REVIEW B&P OFFER: (Analog or CD-R)

Just a reminder, I will pick one review each month with the winner receiving a B&P offer from my dat (analog tapes) or from my CD-R list (which is currently quite small, but growing), so let's keep them coming! I won't necessarily pick the most well written review; in fact, the winner will be somewhat random! Reviewers, please check this section to see if you have won. This month's WINNERS are John James & Phil Simon Congrats! and get in touch with me for details.

NE MILLENNIUM MELTDOWN

Be Sure To Check The Band's Official Website & Call The Venue To Confirm All Shows! Check the Calendar Section for more dates.

Arthur Dent Foundation 12/31/99 - Fri First Night Worcester MA For more details http://www.trydent.com.

beat down sound 12/31/99 - Fri Charles Playhouse Boston MA midnight-2am More Info at http://beatdownsound.iuma.com

Currently Nameless 12/31/99 Vermont Pub & Brewery

Entrain 12/31/99 - Fri Harpers Ferry Boston MA *More Details* Maps

Heavy Metal Horns 12/31/99 Regatta Bar - Cambridge, MA

Miracle Orchestra 12/31/99 - Fri The Milky Way Jamaica Plain MA 9pm - 4am 21+($25) 18+($40) More Info at http://miracleorchestra.com

ViperHouse 12/31/99 Higher Ground, Winooski VT 802-654-8888

Seth Yacovone 12/31/99 Burke Mountain Resort, VT 802-626-1317

Perkins Street Quintet 12/31/99 - Fri Black North Tavern Dracut MA Ryan of PSQ on Acoustic/No Cover/ 21+/8:00 pm - 10:00pm Maps

Soulive 12.31 Burlington VT Red Square More Info http://www.soulive.com

The Slip 12/31/99 Somewhere in New Hampshire - Details forthcoming soon stay tuned to: http://www.theslip.com/main.htm

two ton shoe 12/31/99 - Fri Common Ground Boston MA

FREE SHOW?

Does the idea of possibly writing a review or flyering for free admission interest you? Help the scene, the bands and help yourself in the process, read on.

Info courtesy of Aaron (of Grizzly Magic Entertainment):

Wednesday is Jam Band Insanity at the Living Room in Providence RI. The nation's best jam, jazz, groove, funk bands you're gonna find anywhere. if you haven't been yet you missed fat mama and ulu get on stage together and give new meaning to the word jazz. you missed smokin grass come down off the stage for a post set unplugged jam. you also missed amazing sets from the big wu, the recipe, dexter grove, native, jive talkin robots, rane, alula, uncle sammy, another planet, miracle orchestra, arthur dent foundation, jack straw and the music never stops.

12/15 Alula w/ Phat Glass opening
12/22 Grenga Ma
1/26 DJ Logic's Project Logic! W/Foxtrot Zulu opening

Grizzly Magic Entertainment is looking for people to flier around Rhode Island and also to write reviews of the shows for jambands.com, both for free admission. email grizzajj@aol.com for more details or go to http://grizzlymagic.virtualave.net

~WEBCAST: 12/15/99 Radioboston.com Zyrah's Orange w/Goodfoot, Smokstik at Harper's Ferry, Boston MA

~INFO: DRUMMING ABOUT YOU w/Bob Bloom - participatory concerts:

January 7th Drumming About You / Your Drum Circle at the First Church Congregational, Mansfield Center Connecticut. 7:45 to 9:30pm. $5.00 860-429-9280 bb@drumming-about-you.com (This circle runs the First Friday of each month through April 2000 )

December 31st Drumming About You family drum circles at Mystic First Night. 6:30, 8:30, and 10:pm. at the Mystic Middle School. 860-536-3575.

January 1st Drumming About You family drum circles at the Boston First Day Celebration. 1:00p, 1:45, and 2:30p at The Hynes Auditorium. 617-542-1399 www.firstnight.org

January 15th D.A.Y. family drum circle at the Nathaniel Greene Community Center, Guilford CT, Time TBA. FREE. 203-458-8532

January 16th D.A.Y. family drum circle at Capt. Isaac Paine Elem. School, Foster RI, 2:00pm. 401-397-6527 (Foster Foundation for the Arts)

January 25th Class "Introduction to African Drumming" at the Boston Center for Adult Education, Boston MA 7:00pm 617-267-4430.

~ISO/LOOKING FOR: (Attention aspiring musicians)

WORTH MENTIONING.

