Business stuff:

Also please send in any and all live tape/CDR reviews. Next month it'll be "Phish in foreign lands" month around this page, but send reviews of whatever you are listening to. I'll save them for a month when they fit in, or do a readers choice month. Also send me any comments or suggestions- feed back is always welcome.

Music:

There is no question that some amazing things have happened as a direct result of Jerry Garcia's death and the ensuing dissolution of the Grateful Dead. The jambands scene, which was struggling just to exist during the Dead's era, was given a new license and a hoard of jam hungry music fans, and is now a thriving world of ear candy. Beyond that, bands that were previously afraid to cover Dead tunes for fear of being slammed with a "Dead cover band" sticker, are playing songs like FOTD and the Other One, showing a respect for both the boys from San Francisco and the crafting of their songs. Also the members of the Dead have all had the opportunity to spiral off in their own directions, making personal explorations that have their roots in the 25 year reign of what Bill Graham called "On any given night, the greatest rock and roll band on the planet."

Of all that has risen from the ashes of the Dead, it's hard to find a finer thing than Phil and Friends. The approach of the rotating cast of jam superstars is a living embodiment of what was best when the Dead were at their best: Listen up and play hard. Phil and Friends, in its multicolored incarnations, churns out some of the most pulse pounding, absolutely exhilarating exploratory music there is. Instead of continuing to flatter Phil in true fanboy style, let's get to the music.

Phil and Friends @ The Meadowlands, 11/13/99 Gen?, Source ?
A: Jam > Get Together > Mr. Fantasy > Cryptical > Other One >
B: Days > Other One > Cryptical > Help > Slip > Franklin's
(Phil, Molo, Rob Barocco, Warren Haynes, Derek Trucks)

Below is a copy of the review I wrote for this show during the set break. I don't have much to add except that the show is even better than I thought it was at the time. It's one of those cases where my first impression panned out perfectly. Also, the tape was given to me by a very young SCI fan who was at the show, and it's extremely high quality, especially when you consider that there was no taping aloud for the entire tour.

I got onto the floor just as the lights went down. Phil and the guys set off on a 25 + minute jam that wandered through all sorts of territory, exploring new planetary systems with but a pass, or focusing intently on a single flower petal along the trail. There were really three jams, Phil winding down each one to a brief quietness before the next one took shape. Each of the larger jams, however, was comprised of multiple jamlets that contained tempo shifts, key changes, and solos. This was quintessential psychedelic music; by that I mean that it was fairly unstructured musical wandering that drifted out, swelled up and drew back into itself. And as Warren was the man on the scene, there was much heavier playing, power chords and smoking leads, than space noodling. Throughout the jam there were hints at the GD songbook, including Stephen, Dark Star, Other One, a full-blown Wheel jam for the bulk of the second jam, and China Cat.

The final segment eventually wound down into Get Together. It was a little weird at the start; I really thought The Wheel was going to materialize. Phil seemed to enjoy singing the tune a lot, and the first two jams were heavy. The chorus grew each time it returned, becoming almost triumphant. The last jam was spacier in nature. Mr. Fantasy started up somewhat disjointed, not in a negative way at all, just dispersed. It came together within a few bars and as Rob and Warren set out the intro, the crowd realized what was happening and greeted the old favorite. Rob was right there with organ fills throughout the song, and for the first time that evening, Phil began to drop bombs. So sweet to feel those sounds vibrate through your chest. Warren took the first solo and then while Derek was out in front, Warren, Phil and John created reggae groove- a nice twist to the song. Derek's oscillating sound, like sitar with no resonance strings, added a strange almost Asian tone to the whole night.

A spacey jam, littered with more bombs, lead into Cryptical. I was psyched to hear those first notes, and the first verse was followed by about fifteen seconds of Molo before a massive Other One explosion that included everyone. The vocals were solid, and included "in a circle." It did sound a bit strange without "y'all" taking up space, but you could get used to it. The jam shot out over the horizon, and Warren worked a cool cascade over Phil and John. Things picked up pace and got frenzied, working up to a screeching bought of Meltdown Madness before easing into a slight shuffle that would return in the quiet moments of the evening, hinting at the jazz to come.

