing is so very impressive. She plays subtle accents when Arne s bass lines are driving the song or jam, but can easily lead the band with her dynamic soloing. Jessica started really wailing on a lead line and the crowd was digging it. More and more humans approached the dance floor area as she arched her back and swiveled from side to side, all the while playing that sax as if it were an extension of her body. As Jessica writhed and played on the front left hand side of the stage, it was hard not to observe Dale Fanning s fiendish smile peering out from behind the drums. Dale has got to be one of the most talented drummers on the scene today as he plays with a skill, fervor, and passion that is hard to match. His long blonde hair flops here and there as he drives the crazy beats of the band which can change times, tempo, or dynamics at a moments notice. Many times that I ve seen the Daylights, Dale just kind of stays low key in the back, but as the room got more and more crowded with dancing bodies this evening, the playing started to get really intense. Watching Arne Livingston play his bass is a treat. This very tall man is a master of his instrument. He can amaze everyone in attendance with quick solo runs or funked out slapping. A particularly strong point in Arne s bass playing arsenal is his ability to lay down a bass track sample loop and then solo over it. I ve seen him doing this over the past few years and can safely say that he has taken this device to a new level. Arne broke into one of these jams on this night and basically stunned the crowd. People were up front moving, cheering, clapping, and just driving this solo to crazy heights. Smiles were plastered on almost every face in attendance. At one point, a guest guitar player got on stage and jammed with the Living Daylights(I assume it was the guy from the opening band, but I missed them so I can t be sure). The leather clad guitar player took a solo with great speed. It was almost as if he was playing lightning fast flamenco guitar lines on his little electric guitar. It s always nice to hear other musicians collaborate with the Living Daylights, adding new dimensions to their already complete and jazzy sound. Basically, the night just raged with energetic and jammin jazz. Most people were dancing by the end of the night and everyone seemed to respect and be in awe of the monster abilities of this power trio from Seattle. I was really happy that they received a good reception in this step up to a bigger Portland room. Now they just need to play here again soon because I m anxious to see them again. At least I could look forward to the Critters Buggin show the next night. And while that show was entertaining, it wasn't on the same level musically as the Daylights. Sure, Skerik wore a bright orange spaceranger mask all night. Yeah, there was more generally entertaining bizarreness like when Skerik made a noise through his microphone and then informed us that we were hearing the sound of chronic halitosis. Yeah, Critters Buggin has two drummers and a more beat driven sound...and I know that the space alien mask worn by the bass player was funny. It was definitely great when Skerik pulled the birthday boy from the crowd and asked whether he was partying with booze or pot on this fine evening, too. Yes, the sax, strange sound samples, and drumbeats made the sizable crowd groove all night. There's no doubt that Critters Buggin was a great night of fun and music, but the Living Daylights show from the night before is what will stay with me as a musical gem to cherish. As far as my suggestions for best CD's of the year 2000 go, I have two. They are very different musical styles, but I feel both CD's are significant for their quality. The first is "Folktales" by the Big Wu. This is their second studio effort and it's a classic. I consider myself in the "old school" of jam enthusiasts, as I really dig on bands that play their instruments well and can craft a good song with good lyrics. The new barrage of electronica and samples in bands like the Disco Biscuits, Lake Trout, and Sector Nine has a limited appeal with me. The combination of great jams on songs like "Elani: Queen of Afghanistan" and great songwriting and lyrics on songs like "Oxygen," make me choose this disc as one of the years best. The Wu craft songs that seem familiar and warm to the listener but can also catapult off into deeper realms of psychedelic jamming. A solid disc that grows on the listener like a fungus(no pun intended). My other musical fetish is people who jam on their instruments like no other. Those musical mutants that seem to be able to play their instrument with such grace, skill, and power that the rest of the musical world pale in comparison as mere mortals. I give as examples players like John Medeski, Victor Wooten, Bela Fleck, and even Trey Anastasio(a few years ago). So it is no surprise that my next pick for best album of the year is the self-titled release from some guys that hang out near Atlanta, GA, "Project Z." Project Z is guitar prodigy Jimmy Herring(ARU, Jazz is Dead), drummer extroardinaire Jeff Sipe(aka Apt. Q258 from ARU, Leftover Salmon), and a new bass player to me, Ricky Keller. Of course, the fact that Derek Trucks, Count M'Butu, and Col. Bruce Hampton all help out on the disc sure doesn't hurt either. The disc explodes from beginning to end. I just sit there with my mouth agape while listening. They play a sort of power jazz-fusion that is almost incomprehensible in its speed, beauty, and pure talent. While this one is not for the casual music lover, it is a must have for the serious music junky. There are too many great shows to mention for the year 2000. I feel I'd be dissing somebody if I didn't touch on them all. Here are a few: The Vinyl boat ride show in Portland, OR. The "Soul of Fire" event at the Crystal Ballroom in Portland, OR. The Ben Harper show at Meadows in Portland this summer. While not the best show ever, the Other Ones this summer was great because I got to hear Weather Report Suite and Lost Sailor>St. of Circumstance. Phish in Vegas. I flew Jiggle here from Boston to play my wedding this summer and, of course, that is probably my most fondly remembered show of the year. I really could go on and on and on and on and on, though....really.