Been a while since I've had this section. I guess I've been a bit lazy, sorry. Well, after taking in four Slip shows in the last two weeks I feel the need to bring the section back, at least for this month. I've extolled the virtues of the Slip countless times in my NE section, but I have to say that they are getting better and better every time I see them. How many bands can you say that about? Not many, as far as I'm concerned. Two weeks ago I was able to catch back to back shows at the House of Blues in Cambridge (12/1 & 12/2).I'm glad to say that they did not disappoint in the slightest. I've always thought that you can't really properly judge an improvisational band until you can see them play consecutive shows (or consecutive nights). This was the first time I've seen the Slip in this manner. Both nights had their own personality with the common thread being that they were both excellent shows. In fact, I enjoyed the first two night run so much that I decided to do it again this past week (12/9 &10) at the Iron Horse in N. Hampton and Lupo's in Providence, respectively. Again, no disappointments. I just wish they could play for longer than the two or so hours that they normally get when playing bars. One of the most wonderful aspects of their shows to me has always been the feel of their shows. By this I mean, that not only do versions of songs contain a fair amount of improv/change from show to show, but the feel of the show can vary as well..sometimes very out there (spacey), other times very tight or very jazzy, or whatever they seem to be in the mood for. If you haven't gotten around to seeing them for one reason or another, do so now. They are just starting to get out of the north east on a regular basis these days, which isn't very good for me, but great for the rest of the country. You know, I used to take them for granted because they were always around, but that won't be happening anymore, that is for certain. I suggest you take advantage of my hindsight ;)

-Tony

GENERAL SUBMISSION GUIDELINES:

I pretty much accept anything as far as reviews go, as long as they pertain to jambands. Really, this is a very broad category, and I give a lot of leeway on this too. Of course, I reserve the right to not use anything or to edit them as I see fit. You will get full credit for reviews and I generally take a hands-off approach to editing, meaning I don't want to change the feel of your review. After all, YOU were there, not me. Some important things to keep in mind. Deadline! Our deadline is the 5th of the month. This may change in the future, but for now that is it. You can still send me your review if you miss the deadline; I "may" be able to get it in, if not; it will be used in the next issue. Please run "Spell-Check" before submitting your reviews. Also, if you are referring to song titles, please put them in "quotations". When e-mailing them in, it's best to just put them in the body of the e-mail or mail them as .txt. If you send something else there may be a chance that I won't be able to open it because of software incompatibilities. The best way to get a feel for what the reviews are like is by reading past ones. Remember you don't have to be a journalist or professional writer, you just had to be at the show. If you have any specific questions, you can always scroll on up to the top of this page and just send me an e-mail. I promise to be gentle. I guess that's it for now. Looking forward to getting some new reviews and reviewers in the coming months.

-Tony

p.s. I've added reviewer's e-mail addresses, so feel free to contact them if you like their reviews or even if you don't. Feedback is always welcome.

REVIEW: Currently Nameless
11/5/99 @ The Vermont Pub & Brewery, Burlington, Vermont

by David A Merrill (aka the Bourbon Cowboy!)

What would you call a beer that is as red as Hawaiian Punch, smells vaguely of cranberries, and has a crisp, refreshing taste? Well, at the Vermont Pub & Brewery in Burlington this fine microbrew has been dubbed "Currently Nameless," in honor of the Burlington area band of the same name. The band members selected the seasonally appropriate cranberry flavor, and Brewmaster Greg Noonan created the unique beverage, combining cranberries with "ancient herbs and, uh, alchemy." The cranberry ale was officially unveiled at the first of the band's four November appearances at the Pub & Brewery. A banner strung above the stage proclaimed "Currently Nameless - on stage and on tap!" and the Pub & Brewery also gave out special t-shirts to commemorate the event that read "Currently Nameless: the Band, the Beer." Currently Nameless, the band, is no less unique and complex than its fermented beverage counterpart. In fact, they compliment each other quite well. Both the beer and the band blend, ferment and infuse a hodgepodge of flavors and, uh, alchemy, into the mix to produce a satisfying end result. The band, who disdain being pigeonholed as "just a jam band," incorporate a variety of styles into their musical stew, a mishmash of jazz, funk, country, rock, gospel and even a touch of hip-hop now and again. Then again it has become sort of the hallmark of jam bands to not be identified with any one particular style of music. Otherwise they would just be another country band, or jazz band, or "alternative" band, but I digress. This night the band was in high gear from note one, fueled, no doubt, by a taste of their namesake beer. They kicked off the three-set night with the ballad "Raising the Fall," with Sean Daley's vocals soaring above the intertwining melodies of guitarists Josh Keller and Dave Simpson. The delightful "Corporation a la Groove Rock" was up next, followed by a personal favorite of mine, the always fun and kosher "Barrel of Pickles Song." A plaintive train whistle, courtesy of Daley's trusty harmonica, signaled the start of "Train," a short a cappella intro to "Downhome Thinkin'." I had never caught the "Train" before, but gladly hopped on board for this trip, fueled by Daley's dark and eerie vocals.