As the shuffle lost shape and dissipated, I finally eased into the groove of the night. I had rushed in and was overly anxious for the show, my mind was racing and then, when the meltdown crashed, so did my tension. My show really started here. I called Days Between in the parking lot, whispering it to J. I think that a lot of Heads overlooked this song back in the day. It was just one of "the new tunes." But if you go back and listen to some of those mid-nineties tapes you'll here some very emotional performances. Phil, however, has taken it to a new level. I strongly encourage everyone out there to re-approach this song with a blank slate. It started out quietly, but I was already covered in goose bumps. Phil was directing the band to build and hush. (It's funny to see Phil and Mickey and Bob direct their bands, pointing at players and circling up the ends of songs after so many years of no one really being in charge.) He nailed down the lyrics perfectly, adding inflections that Jerry never did; Phil understands this song. As it progressed the jams that separated each verse built with more and more intensity. At one point Phil hushed the band and turned to Derek, trading licks in one of the best solos of the night. The jams continued to build, now while Phil was singing; I was on my toes, mouth gaping wide.

We stood upon the mountaintop,
Walked barefoot in the snow.
We gave the best we had to give,
How much we'll never know

There was a perfect transition into Blue Train. Most folks commented how much this one resembles So What and that's no surprise, because Coltrane considered "So What" to be a very influential tune from his Miles days. I was hoping to hear a jazz tune, which have been few and far between since Steve's departure. Trane was to be expected, as he shows up fairly often in Mule sets. Rob was all over this number, McCoy Tyner would be proud. In fact the whole band was giving this song a workout. Nice refrains tied the solos together. As the song ended Phil single handedly lead a flawless transition back into the Other One. They guys missed the last chorus, came to a complete stop, and then just slammed it out! Wow! The second verse of Cryptical was way too short; no long "he had diiiiiiie," segment. I figured that was it, because it was nine o'clock, so the hour and a half were over. But Phil flipped the page on his music stand...

and Help on the Way erupted, as did the arena. It was a very fast version, the band just racing along. Slipknot! was also fast, and a bit short, but the potency of the orchestrated segments at the beginning and the end was stupefying. Franklin's Tower raged, Derek and Warren howling while Rob sped along side, Phil and John driving the machine. Again it was somewhat short (the triad clocking in somewhere near fifteen minutes) but what it lost in length, it made up for in sheer force. While the crowd gave the band its due, Phil commented on how great it was to be back in New York, and introduced the band. He gave the organ donor rap, which should not be overlooked, even if it ends every show. Thousands of people die yearly in the U.S. alone because of the lack of available organs and blood. Sign your license and let your loved ones know.

The set was about an hour and forty-five minutes of near constant exploratory musical mayhem. I was every bit as blown away as I had hoped to be. Phil is monster of music and emotion, a tour de force of sound and vitality. And his bands seem to be inspired by him, striving to do everything they can to live up to the reputation that Phil's Friends have earned.

Phil and Friends @ The Orpheum, Boston, 4/9/00 Daud 3 I
A: Jam > Playin' > Deal >
B: New Potato Caboose, Blue Sky II Dancin' > Cumberland Jam
II
A: Watchtower > Playin', Wild Horses
B: Wheel > Fire E: Knockin'
(Phil, Molo, Rob Barocco, Jeff Pevar, Jimmy Herring

This line-up is probably my favorite. That's not say that it's the best line-up; a very strong argument could be made for the Rob, Derek and Warren group, and some will listen to nothing but Steve, Trey and Page. While every configuration has its merits and drawbacks, this one put out a bunch of great shows in a very short period of time, and their playing is smooth and uncluttered. The Rob, Derek, and Warren tour also produced wonderful music, but I find it overwhelming. With these fellows, however, you can really hear the interplay and the development of musical thoughts and conversations. The themes are also fewer in number and thus tie sets and entire shows together better. 4/9/00 is an excellent example of the band in action and the tapes are constantly in my walkman.

The first set opens as most of the tour did, with a flexible jam- a sort of logic stretch to get things going. It is loose with some interesting a-rhythmic drumming and series of long slow notes from Jimmy. Jeff eventually comes up with a firm idea and takes it for a test but it quickly falls apart. Not one to be dissuaded, he recaptures the focus, holding it more firmly before it slips away again. This pattern continues, the solid jam being more cohesive with each incarnation. The effect is that of a series of musical breaths that fill the lungs and release. Ah, isn't that nice?