Dark Star Orchestra Recently, my wife and I went to see the _Dark Star Orchestra_ at the Capitol Theater in Olympia, WA. This band, hailing from Chicago, makes its living as a _Grateful Dead_ cover band. However, they have given the genre a rather unusual twist, because instead of just covering songs by the Dead, they recreate specific _Grateful Dead_ shows. Apparently, they listen carefully to tapes of various Dead shows, then recreate the show song for song. It could be famous shows like February 13, 1970, April 29, 1971, May 8, 1977, March 20, 1986 or March 29, 1990 or not so famous shows (take your pick of dates). I have heard tell that they play the shows note for note, but I have no idea if that is true. Personally, I kind of hope not, it would be nice to think there is some leeway in these shows and thus keeping the concerts from being nothing more than theater events. But when you think about it, what a perfect situation for a cover band. You don't have to worry about the selection of material, the setlists are always chosen for you. No one can complain about the song selection, "we're just doing what the band did, man." You have a built in fan base who will eagerly play the game of "guess the show" at every concert. And hopefully, the variety will keep an edge on the band. Clearly, it is a interesting idea. One which begs for the duh of 20/20 hindsight when you think about it. But hey, they came up with it first, so more power to them. However, judging from the number of people at this show, they won't be the last (I'm guessing there was somewhere near 500 people there). Moving on, I have always had a thing about cover bands. As a general rule, I don't like them. They don't serve much of a purpose to me. I don't want to see folks up on stage re-creating the glory of the _Beatles_ or the _Stones_ or whoever. If I can't see the band in question live, why would I want to hear someone else trying to be them? I can just listen to my records, tapes and/or cds. Besides, if you are good enough to play some other band's music note for note, why aren't you following your own muse and either re-interpreting the music, or doing your own? As a general rule, I always thought of cover bands as limiting and questionable entertainment, not art. On the other hand, clearly there is a place for bands like this. After all, look at all the Elvis imitators and other "tribute" bands out there. Be that as it may, I tend to avoid these kinds of shows. However, the _Grateful Dead_ were/are different. As good as the songs are, it was not the albums or singles that made this band, it was the live music. The concerts were what fans lived for. To be taken to that special place where art meets the heart and nirvana is not too far away. To be blunt about it, the reality is that if it wasn't for the live shows, few people would still care about the Dead at all. Thus, the idea recreating the SHOW and not just the music was intriguing. In addition, I had heard a lot of good things about this group, so I decided to check it out. I figured it was either going to be really pathetic or really good. A 50/50 shot, which was good enough for me. So, come Friday night at 8:00 p.m., we found ourselves safely ensconced in the balcony of the Capitol Theater waiting for the band to come on. Shortly after eight, the band wandered on stage and began tuning up. Hmmm, just like I remember the band in its heyday The first thing I noticed was that a woman joined the rest on stage. This indicated we were to be treated to a show from between late 1971 and early 1979, the time Donna Jean Godchaux was in the band. The show opened with _The Music Never Stopped_ and DANG, if it didn't sound almost EXACTLY like the Dead! In fact, it ripped!! The Bobby character sounded, played and moved like Bobby and even looked, from a distance, rather like Bobby. The Jerry character's guitar sounded like Jerry and, as we soon found out, sounded pretty much like Jerry. The rest of the band more than adequately filled their respective roles. And to top that off, everyone in the place was up dancing and singing along, just like a real Dead show. It wasn't perfect, but close enough so that it was fairly easy to close your eyes and imagine that you were, in fact, at a _Grateful Dead_ show. It had been a long time. However, I couldn't help but feel that it was all a little weird. I was not used to watching musicians pretend they were someone else and it made me a little uncomfortable. After all, there I was listening to a live band who was in the process of recreating the music of another band at a specific time and location. On the other hand, how different was this than a symphony today playing Beethoven's Ninth Symphony? Well, I am fairly certain that Beethoven planned on others besides the premier symphony playing his works. I am not so sure the Dead ever envisioned this. And this other band had played a big role in making me who I am today. Why exactly was I there? Curiosity? Definitely. Nostalgia? Probably some. Trying to recreate something lost forever in my past? Truthfully, I didn't know. At the same time, I have to admit it was a lot of fun. It was like seeing the band in small venue again. Very intimate. Very cool. Every song