Train rolls on in the darkness,
making a mighty sound And it gives off no light
But ohhhh, what a fright
'Cuz it's takin' me into the ground
Yes it's takin' me into the ground

Then all five band members harmonize: But we will rise....Lord we will RRIIIISSSSSSSEEEE! At which point Keller busts out the riff that opens "Downhome Thinkin'." "Ocheh" is quickly becoming one of my favorite Nameless songs. It is a lovely ballad with a melodic vocal hook and a killer guitar riff thrown in the middle to spice it up. This version also featured some nice work from bassist John Treybal. "On Being" found Treybal and drummer Daemmon Hughes once again layering rhythmic textures on which guitarists Simpson and Keller built their soaring melodies in between Daley's gentle tones. "Dreams of an Island" picked the pace up just a bit, with an intense guitar and harmonica jam during which Daley's harp mic broke. This unfortunate event provided a moment of levity when guitarist Dave Simpson suggested to Daley that if he put the broken mic under his pillow perhaps John Popper would sneak in and give him a new one. Ever the realist, Josh Keller replied, "Dude, I don't think John Popper is sneaking anywhere!" "Living It Up" is a terrific new tune, which exemplifies the songwriting talents of these five individuals and displays just what makes Currently Nameless the hottest young up-and-comers on the scene. It starts out with the song title being sung in a catchy, harmonized hook before progressing through a multitude of musical style and tempo changes.

The Second Set opened with a new a cappella gospel number called "The Curse," which is devilishly humorous and delightful. The funky jazz of "So It Goes" followed. "The Body Image Song" is a fantastic song, one of the best in the Nameless repertoire. It is so funky and bouncy and uplifting, with Daley's soulful crooning accompanied by terrific guitar arrangements. "Big Like the Sea" is a brand new song featuring the lovely vocal harmonizing, which is a Nameless trademark. Next up was the oldie-but-jazzy "Linus & Lucy" followed by another of my personal faves, "Stain Resistant Man." A couple more new songs, "Someday, I" and "Bleeding," were followed by Nameless standard "JC's Weather" to round out the set. After a very brief intermission (to purge the system of cranberry ale and then imbibe a bit more) the band was back on stage and ready for Act III. This kicked off with the spacey epic "Wingless Brother Fly," with Daley's lament of lost youth ("I have tried to be sixteen again / Was I ever there before?") setting the tone before being borne by intricate layers of rhythm and melodies on an Icarus-like flight toward the sun. "Purple Crayon" brought the crowd back to earth for an exuberant foot-stompin' hoedown. The band kept the fun going with "Sex in Molasses," a silly, yet sinfully delicious little ditty that playfully compares love to fried ice cream. After the thoroughly enjoyable "Sex" the audience was treated to "Tune of an Onion." The ostentatiously oscillating rhythms of "Starbelly Groove" ended the show on a high note, leaving the crowd happy and sated from this rollicking dose of Currently Nameless, the band and the beer!

Currently Nameless is fully Y2K compatible and will be performing at the Vermont Pub & Brewery on December 31, 1999 to carouse, romp and gambol into the new millennium. Come on out and get jiggy!

REVIEW: Intergalactic Funk at Higher Ground
11/6/99 - Higher Ground Music Hall - Winooski, Vt

by John James

Thanks to my friend's never-ending quest for the eternal buzz, we arrived a little late and missed opening act Anders Osborne and the first couple Galactic tunes. From hearsay among the crowd, Osborne and his band of players, had many people raving over their style of delta funk.

As I walked through the doors of the Higher Ground, the smell of beer, patchouli and body odor hit my nose all at once, and it accompanied a good vibe.

Theryl was on stage, working the crowd, so I knew we missed a little bit of the first set, because he usually doesn't come out till about the third or fourth song of each set.

Theryl is in charge on stage, decked out in his lavender three-piece suit. Keep in mind Theryl is a considerably older than the rest of the band, and exuberates a youthful presence on stage that compliments the band nicely. The raspy tenor belted out two new tunes, "Vilified" and, "Actions." The later is a classic funk influenced song that has Theryl as stern as ever. It's good to see Theryl add more tunes to his arsenal, the man can sing. Vogel used his moog synthesizer to give the funky space-aged intro to "Love on the Run," from the bands latest album Crazyhorse Mongoose. The lyrical content of this song gives insight into life on the road and the inevitable one night stands, "My bags are packed/ the van is outside waiting. its love on the run." Theryl exited and Kurtis Joseph, sousaphonist from the Anders Osborne Band, joined the band for "Bakers Dozen," and just like a bakers dozen this tune offered a bit more than expected. The sousaphone is a lost instrument and been substituted in many modern jazz bands by the electric bass and/or upright bass. Sousaphone players are one in a million and the boys in Galactic sat back and let Joseph take center stage.

Anders Osborne joined the band for an impromptu jam session. This was an all out jam (over 10 minutes long), in which Raines let Osborne take over on lead guitar. The intensity was so high during this song that Stanton Moore was jumping out of his drummer's stool, all kooked out.