Within ten minutes or so a solid Playin' emerges. Rob's vocals are strong and he takes the guiding position in the jam, the guitars crisscrossing around him. Then it's Phil's turn to drive, and with a vicious carpet-bombing maneuver forces the band into a fury that settles into a kind of funky walk through the hazy aftermath. A short, hot Deal follows, although the intro sounds more like Truckin' that anything else. As soon as it ends, they're right back into the drifting fog wherein they quietly happen upon New Potato Caboose. Phil's low-end melodies shine here, graceful instruments. The ensuing jam is filled with quick showers of notes, like hot sparks leaping off a bonfire. Phil clearly points back at Playin', but the suggestion is overruled and they head into a bluesy strut. One of things that makes Phil's music so amazing is that it has a vibe of exploration, but it remains focused. He does this by having a series of buoys to cling to when the music starts to get lost in a sea of sounds. This blues idea is one of those places of refuge that allows the band members to collect their thoughts and start all over again. In this case though, it ends the jam. And after a brief pause they finish the set with a short but powerful Blue Sky. You can't ask for a better set closer.

The second set opens with a nice Dancin' In The Streets. During the composed section Jimmy hits a sweet hanging lead that hints at the places the jam will eventually visit. The song eases into a quiet, dark space and then takes off into a blazing tunnel jam. Fast and loose, it's a focused stream of boiling water that only lasts for so long before Phil tries to redirect the music. He plays the bass line to Cumberland but the energy is too high and another explosion is necessary before the rest of the band can settle into a quick and playful Cumberland jam. Everyone takes a short solo, Rob's fingers dancing throughout.

Next up is a solid Watchtower with wonderful synchronization between Molo and Phil. They create a full sound that gets the song off to the right start, although it doesn't quite take off the way that it could. After the howl, however, the band hits a nice groove that heads towards Playin' once again. But instead of running right to the reprise, the band tweaks the groove, twisting it into strange shapes. Eventually it plateaus and with the dramatic ease of a sunrise, the Playin' finally develops in earnest. A very nice return.

Wild Horses matches the rest of the show well, continuing to show a strong performance. It's really a highlight because it features some wonderful full band playing, everyone adding accents but no one stepping out to dominate the sound. Not only that, but it drops into an intense Caution jam with great work from Rob and Phil. The bluesy strut reappears when things get a bit too hectic and leads into a smooth Wheel. Phil does this tune justice, making it longer providing it with the space necessary for it to rotate properly. Jimmy and Jeff alternate noodles throughout while Rob adds cool keyboard effects. Phil, in the meantime, plods along and pushes toward a fast, pseudo-Latin Fire On The Mountain. While the P and F versions don't always transition well, this one rises up uninhibited and creates a rockin' closer to a great show.

Phil and Friends @ Mountain Aire, 5/28/00 FM/SBD 1
A: Jam > Dark Star > Other One > Cryptical > The Eleven >
B: Dark Star

This soundboard recording was given to the folks at Morning Dew, a local public radio show that broadcasts uninterrupted GD sets, by the Phil and Friends organization. It fades in during the opening jam and fades out after the second verse of Dark Star. That means that it's missing the last few tunes, but the quality can't beat, and it's actually floating around in non-broadcast digital form, so keep your eyes open. Derek Trucks sits in for the whole show, adding an extra dimension to the music. From what I've heard on tape and in concert, when there is a guest Friend, John Cutler turns him up LOUD and this is no exception. But Derek gels well with Jimmy Herring and Jeff Pevar seems to enjoy linking up with whatever's going on, so that Trucks dominates but doesn't overwhelm the sound the same way Warren Haynes did at the Beacon in April.

From start to finish this set sounds like a raging torrent of sound. The energy level is unbelievably high and the band moves through a variety of jamlets and themes, never stopping to consider anyone for too long. When the songs arise, they do so in similar fashion, as though they a low islands that are caught in the path of a hurricane. Adding to the effect is the weird order of the set, particularly the Other One > Cryptical > The Eleven section. It seems that when music gets truly frenzied the Other One materialized naturally, and that's certainly what happens here, but after the little start/stop ending that Phil sticks on the end, they drop right into the second half of Cryptical. Again, though they don't stay there for long, but stretch out only to find themselves riding with The Eleven. For the most part, this set escapes words. It can't be reduced into a review, so find a copy and have your mind blown.