brought back memories of shows gone by. And the sound was fantastic. We was listening to some very talented musicians who were apparently doing something they really enjoyed. They clearly had their chops down and were not afraid of letting go within the context of music. In fact, sometimes they just blazed away. The only complaint I could make (and I'll be the first to admit the analness of this complaint) was that sometimes the solos seemed a little historically out of place. Often sounding way too modern for 1976. But that was a small thing. The groove was there and the sound was fantastic (have I mentioned that yet?) and the audience vibe was fun. In fact, what we experienced was as closed to a Dead show as I had been to since 1995. So why worry? Finally, I just gave up and went with the flow and decided to enjoy the show. And enjoy it I did. We sat and watched. We listened. We got up. We danced. We sang. We reveled in the glory of what was something you can never really explain to those who never experienced it. The show ended near midnight but the band wasn't through yet (even after the "official" encore) and serenaded us with a couple of extra tunes or "filler" as they call it. Finally, the show was over and as we walked out, we talked about how we were going to invite all our friends to join us for a little bit history next time they came around. Share some time together listening to the live beat of the soundtrack of our past. Who woulda thunk it? The _Dark Star Orchestra_ had gathered us in and made a couple of new fans. Show #416 - Fri, Nov 17, 2000 at Capitol Theater, Olympia, WA Performing 6/18/76 Capitol Theatre, Passaic, NJ (Donna Show) 1: Music, Sugaree, Mama Tried, Crazy Fingers, Big River, B. E. Women, L. L. Rain, Row Jimmy, Cassidy, Mission, Promised 2: Samson, Tennessee Jed, St. Stephen> NFA> St. Stephen> Eyes> Drumz> Wheel> Sugar Magnolia
Encore: U. S. Blues
DSO: The Past Can't Be Repeated I just can't seem to make up my mind about Dark Star Orchestra. I can think of a million and one reasons to protest their recreation of something that already happened, but then I listen to an mp3 of that recreation - in particular, a "Slipknot>Dark Star" - and all those reasons go out the window and I just smile. These guys really do have the sound. And it's beautiful. With that said, however, I beg to borrow your ear for a while and tell you why I think Dark Star Orchestra needs to reconsider its approach to covering the Dead. A Dark Star Orchestra show, it seems, is a place where one's concept of time gets thrown into the shuffle by a group of musicians intent on reinventing the past (which, of course, is a downright impossible task). So much as we'd like to re-live certain moments of our lives, we can't. As a result, there's always a certain sadness to even the greatest of moments, for you know that this exact experience can only happen once. Yet DSO seems intent on challenging this truism. Consider the following description of what they are striving for, courtesy of their mp3 website: "There are a lot of cover bands around a lot of those are Grateful Dead cover bands. You've seen them, they're good. Most include the music of Jerry Garcia, Bobby Weir et al with other cover songs and some originals mixed in. DSO is a different breed of "Dead" band. What Dark star Orchestra does is recreate the Grateful Dead. Not with hippie wigs and fake beards but through their live music. They play the setlist song for song in the same arrangements used by the Dead members of that period. When you're at a DSO show you may really be in the Providence Civic Center back in May of '81. Or you could even be at the 1973 Denver Coliseum show listening to the Weather Report Suite. Who knows?" Before I comment on this description, let me make it clear that I completely appreciate the efforts this band is making to recreate that experience. They do a fine job and put on a great show. However, the whole thing reminds me of something from my childhood. I used to buy pretty much every baseball game for my Apple II+ computer that I could find. Why? Because I wanted to "recreate" games of the past. I wanted to see what the 1955 World Series between the Yankees and Dodgers was really like. The closer to the real outcome that my game had the better. But then I discovered something better. I discovered that even more fun than trying to duplicate the past is to set up impossible situations where teams from different eras could battle each other. Why not pit the 1927 Yankees against the 1977 Yankees? Could Ron Guidry handle Babe Ruth, or would the Sultan of Swat take him deep? In this way, I was living out something that had never happened before and even though my experiment was founded in the past, it was about as grounded in the present as you could. In a word, it was fresh. Of course, the sports world is not the only history that fans want to see repeated. What Deadhead doesn't wish he could see another show, just like the one he saw back in the day? The Dead were a once-in-a-lifetime cultural phenomena, rising of a specific place and time - 1960s San Francisco - and sharing their unique vision and spirit with the world. And we were hooked. And so were they. If you'd sat down and