Osborne and Ellman left and the heart and soul of Galactic, Moore, Rains, Mercurio, and Vogel handled a cover of the meters, "Groovy Lady." This song gave the audience a glimpse of what Galactic might have sounded like in the early days. With the set ending on a high note, there were great expectations for the second set.

Mercurio, Moore, Raines and Vogel came out to start the second set with two new instrumental numbers, "Laying Pipe," which segued into "Doublewide. Ellman made his return and the band launched into "go go," from their debut album Coolin' Off. This tune had the band vamping like crazy, first Moore and his precise snare beats, then Mercurio's bouncin' bass line, then Raines wah-wah funk guitar, came Vogel with a crawling keyboard lead, and finally Ellman entered with his silky smooth sax fills. Though the transition out of "Doublewide" was rusty, the song developed solidly.

Eric Krasno, guitarist from the New York City based trio Soulive, joined the band for another new song, "Blue Pepper." This song had more of a groove-rock feel than many of the other tunes especially with Krasno trading licks with Raines. Theryl came back out and the band convinced Krasno to sit in again, on another new Theryl-penned song, "Love is Such a Thrill."

Theryl announced the next song, a funky ditty, "Century City Girl," would be on the next album, which is currently untitled. "Funky Bird," showed off the jazzier side to the band, in which Ellman teased Duke Ellington's jazz standard, "Manteca." To close the set the band chose, "Two Clowns," a tune which can be found on the bands CD-ROM version of Coolin' Off.

As the band exited the stage, this beat-boxer from Boston, Radioactive, came out and kept the crowd groovin' while the band took a break before the encore. Fans of the roots and Rahzel would appreciate Radioactive, he kept the crown dancin during the break with his style of vocal beat-boxing. As Radioactive was still kickin beats, the band returned, and kicked into a version, "Something's Wrong With This Picture."

An anti-establishment anthem, "The Houseman," had everyone in the joint clapping and chanting the chorus, "There's something wrong/ there's got to be something wrong/there's something wrong with this picture." Radioactive's insertion of beats enhanced the overall rhythm of the song. All the members of the band left the stage except for Moore and Radioactive, who kept the rhythm going as the crowd kept on singing, an appropriate way to end the evening. Galactic played a lot of new material and are experimenting with different electronic effects, especially Raines, Vogel and Ellman. The show was tight, with a good mix of instrumentals and "Houseman" tunes.

Galactic spent most of September in the studio and is slated to release the new album in April 2000. Being able to see a band like Galactic in an intimate setting such as the Higher Ground is a blessing, because before too long, they won't be playing places that small.

REVIEW: Ratdog
11/10/99 The Palladium, Worcester, MA

by Matthew Carlson

Shakedown> Minglewood> Odessa, Black Throated Wind, Fever, Friend of the Devil, She Says, Loose Lucy, Estimated Prophet> Wheel> SOLOS> Two Djinn> Corrina E. GDTRFB

What can I say? I have been a Grateful Dead fan since 1983, an active supporter of Bob Weir's solo efforts ever since seeing him and Rob Wasserman open for the Jerry Garcia Band in 1989 at the Merriweather Post Pavilion, and an increasingly fanatical supporter of live music crossing many genres, but focusing mainly on improvisational, so-called jam band music. Does that resume provide enough qualification to author a somewhat critical review? Some will say 'yes', some will say 'no', and some will not accept criticism at all, no matter where you're coming from.

Be forewarned: my review here is not too complimentary. This review is not a song-by-song analysis, just some general feelings and a few specific examples.

Maybe I was having a bad night? Fall 1999 has found me in a fairly continual state of exhaustion, this particular Wednesday night was no exception. Maybe the venue sucked? No, the Palladium does not suck. Although my two experiences there (MMW & Ratdog) found it to be: (1) very crowded, and (2) not terribly patron-friendly (for instance, an incredibly short MMW set a few weeks previous - what was up with that?!?! I felt that night the venue pulled the plug early.) But the sight lines are good, comfortable seating/standing can be found (I will not sit in the steam box otherwise known as the balcony though), and the ability to enjoy a cold beer is appreciated by yours truly. Maybe Ratdog was not clicking on all cylinders this particular evening? Or, maybe Ratdog's (read: Bob Weir's) approach to live music no longer lives up to my expectations?

Unfortunately I entered the venue to the closing jam of 'Shakedown Street' and wasn't completely situated until 'Minglewood Blues'. I didn't really care as I was not hearing anything spectacular anyway. The crowd was boisterous and singing along as Weir channeled all the testosterone he could muster through this raunchy vamp.

I guess I'm not a very tolerant person when it comes to Grateful Dead covers. A weird, embarrassed feeling comes over me when I sense the unpleasant cloud of nostalgia overtaking the fresh breath of reinvention. I do not want to sing along with 'Throwing Stones' as a means to remember days and good times gone by. I'd prefer to hear fresh approaches to familiar material as a vehicle to say 'whoa!!' and have my mind blown a little bit, but that's a very personal complaint. Many people are at the show to experience nostalgia and there was plenty of it; I'll let them provide the rave reviews.

