By Margot Main

Robert Randolph and his band moved the overflowing, enthusiastic crowd into a warm soul groove at Lakeside Lounge on December 19, 2000. At one moment, onlookers stood on an icy Avenue B to peer into the picture window to see Randolph jam heaven on his custom built, thirteen-string, pedal steel guitar and melt holiday season wintriness into radiant smiles.

People trickled in from the frigid streets to fill up the bar and stage areas; most only heard of Randolph's divine talent from friends. Sociable bartenders attentively watched and served as people settled in and prepared to listen to some new live music. In a flash, Randolph wrapped the crowd with his smooth sound of moving rhythm. Randolph then led his band, and everyone, into a body bopping, foot stomping, funk/blues feast of music.

Danyell Morgan (Randolph's cousin) on bass supported Robert Randolph's quick steel bar slides and John Ginty's adroit keyboard work. Another cousin of Randolph's, Marcus Randolph, was having big fun keeping the groove going on drums. The neighborhood's agreement with Lakeside Lounge allows live music to be played for one hour; however, the band moved time so we appreciated every special minute.

The beat kept building as the vibe kept growing. Randolph worked his pedal steel guitar through a series of syncopated pitch modulations controlled through tricky foot pedals and knee levers. The whole band dug deep into their zone. "Sit Down If You Can" had Morgan stepping up his funktified baseline and Marcus increasing his drum velocity. On another jam, Randolph's foot work ran and his rocket hands slid metal across 13 strings with Duane Allman and Jimi Hendrix flavorings. Throughout, Ginty pumped out notes on his keyboard that spiraled through the tight vibe and held the groove together until the gig came to an explosive end.

After the show Robert Randolph, New Jersey resident, was very available for comment. When asked how he liked opening and playing with The Derek Trucks Band on November 22nd at the Bowery Ballroom, he responded, "I was nervous". However, Randolph must have made a good impression because he intimated he and his band were asked to open for The Derek Trucks Band's New Year's Eve North Carolina show. He declined the offer explaining, "On New Year's Eve I'm going to church...it's a tradition".

Sweet-as-pie charm combined with his musical gift were evidenced in Randolph's performance of "Chubb Sub" and "Hey Joe" during the encore set of Medeski, Martin and Wood's October 31st Beacon show. Robert Randolph was totally Hendrix - complete with those beautiful distortions. Furthermore, he and his band's Led Zeppelin cover during their Karl Denson Tiny Universe opener on December 29th at the Bowery Ballroom dispelled any doubts about the pedal steel guitar finding comfort outside it's Hawaiian/country/gospel roots.

Because the pedal steel guitar is not limited by standard frets, it holds unlimited sound potential. In jams where lyrics are optional, Randolph captures his voice on his sacred pedal steel and appears eager to share it with anyone willing to listen to his unique sound and infinite potential. Keep your eyes and ears open - Robert Randolph and his band are playing fresh, high energy, invigorating music.

Karl Denson's Tiny Universe 12/27,28,29 Bowery Ballroom, NYC

By Margot Main

Do it, dig it, groove it. Karl Denson's Tiny Universe took over the Bowery Ballroom once again with three birthday celebration shows on December 27, 28 and 29th. It was Denson's party; his house. Though the birthday wishes we, the fans, delivered were in the form of dancing, shaking, hand waving and cheering, it was Denson who gave us the best present; making us feel at home in his tiny universe. "Where," as he told the audience at the encore on the sold out closing night show, "you are the star".

Each night we, the stars, showered Denson's universe with glowing faces and groovy graces. Everyone immediately sparkled as Denson's sax and Andy Cleave's trumpet said energetic greetings to the ballroom. Brian Jordan's dexterity on guitar complemented Ron Johnson's solid funk baseline. David Veith's acute keyboard work created halos around Eric Boliver's upbeat, Herculean thrust on drums. Special guests, EJ Rodriguez (from Marc Ribot's band) light speeding ahead on congas and DJ Logic (unparalleled in his ability to spin vinyl as a percussion instrument) rounded out the universal sound of groove in Karl's house.

Denson's wizardry on his saxophone and spellbinding flute combined with his vibrant stage presence made him a super nova that propelled magic into each song. To Denson's right, Andy Cleave's trumpet sang high over his peaceful style and aural intensity. Whether the tunes were spirited, "So Damn Funky", "Los Los", "Gettin Down", and "Groove On" or filled with sultry elegance such as "Spanish Castle" and "Fallin", KDTU's musical magnetism drew in the farthest star.

Even after Robert Randolph's opening with his ecclesiastical energy, playing his thirteen string pedal steel guitar, KDTU captured that energy and created a very magical closing night. All players kicked it up and demonstrated the boundless beauty of being a jamband when they played music from a West Indies group, Osibisa (World music mid-70's). They all kept the sound real while making the melody fun.