shared a smoke, a laugh and a gab with Bob Weir and Jerry Garcia circa 1967, and then told them that in 10 years they would be playing the Great Pyramids in Egypt, most likely they would have laughed and said, "Far out." But most importantly, they would not have ruled out the possibility. These guys, it seemed, were students of the anything-is-possible school, absolutely driven to test to the limits and treat life as one long adventure, a game where he with the most far-out trips wins. And throughout, the band was always growing (even in their latter years, they still managed occasional gems like "Days Between"), having new experiences, taking new trips and taking their fans with them. Sadly, the last few years saw the decline of Garcia and when the broken angel strummed his last guitar, many of us coming into our college years in the 1990s were barely able to get an accurate idea of why the Dead had such appeal. Sure, we could listen to the tapes and get a sense of how magical those shows must have been. But still, we couldn't fully know what it was like to grow old with these guys. And like a lot of things from the 1960s, nostalgia for a forgotten time has created in my generation a longing for a taste - even a small one - of what that time must have been like. Those of us in the jamband community find ourselves wondering what it would be like to be sent back in time to a Dead show, to feel the magic of Garcia's guitar, to bask in the depth of Kreutzmann and Hart's duel-attack drumming, and to witness the miracle that was the manic Pigpen. But we never will. Except for maybe. Maybe, just maybe, this Dead cover band out of Chicago that I keep hearing so much about can pull the curtain down and dim the lights and somehow act as a musical time machine, ready to transport us back to the date of their choice. But can they? Well, yes and no. The first three times I saw DSO, I often found myself closing my eyes and marveling at what I was hearing. This was not your average Dead cover band, which seem to be about as numerous to American culture as Wal Mart. No, these guys had done a sickeningly real job recreating the sound. Yet, it wasn't the sound of the Dead that initially drew me to the band. Instead, it was the spirit. That spirit that prompted them to play those Pyramids, to live in a Watts house with Owsley the acid king, and to constantly be smiling at all the squares who just couldn't understand what their appeal was. That spirit that was constantly pushing new ground. The fourth time I saw DSO (at the King Cat Theater in Seattle a few weeks back), all of these thoughts came to a head. You watch the guitar player and wonder: Did this guy really spend countless hours in a cold garage somewhere learning to play - tone, included - and sing just like Garcia. And if so, why? And what's up with that Bobby guy? Really. I mean, does he wear that hair like that out into the streets of San Francisco? Yes, he's got the part nailed. Then it hits me. This is not live music. Or is it? I'm seeing it for the first time, yes. It's right in front of me, yes. But it's a show that's been done before. How can the present offer surprises if it's a replica of the past? And then I look around. There are some older people, true. But most of the crowd at the King Cat Theater that night (and two nights previous in Olympia) were my age or younger. Were we trying to have that experience, that experience that the guy with gray hairs in his ears and glowing eyes told me about back in the lot at Shoreline in 1995 where he and his friends had the greatest trip with Garcia, the man with the golden guitar, what a trip that was. And how fresh. "Black Peter" rolls on and I fall asleep. This song, played after a rollicking "Terrapin>drums" has been done before. Placed in this exact same spot. It's not original. Even the mighty Red Bull can't keep me awake. Finally, I awake to the 50s rock-a-beat of "Around and Around" and am wishing that the show would just end already and be part of history. Again. After witnessing the talent of DSO, I only wish I could see DSO in the form of an original band. Maybe they could throw in a few Dead covers here and there, but why not try something I've never heard before? But then I wonder: Are they not able to play originals? Maybe they've become so accustomed to playing their Dead roles each and every night that when guys like the dude behind me in Seattle that yell, "Donna! Wooo hooo!," Lisa Mackey Burlingame actually has no trouble believing that the praise is meant for her. Which brings me to my final thought: Why does DSO want to recreate the Dead's setlists? My biggest criticism of the Dead's (and I share it with many others, it seems) is that their setlists did not vary enough; "Me and My Uncle" is a first-setter only, "Dark Star" falls in set two, etc., etc. And if the show is from the late 1970s, count on a "U.S. Blues" encore (which've seen in three of my four shows). Maybe if DSO had played one of their original setlists, I wouldn't be so critical (man, some of those look tasty). Because as much as I admire them for trying to bring fans back to a certain point in time, there's no use: it's over. And we move forward. I only hope they come along for the ride.