I checked out the crowd to pass the time as I became more comfortable. Since I'm a people watcher, let me take an aside here to vent about the Ratdog crowd, rather than the band for a moment.

Why does Ratdog attract the most obnoxious fans? I described it to friends as: if you took the entire crowd at a typical Dead show, removed the polite and considerate ones and kept just the true dregs - you know, the completely whacked, drunk, loud, rude, purely obnoxious, looking to pick a fight, pee-in-a-cup-rather-than-go-to-the-restroom type people - you'd have a good approximation of the Ratdog crowd. Not the entire crowd, but a pathetic majority.

Case in point: Dave Saslavsky (Venue of the Month editor) and I were standing toward the back of the room, in front of a prime cocktail booth which had two inebriated fellas in it. Throughout the *entire* show these guys (a) were loud, (b) were obnoxious, (c) were not approachable about showing those around them any courtesy, (d) were randomly causing confrontations with peaceful people trying to enjoy the music, (e) were beyond rational behavior whacked out on drugs and booze.

Another case in point: as I was making a quick exit up the aisle during the "GDTRFB" encore, I was literally clothes-lined by some goon who thought I was making a big mistake by leaving a few minutes early and not getting my full money's worth by hearing out the tired rendition of that Dead staple - he decided I should stay. Luckily, I was comparatively sober and easily weaseled my way around the offender and made for the exit. Ugh, can you say 'drunk and obnoxious'?

Back to the music. Bob Weir is my favorite rhythm guitar player, hands down. I've always appreciated his unique approach to his instrument and feel he was an invaluable member of the Grateful Dead. I've watched Ratdog grow as a musical group with Weir building and refining their sound and recruiting some top-notch musicians. But at this point in their career and at this point in my life, I do not understand what musical direction Weir is taking this troupe.

To these ears, the evening at the Palladium was essentially a group of players acting as session musicians, providing support to a headline figure. Well folks, the headline figure is a *RHYTHM* guitar player. Countless times during the performance I watched the stage only to see Mark Karan, Dave Ellis, and Rob Wasserman constantly looking at Bob Weir waiting to take their cues. No one stepped out without express direction. No one pushed any envelopes. Karan in particular took basic, unimaginative solos. To me, that is not a *band*. That is not a group of musicians functioning as a single unit. That does not provide the engine for exploratory improvisation.

Which brings me to my point: Bob Weir's approach to music today is not an exploratory, risk taking approach. Rather it is a structured, orchestrated approach, which leaves this listener unsatisfied. Certainly this approach leads to the inevitable staleness which Ratdog's ever increasing catalog of Dead cover tunes is mired in. Nostalgia begets lack of reinvention, which begets staleness. Hey, at one time I liked Ratdog's version of "Loose Lucy" and yes, it doesn't leave too much room for exploration, but after hearing the same version for a few years, it gets stale. I might be singing a different song here had I caught a "Playing in the Band" or a "Birdsong". But why should the appearance of some select chestnuts dictate the musical prowess of the show?

Allow me to single out one selection that really fizzled: "Estimated Prophet". One of the things I give Bob Weir credit for is that he wrote one of the best, if not *the* best, bridge in rock and roll. The bridge in "Estimated Prophet" is the shit. Out of the hundreds of concerts I have attended, over the past 17 years, I can not recall a bridge that works so perfectly, builds so intensely, and releases such a torrent of energy. I tuned in to the band at work as I sensed the approach of the bridge. I was paying close attention hoping that Ratdog would redeem themselves by nailing this peak. Bzzzzt. They missed it. The opportunity came... ...and went. I was dumbfounded and completely disappointed as they butchered the transition. How could they squander the best bridge in rock and roll?!?!?! P.U.

Did I enjoy any of the show? There were a few moments that turned my head. I enjoyed all of the new songs and just wished he could squeeze more than three (!) into the setlist. The only Dead covers that caught my attention were "The Wheel" (mostly because Chimenti's low register electric piano work really caught my ear - very reminiscent of the solo Garcia version) and "Corrina" which had the end of the show energy focused pretty well.

My conclusions: I will not be traveling for a Ratdog show in the near future (already blew off Providence); I may have had a better experience had I caught the Weather Report setlist; I wish I had driven past Worcester and caught Phil Lesh and Bob Dylan in New Haven; some people are completely inconsiderate and obnoxious; Bob's current musical approach does almost nothing for me; at least I caught an hour or so of high quality jamming from Uncle Sammy before Ratdog at the Kazbar next door to the Palladium - *that* made my trip worthwhile.