Continuing to caress the crowd with their soulfully inspired funky groove, Denson led everyone to sing the chorus, "...the music is good for your soul..." (from "Can You Feel It") over and over as the stars absorbed the all good vibe of the moment. The quintessence of this universe was the band's hand-shaking and chatting with fans after the show.

Karl Denson's Tiny Universe defines what live jam music is all about; an experience. Hopefully KDTU will hold the magic when they expand to the less intimate Irving Plaza in March after their CD, "Dance Lesson Number 2", is internationally released in February.

"With the power of soul anything is possible" - Jimi Hendrix, Band of Gypsy's "Power of Soul", 1970.

Professor Louie & Garth Hudson Joined by Joe Boris from One-Eyed Jack
12/31/00 Tobacco Rd., NYC

By Suzie Cream Cheeze

New Years Eve in Hells Kitchen, NYC seems like a suitable term for the madness of NYC New Years; but contrary to the sound of it everything was rather relaxed and very mellow inside the bar and outside. The NYC police closed the entire W41st St. between 8th & 9th. You actually needed tickets to get on to the street the bar was on. The entire city was in turmoil on either side of the block but the bar seem to exist in it's own world. You were able to go outside and not see a soul in front of you. Walk 15 feet and it was madness.

The band opened at 10:00 pm. The sound was great and the crowd was perfect. Band fans were everywhere, and the coolest of people you could meet. The band hit a great version of "Ophelia". It was very moving. The last time I've seen Rick Danko was with Professor Louie and now I got to see him with Garth Hudson. The 2 keyboardists blended very well. Louie was in touch with the melody and vamps as Garth was in touch with outer space and the obscure textures that you couldn't make up if you tried.

An additional treat at New Years was the fire works that you were able to see clearly from outside of the bar. The pile of people seemed to be held back to allow you to enjoy this special night. For me, this was the best New Years I was able to experience. No hassle, no crowds, great bar and great music.

The 2nd set ended with Louie calling up Joe Boris from the band One-Eyed Jack on mandolin. Garth whirled out his fiery, baroque intro to "Chest Fever" and the band took off. The addition of the mandolin added the extra touch that gave the perception of the old Band sound. About mid song Joe hit a funk groove with the mandolin. I saw Garth swing around towards him, twist his head in frenzy, and in one motion hit the keys to take off like a jet rocket. What an excellent close to a New Years that I couldn't even dream of being better.

Tobacco Rd is located on W41st between 8th & 9th in NYC. This is one of those up and comers located in an excellent spot across from the port authority and hidden from the rest of the NYC madness. I hate to ruin it's secret but others should be allowed to experience this place as well. If you want to be in NYC for next New Years this is a highly recommended spot.

Bartleby 12/16/00 Wetlands Preserve, NYC

By Margot Main

It's easy to smile when Bartleby's lead vocalist and guitarist, Todd Amodeo, sings. Charming and smooth his voice leads the electric melodies into jams that conjure up images of southern California on a sweet spring day. This was a very welcome vision in the lounge at Wetlands on a cold, damp New York City Saturday night, December 16th.

"Beautiful Life" segued into refrain surfs from the Grateful Dead's "Fire On The Mountain" without losing how Amodeo describes, "...being in the moment". The band's togetherness shines as Amodeo led his bandmates, Geraldo Flores, Joe Knipes, Alex Ruiz and Fred Scholl through improvised waves of sound that gathered energy as it rolled over the small stage area.

Amodeo later explained, "The songs aren't excuses to get into the jam". Their strong original material provides an abstract boundary that can contract or expand depending on the feeling. As Amodeo stated:

"I think that it's very important that jams be grounded in the emotions of the song. The Dead's "Morning Dew" jams were so much more powerful because they flowed directly from the sadness in the song".

The band's music is seeded on this thought. It's obvious their performance focuses on playing together, as a team, to deepen the "collective improvisation" theme Phil and Friends, for example, demonstrates in their work and which serves to inspire Bartleby's sound. "Fictionary Landscape" is the title of their in-progress CD and fully amplifies their ability to create music that touches hearts.

Playing Wetland's lounge holds a special place for Amodeo. He moved to New York City in 1991 to go to New York University. A fan of both the Grateful Dead and Phish, he, like many live music enthusiasts, naturally gravitated toward Wetlands. A sincere smile stroked his boyish face when he admitted playing there, "...means a lot to me".