Jerry Joseph and the Jackmormons December 2nd, I went to see my current favorite band, the _Jackmormons_. I have seen them a bunch of times this year and chances are that was my last opportunity to see this Portland, OR band before the new year. Happy to say, my year of _Jackmormondom_ ended on a high note! I arrived at the Sunset Tavern shortly after 9:00 p.m. and immediately found several folks I knew, within the fairly crowded house. I walked up to the Merch table and after a quick scan of the table, asked Brad Rosen (Jackmormons drummer), who was manning the table, where the new disc where the new disc, _Everything was Beautiful_ was. "Sold out last night in Portland." he said. Hmmm, poor planning somewhere. Since this show was supposed to be a record release party for the disc, one would expect to be able to buy it at the show. No such luck. Dang! I had waited all this time to buy it at the show. Now I still have to wait! I need to have a little chat with management, I guess. ;-) Anyway, I guess I will have to buy it off the website (http://www.jerryjoseph.com). Well, I guess I can do that. Went back to my friends and hung out for a while. Then Jerry Joseph (_Jackmormons_ lead singer and guitarist) walked by and in my typically artless manner, I walked over to him and made a few song requests. In my neverending attempt to hear all _Jackmormon_ songs live, I started off with my traditional request to hear _Climb to Safety_ (rats! Foiled again), then asked for either _Fiona_ or _Conscious Contact_. He was non-committal, but thanked me for the requests. Hmm, maybe if one of these days, I have to be polite enough to introduce myself first, before asking for something I really want, maybe I will get it. ;-) Around 9:30 opening act, the _Baseboard Heaters_, came on. Not bad in an 80's cow punk sort of way. They reminded me a lot of the _Long Ryders_ or cross between _The Blasters_ and _Rank and File_. They played for a little over half an hour. And the general consensus was pretty positive. Next up was Pete Droge with the above _Baseboard Heaters_ as his back-up band. Wow! What a difference one person can make to the sound of a band. In this configuration, they were really, really GOOD!! They rocked! The crowd, which was now packed quite tightly into the place, was really into the band. People dancing and those who knew the songs were singing along. Pete has a pretty good ability to connect with the audience and seemed to be enjoying himself. The place was getting hot and sweaty. After there, about, hour long set, there was a quick change of equipment and almost at the stroke of midnight, the _Jackmormons_ came on. After Pete Droge's shredding set, I sort of expected the boys to start off a little mellow for a change. Shows you what I know! They walked out on stage and ripped into a killer, take no prisoners version of _Back in the Hole_. Jerry was on, playing that lead rhythm he does so well, bass player. Jr. Ruppel was thumping and Brad was pounding to beat the devil. The audience immediately got caught up in the energy and people were dancing and singing along right away. The temperature rose higher. The whole show pretty much stayed at that tempo. Even the slower songs had a rockin' edge to them. And ending the set with a powerful version of my request of _Conscious Contact_ was icing on the cake. The set ended about 1:45 a.m. (real time) and I wasn't expecting an encore. However, after a short delay, the boys came back out and did a quick couple of and finished almost exactly at the 2:00 a.m. closing. On the down side, it was clear as soon as Jerry started singing the slower (sort of) _Mary, Star of the Sea_, that he was still suffering from a cold or something. His voice was not in tip top shape and was even raspier than usual. By the end of the night, I was wondering how he was able to do it. A times, it was almost painful to listen to him sing. Especially when several of the songs the band chose to do had long vocal parts, _10 Killer Fairies_, for instance. Obviously, he both loves what he does and/or he is a true professional. But I could have easily understood if he had done less singing and more jamming. But that was just a minor problem in an otherwise typically stellar _Jackmormons_ show. If these guys come through your town, make the effort to check them out. You won't regret it. December 2, 2000 Sunset Tavern, Seattle, WA Baseboard Heaters Pete Droge & the Baseboard Heaters opened Back in the Hole-> Mary Star of the Sea-> My Little Tiger 1936 Jesus-> Pure Life-> Soda Man-> Good Sunday 10 Killer Fairies Chrome Koran Crime and Punishment Conscious Contact Encore: World Will Turn->* K-Line *Only true segue, the rest were stop and starts