REVIEW: Ratdog
11/10/99 - The Palladium Worcester, MA

by Chris Robinson

I'd much rather be posting a positive review of this show but here goes. Ratdog came to the Palladium Theatre in Worcester on Nov. 10th. My expectations were high having not seen Ratdog since they added Mark Karan on lead guitar. Had to work that day so by the time I hooked with my friends and got inside we had missed the warm-up "Jiggle The Handle". The Palladium is an old theatre with seating, other than the first 15 rows of the Orchestra, which was open space. They sold all tix as General Admission and in my opinion oversold the place by a few hundred at least. Coming in to the venue I had the pleasure of being frisked by a nasty female security guard that confiscated my tiny stash. I'm not talking a pat down here, I've been searched less vigorously getting arrested. Once inside I waited on a huge line for a beer, then was told by a bartender, 10 years younger than me, that I needed a wristband to buy. I explained that the woman who frisked me hadn't offered a wristband, and I took off my hat to reveal my balding 32 year old head. No dice, back to the lobby for a wristband. By now the lower level was so packed you couldn't get through the door so up I went to the balcony. I settled into a spot that should have been decent for sound as the band came on stage. The opener was "Shakedown", which was appropriate given my experience on the way in. Unfortunately, all I could hear was drums, vocals, bass and sax. Keyboards and Bob's rhythm guitar were barely audible and Mark Karan couldn't be heard at all, though I could see his hand working up and down the frets quite clearly. Based on the 60 or so Dead shows I've seen I knew that it usually took the band and the sound guys most of the first song to get the bugs worked out so I was still optimistic. Next song up was "Minglewood". Bob sung it well and it's a hell of a fun song, but the sound didn't improve. Very frustrating to have a band playing some of your favorites tune of all time with absolutely no guitar lead. For some reason, the young hipsters around me didn't seem to mind. They danced and acted as if in absolute rapture, which I thought was kind of pathetic. Weir's singing on "Black Throated Wind" was real nice, brought a smile to my face. The acoustic mini-set which included "Friend of The Devil" was quite good. For some reason I could hear the acoustic guitars better than the electric. Go figure. Overall, the sax player was great, not overpowering, with a very melodic style of play as opposed to just "belting it out".

Rob Wasserman is a stellar musician, but I question whether a stand up bass really fits with the music and the rest of the band; except for the acoustic songs, of course. This was painfully obvious during "Estimated Prophet". I was reaching out for that signature booming bass line and it never came. The sax player took one of the solos and Karan took the other, but of course I couldn't hear him; so frustrating as EP always brought a chill to my spine. At that point, I decided I'd try and force my way down into the Orchestra to try and find some better sound. Ended up packed in about 30 feet out from the left speaker stack. Finally some decent sound. Karan did a nice job on "The Wheel" and the crowd was into it singing along with Bob. They then played a new tune called "Two Djin" that didn't thrill me too much, but at least I could hear all the players. Never thought I'd say this 10 years ago but the highlight of the night was "Corrina". The band was clicking and Weir really belted out the lyrics. Nice. The show finished with "Going Down The Road Feelin Bad". It was OK, but it never developed that train like "roll" that I always loved. Overall this show was a disappointment, but I'll give Ratdog another chance as admittedly my somewhat dark mood, resulting from the hassles and lousy sound upstairs, obviously influenced my opinion on this concert. First and last trip to The Palladium for me. Looking forward to Phil & Friends on Sunday, hopefully I'll be able to post a glowing review!

REVIEW: Max Creek with 4:20 and Smoke the Prophet
11/12/99 - Toad's Place, New Haven, CT

by Phil Simon

It was with great anticipation that I drove to New Haven on this night. Tonight, I would see one of my favorite bands for the first time in years, Max Creek. Now I had seen Creek before- shows at the old Living Room, at the Agora Ballroom, Katina's near UMass, and even in Chico, Ca. when my band, Freaks of Nature, opened for them at the Brickworks. But all of those had been years ago, and my Jones for the Creek had certainly been itching me. So off to Toad's I went...

Now, I had been hearing about Toad's for years, back to the days when Billy Joel recorded there, or the mayhem surrounding the Rolling Stones shocking appearance in the 1980's. But I moved West before I ever had a chance to go. So I stared at the posters that adorned the room- Elvis Costello, James Taylor and Steven Stills, George Clinton, Billy Idol, Taj Mahal- who hasn't played here? The room smelled a bit funky, and it was empty when I walked in to see 4:20 warming up.

I had heard things about both warm up bands, and their names alone enticed me to check them out. 4:20 was a bouncy groovy thing, playing a mixture of covers and originals. Their lineup was drums, keys, bass and guitar. The keyboard player was my favorite, having a traditional Hammond style. Smoke the Prophet was fronted by two acoustic guitar players, and had bass, keys, and drums (from what I can remember). The singer's voice was unusual, and reminiscent of Dylan. Neither band really gripped me, however, and my excitement for Creek just built.