Collection of 3 The Fun House 12/26/00

By Cheryl Huber

Collection of 3 played Dec 26 at a well known bar in the A.B.E. region( Allentown, Bethlehem,Easton). The band set off with a brief musical interlude before breaking into a fortified funk jazz tune called Cha La` (If God is Willing). This song displayed the bands Philly roots with the bassplayer Steve Rosati playing a chordal Hammond groove while Guitarist Kyle Angst threw down a tight syncopated counter groove to Steve’s bass riff. Drummer Alonzo Lister keeps the band well rooted to the ground.

With out even a word to indicate to each other the next selection, a well known MM&W Dracula tune, popped forth form the former song. Bassist Steve switched from his electric to upright bass to keep with the original sound of the song. The crowd listened contently to this under ground phenomena known as Collection of 3. These guys have the acid jazz hook in the bag. The night finished out with one of their funkiest tunes, Glory Hole, which set the room in blaze of excitement with people applauding and whistling. Glory Hole brought the gig to a close.

These Guys will be playing at the Berks jazz fest. I believe it is a must that you check them out you will not be disappointed.

MacGregor 12/22/00 The Vault, Baltimore

By Chris Frazer

Last night I witnessed an amazing thing. I saw MacGregor blow the roof off of the Vault night club located in Baltimore, MD. I had heard many things about this band, some good, some bad, but all intriguing. I decided to check them out for myself. MacGregor came on the stage around midnight and hastily assembled their gear.

At first it was quiet. Then out of nowhere came an intense crescendo of sound began to build. It was a cacophony of horns, guitar ,bass ,drums, brewing until it was about to blow…and BOOM! It did. A new Macgregor fan was born at that moment. The moment when the hardest groove I've ever heard kicked in and shook my soul. It was amazing, these six guys must have been born connected at the brain after their mother had played classic funk records to them the whole time she was pregnant with this funk beast.

They played some funky numbers, but not your typical chipper, happy funk. This funk was primal. It was dirty, rough. raw and sexual. Most of the music played that night was original or at least new to my ears. It was obvious the crowd recognized some of the beats and chants the band would slip in and out of through out these impromptu medleys. At one point the guys sang this really soulful vocal harmony and then busted into an onslaught of sick hip-hop beats. I heard a well done James Brown cover at one point. The whole evening made me feel good about the future of live music. Macgregor played their hearts out, they had a unique combination of sounds you could really dance to, and they got the crowd involved. During one song they invited three guys on stage to have a lyrical battle. And being that this show was close to Christmas they busted out a sick "Deck the Halls" that went into RUN DMC's "Christmas in Hollis". I was blown away. It was good to see a young band of this talent and energy do something so creative musically. If you like the Beastie Boys, James Brown, The Meters, Chili Peppers, Greyboy, or Soulive you must see MacGregor. One listen and you will be a fan, I know I am. Well I gotta go, I'm searching Macgregor shows to download off he internet.

Juggling Suns 12/31/00

By Taper88

I feel compelled to write this review of this amazing show since the people who were there seem a little too dazed & confused to do so. Therefore I, will attempt to chronicle this show for historical record. Yes, I do infer that this show will be remembered by generations to come. Anyway, since I did not go, this is a review of the CD recordings of this show. So hopefully this review will be "pure observation," not distracted by the "magic of the moment." Looking at the setlist for set one, with the exception of Three Bells, I am struck by how average it looks. "Never judge a book by its cover," how true a saying that is. Jumping Over Ashes starts off in wonderful slow motion. The band is ON from the start. All four members seemingly playing at a peak performance level that keeps increasing ... and increasing... This is where the magic is, the line between soaring through the sky and crashing and burning. This gamble almost paid off. Coming out of a sweet raging jam Mark starts into the change, but Bruce, Gus & Casey don't. Gears Clash & Grind and the car spins out. They recover quickly though, gears meshing in unison and the car is back on the road. Still, a very ugly mishap. After this graceful recovery, the smart thing to have done would be to end the song, take a breather, and get their footing back. Nope. They dive right back into the jam and push it back up into the danger zone. Bruce & Mark threaten to spin out a few more times before Ashes comes to its end. An Amazing version that I have listened to several times. One of the Best, if not the best version of Ashes ever, in spite of the earlier mishap. One of the longest versions too, clocking in at 10:00 even.

The Shelter that followed is near perfect, with a very sweet ending. Box of Rain is next up, played strong but tarnished a bit by a feedback squeal in the middle. Still, it smoked. Then came Three Bells. A song I waited 44 months to hear again. Juggling opened up with it on their (my) first show in Baltimore at the Funnel (now the Vault) on 4-5-97. I loved it. They never played it again. I must say I am deliriously happy that it is back. I Am The Walrus was well, well played. Bruce added some appropriate lyrics such as-"I am stoned, as you are trashed, and he is rolled, and we are all together" and on one chorus"I am the egg man (whooo), I am the egg man ( whooo ), I am the Walrus, Happy New Year!" & "Sitting in an English garden, waiting for the Suns". Yes, a very fun Walrus. Stir It Up closed the set. It was played with an intensity I've never really noticed before. Mark was burning up his strings on this one. It ended with some of the smoothest vocal harmonies that I've heard from the Suns, with Casey tossing in a bit of No Woman No Cry. After it's over, Casey sends it out to Corrin who shouts back her thanks. An end to a O'mazing 1st set. Short, but oh so sweet.