Below is a list of great music I got in 2000. I believe most of this stuff was released in 2000, but a couple may be holdovers from 1999. I have limited my list to independently released works and while I list them alphabetically, it is most appropriate that I start with: Angel Gone (single); Beat Happening (K Records) (In the interests of full disclosure, I have to admit, my brother is in this band. But for the sake of this mini-review, just pretend I am completely unbiased) When I heard that one of the pivotal indie bands of the late 1980's early 90's was going to release a new single, I had some serious misgivings. After all, how many times have you heard about a great band getting back together and with high hopes checking out the recording only to find out that it sucked? Fairly often, right? Well, I was afeared for nothing here. This a great music that stands with anything in their oeuvre. Same old _Cramps_ meets Jonathon Richmond. Check it out. (http://www.kpunk.com) Pizza Deliverance, Drive By Truckers (Soul Dump Records) I happened to check these guys out when they opened for one of my personal favorites _The Jackmormons_. They were a lot of fun to watch and surprisingly good on disc. White trailer trash meets rockabilly. This great music to drink beer to. (http://wwwdrivebytruckers.com) Transcendental Blues, Steve Earle (E Squared) This release, by one of America's national treasures is another great disc by one who really never puts out a bad recording. Another disc full of songs about everyday real people. Best story songwriter this side of Bruce, maybe better. (http://www.e2records.com) Adams Hotel Road, Frog Holler (Record Cellar) Read about these guys in _No Depression_ and was impressed enough to buy the record. This is fine americana. Everyone has a time when music like is appropriate. (http://www.frogholler.com) Everything Was Beautiful, Jerry Joseph (UlfTone Music/Phoenix Media Group) Jerry's latest recording is a fine collection of tunes that are arranged so differently than they are played by his band _The Jackmormons_, that if you are all familiar with the latter, these tunes may take a little getting used to. But grow on you they will and you will find yourself humming several of these tunes as you go through your day. (http://www.jerryjoseph.com) Party Girl, Carolyn Marks (Mint Records) Saw her at the country women night at _Ladyfest_ this year. What a find! Patsy Cline meets Wanda Jackson by way of Michelle Shocked. If you aren't totally captivated by _Edmonton_, you don't have enough fun in your life. This is great stuff. (http://www.mintrec.com) Toad of Titicaca, Gurf Morlix (The Catamount Company) This debut collection of neo-60s bar tunes by the well known side man, bubbles with enthusiasm and old time American music. Another find from _No Depression_. Check it out. (http://Catamountco.com) The Superman Curse, The Ominous Seapods (Hydrophonics) The latest release from this popular northeastern jam band boasts strong songwriting and the first recordings of the newest pod, Todd Paternack. How can you NOT like a disc with a song called _Bong Hits and Porn_ on it? (http://www.ominousseapods.com) Dark Skies, Ponticello (Ponticello Records) I caught this band when I was offered a free ticket to the show if I agreed to write about them. And surprisingly enough, they were really good! Bass, drums and lead violin make for an interesting sound. (no website) All Hands on the Bad One, Sleater-Kinney (Kill Rock Stars) The latest release from this cutting edge riot grrl band totally rocks. This is one of those bands that is so unique, they create their own rules for the rock and roll world. 'Nuff said. (http://www.killrockstars.com) Editor's Note: "Thanks for contributing to and Happy Holidays to all! I also wanted to mention that I lost a fellows e-mail that I received and feel awful that I have not been able to get back to him. If you are a fellow who moved to LA from Seattle and were wondering about the LA music scene, please forgive my lameness in not getting back to you, it's just that I can't find your e-mail anywhere ;o((. Please write me back if you see this, and I will forward you some info.! Thanks, take care. -Gordon" |
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