I could see the vibe building, as I met new friends who plied me with nitrous and Connecticut kindness in preparation for my re-induction. Then Creek hit the stage. I must confess that I have a soft spot in my heart for these guys. I never could understand why they didn't dominate the Jamband scene- and their talents had only grown in the time that I was away.

Set ONE In Harmony (Scotty) Big Boat (Mark- boogie old timey version) Dark Water (Jon Ryder) Ramblin' Gamblin'Man --> Solitaire Love (Scott) --> I will Always See Your Face (Jon) Late in the Evening (Scotty)

Set TWO 16 Tons (Mark) Baba (Scotty) Rainbow (Jon) Said and Done Emerald Eyes (Scotty) --> Playin' in the Band -- > Get Back

Encore: Happy Birthday to Mark Hard to Handle (Mark) Back Porch Boogie Blues

( ) denotes who sang lead vocals

Max Creek is a great jamband with all of the right elements- drums and percussion, screaming guitar, solid bass, and honky-tonk keys. Each of the front three guys sing- handling bandleader responsibilities for their own material while inventively covering the great songs of rock.

A few things stick out in my mind. First, Mark was very energetic on the keys and vocals. It was quite obvious that he was feeling great, even before they brought out a cake and sang for his birthday. Second, Robert the percussionist was even better than I remembered. His nuance on the percussion set is unparalleled, and he inspired me when I least expected it. He was achieving things rhythmically on the maracas that I didn't know were possible- 10 minutes into the show.

I don't know why these guys aren't packing 5,000 people a night into venues all over the country. They are untouched in how well they play Jam oriented music in the San Francisco style. Their vocals are gritty, yet full of spirit and tone. Their rhythmic continuity on stage tells of their thirty years together, and the guitar soars with every solo. Scotty is by far my favorite guitar player in the Home Grown scene, and I find myself staring at his flying fingers whenever I see them play.

The way this band carries themselves on stage, their flirtatious and yet comforting manner with their audience, and their overall excellence in playing puts them in a league by themselves. I look forward to many nights dipping into the Creek. So that's why I moved back East.....

REVIEW: Phil Lesh & Friends / Bob Dylan
11/14/99 - Worcester

Centrum by Chris Robinson, fishy4u@hotmail.com

Phil & Friends Setlist:

Jam > DarkStar (1st verse) > Jam > Sugaree > Cosmic Charlie > Jam > Dark Star (2cnd verse) > Jam > St. Stephen > The Eleven > Not Fade Away

Bob Dylan Setlist:

Somebody Touched Me (acoustic), To Ramona (acoustic), Mama You Been on My Mind (acoustic with harp), A Hard Rain's Gonna Fall (acoustic), Don't Think Twice It's All Right (acoustic with harp), All Along The Watchtower (electric), Highlands (electric), Memphis Blues Again (electric), Now Dark Yet (electric), Everything is Broken (electric). Encore: Love Sick (electric), Like A Rolling Stone (electric), Girl of The North Country (acoustic), Not Fade Away (electric).

Phil Lesh & Friends / Bob Dylan at the Worcester Centrum was enthralling. Very few shows of any band I've seen have sounded so good since Garcia died. In fact, I'd say what I saw in Worcester was better than 75% of the Dead shows I saw in the 90's. If someone asked me 10 years ago if I thought I'd ever see a show with "Dark Star", "St Stephen", "The Eleven" and "Cosmic Charlie" I would have laughed and said "Dream On"! This was no nostalgia trip either, it all sounded fresh and wonderfully psychedelic. Casual fans, hoping for the typical greatest hits/reunion tour type fare, would have been disappointed. This was hard core, deep, dark, heavy jamming reminiscent of Dead shows form the early 70's. Not for the faint of heart! Phil's set went about 1:50 with only 7 actual songs. They really stretched out the jams. Improvisational for sure but with a polished quality. I don't recall anyone ever loosing their way. This incarnation of the band had 2 weeks of shows together coming into Worcester which quite obviously gave them enough time to gel. Derek Trucks and Warren Haynes absolutely soared. For the most part Derek played slide and Warren played straight lead. It was quite obvious that Derek and Warren had played together frequently before signing on with Phil as they traded licks and played off each other seamlessly. Derek is an amazing talent, it's almost scary to think how good this 20 year old kid will get in the years to come. Warren was supremely confident all night. His singing on "Sugaree" was beautiful and soulful. Phil played his heart out. I almost burst when he boomed out the opening bass line to "Dark Star". It seemed like he was having a great time, and surprisingly his vocals were solid. He stayed within himself and the vocal interplay between him and Warren was sweet. John Molo was awesome on drums, he was doing so many things I kept looking for another drummer on stage. Paul Barraco (sp?) on keys had that "Schroeder on Acid" thing going that reminded me of Chuck Leavell in his prime. The crowd was beautiful. Very few of the yahoos who invaded the scene the last few years of the Dead. I was surrounded by strangers that seemed like old friends. The sound complaints I heard from the start of the tour must have been worked out because the sound in Worcester was primo. Everyone came through loud and clear right from the opening notes. Three weeks later I am still buzzing from this amazing set! As for Dylan, I've seen him at his absolute worst in the late 80's. I also caught a few of the decent shows he put on warming up the Dead summer of 95. No comparison with the Dylan I saw in Worcester. I had convinced myself not to expect much from Dylan going in and man was I blissfully surprised! Had the perma-grin going through his whole set! Dylan obviously was enjoying himself immensely as was his band. They rocked! I laughed out loud a few times at his words, what a lyrical treasure we have in Dylan who sang with clarity, emotion and humor. I loved how the band frequently and quickly made the switch from acoustic to electric. After kind of a slow start, "Hard Rain" and "Don't Think Twice It's All Right" sounded great on acoustic, then they turned out the lights for about 10 seconds and came back with a vengeance on electric for one of the most blistering "Watchtowers" I've ever heard. Other highlights were a re-worked "Like a Rolling Stone" and a captivating "Girl of the North Country". Both bands finished with "Not Fade Away" which was a bit strange but each version was unique and just so damn good that no one seemed to mind. The only real complaint I can muster about this night is that I wished Phil and Dylan's sets were 3 hours each!! Damn what a great show, I can't gush enough. Thanks for reading!