Disc Two, the 2nd set part one, starts off small, noodlely and spacey before turning into one of the more raging jams I've ever heard this Juggling do. I'm not sure what to entitle this piece--2001 / A Space Odyssey Jam / Into 2001. I've heard Phish do a similar jam. So it kinda sounded like The Suns covering a Phish Jam of the 2001 theme of the same movie, but I can't say for sure not being a PhishyHead myself . It also sounded very Into Tomorrowish. I was just going to call the first two songs of the 2nd set, Into 2001, but.... Regardless, it was magic, sheer joy to listen to. The boys were having fun, playing like it was the last song they were ever going to play. The same goes for the Into Tomorrow that followed, probably one of the best if not the best Into Tomorrow's. Casey added some vocalizations (no words, just voice as instrument) that really added to the whole thing. Every member of the band was just ripping it up. After catching their breath and commenting on the heat (something that would continued to be mentioned) they jumped into a vigorous Mountain Marlane. Mark snuck in an Auld Lang Syne jam in the middle which the rest of the boys jumped on before sliding back into Marlane. A beautiful and stunning The Calling was next. This song is simply amazing. It's played much faster nowadays than it was back in olden times. The softer parts are stronger, not as delicate as before, and the jams erupt. Plus it has moving lyrics. A cool love song from a psychedelic jam band. Before the next song Casey can be heard urging "Let's try it, come on". Then he's asking "I can't remember the words. How do they go? What's the first verse?" Either he remembers or somebody fills him in because the One Way Out they play next is great fun. This song allows Casey to be Casey. Candyman closes out this 2nd disc, but not the set. The Suns play it a bit faster then the Dead do. They also probably played it better then the Dead ever did. This version is a stunner. If that former sentence upset you in anyway, tough. I'm a deadhead and its true statement, so get over it while I flip discs.

Disc Three, 2nd set part two-Spin Song starts this disc off in grand fashion. At the traditional break, The Suns leap from Spin Song and jump into Sugar Magnolia. A nice surprise. A few seconds to long before jumping though. Just a minor quibble but shaving a few seconds between would had a better effect. The Sugar Mag rocked and rolled, and at the break before the traditional jump into Sunshine Daydream, The Suns leaped again, sideways this time (though still waiting a few seconds too long again. sorry, sorry, I'll quit nit-picking ). Starting with the final few seconds of The Coast, then a shortened bridge into Hungry Moon. Almost perfect, with only one or two missed notes during this quick change. This Hungry Moon rumbled and roared. It's nice hearing the usual Coast / Moon combo broke up and sprinkled separately throughout the sets. I find you (alright, me) tend to take them for granted when they are played the same way all the time. Wouldn't it have been nice if the Dead could have seen fit to do the same with the China / Rider combo they played to death. Back to Hungry Moon. When it was done, The Suns slid into Spin Song again. It wasn't a smooth slide, quite a bit bumpy. Oh well, that's what happens when you takes chances. This Spin Song segment, Spin2, got up to speed quickly, kicking up its heels and getting down. Mark started teasing a Inagottadavida theme (I know I probably spelled that horribly wrong) right before they segued into a short cover of Men At Work's Land Down Under (from the 80s for you youngins ). It is surprising how well they fit together. The music was phat. Gus gave a nice effort on the vocals, not bad, but not great either. The same applies to the backing vocals. Then they slid effortlessly back into Spin and finished it up quite nice. A triple Spin Sandwhich. Hope it stays on the menu at future shows. After all that they took a deserved short break and commented on the heat some more. What followed next is a mystery. Casey starts playing Shakedown-like drums while Mark starts playing Wicked History-like guitar. Gus & Bruce seemed neutral in their playing but eventually start to follow Mark. But Mark keeps backing off, suggesting a little Shakedown before going back to Wicked. Finally after nearly 3 minutes of this interesting development, Wicked History finally emerged with Casey jumping on board. Then, immediately Mark dives into Shakedown Street, with the rest of the band following. Was this planned or was this the beautiful fruit of confusion. Either way I liked it a lot. It led to a pulsating Shakedown. Very Good, not mind blowing or anything, but very good on the CD. Live, it was probably magical. This Shakedown was paired with a joyful Express Yourself to make a great combo.