REVIEW: Jazz Is Dead
November 19, 1999 - Somerville Theater, Somerville, MA

by David Saslavsky

The jazz greats of the 50's often used Broadway show tunes and other popular songs as the melodies for launch pads for improvisation. Grateful Dead songs with roots deep in all forms of traditional American music could be tomorrow's jazz standards. At least, that's the message Jazz Is Dead imparted last month at the Somerville Theater.

This is no Dead tribute band. the members are not Deadheads. Instead, their resumes read as a who's who in rock, jazz, and fusion. T Lavitz (piano, synth., Hammond Organ) and Rod Morgenstein both played with The Dixie Dregs, and Steve Morse's influence showed throughout the night. Lavitz sat in once with the Dead, and only saw two other shows. Alphonso Johnson (bass, fretless bass, upright bass, and chapman stick) is best known for his work in Weather Report, but has collaborated with everyone from Chuck Mangione to Wayne Shorter, as well as Bobby and the Midnites. Jimmy Herring's the "young guy" best known for his work with Colonel Bruce in Aquarium Rescue Unit. From interviews, my impression is that the musicians appreciate the music of the Dead, but relish the opportunity of playing together in only a semi-structured setting.

Thanks to the guys from Planetary Groove Productions, Jazz Is Dead was finally getting their well deserved Boston area headliner at the esteemed Somerville. (November's venue of the month)

Keeping to a jazz structure, either Jimmy Herring or T. Lavitz play melody actually following verse to verse the lyrics of each tune. They take turns soloing and allowing for some group improvisation. Herring's guitar work ranged from absolutely searing on Unbroken Chain (not known for a ripping guitar solo to soulful with beautiful sustains in Row Jimmy.

T. Lavitz alternated between a piano, Hammond B3, and a synthesizer, often playing two at the same time. Surprisingly, he handled the main verses of Estimated Prophet on the piano, while Herring took over for the "California.." part. The first jam featured some nice interplay between Herring and Lavitz which seemed too quick. The second jam was Rod and Alphonso holding a reggae beat with Herring developing an absolutely mesmerizing solo until Alphonso eased back into the Estimated bass line.

Other improvisational moments included Slipknot, of course, with Herring ferociously leading the charge, and all nailing the transition back into the Slipknot theme. (something the Dead didn't always handle well.) Let It Grow featured both Lavitz and Herring "trading vocals" and a new improvisational jam (at least new since my only other Jazz Is Dead show)

Usually, a Jazz Is Dead show has only one short encore or no encore at all. With Jeff Sipe (drummer on Laughing Water, their second CD) playing an early show with Leftover Salmon at the Paradise, expectations were high when a second drum kit (generously donated by Uncle Sammy's Tom Arey) was set up on stage.

According to Planetary Groove's Alex Wise, Sipe showed up late, just before the encore and said he just wanted to watch. The band mentioned the drum set. "OK, let's do Stella Blue and get out of here." The band informed him they had worked out something special. What followed is a dead fan's wet dream. Dark Star was extremely jazzy, even for Dark Star, as if it were written as a jazz tune. In the tradition of the Dead, the entire group improvised and jammed as an ensemble, as opposed to just trading solos. It quickly left the main theme, but never lost the jazz feel. After the second verse, we entered the strange world of the "Arabian Winds". This is the only time I have ever witnessed any band tackle Blues for Allah. This version was as dark, strange, and wonderful as the original with Lavitz leading the way, and Herring providing the distortion. Out of the cacophony rose the ending of Terrapin Station, or the segment of the original composition that the Dead almost never played. (At A Siding) Was this a 35 minute encore or a third set?