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Mid-Atlantic
Regional Report
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Edited by Anthony Coloneri
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John
Scofield and Soulive By George Schaefer There's nothing better than a little free jazz. John Scofield and Soulive stepped up to bat at Penn's Landing in Phili. This show was part of the Mellon Jazz Festival. I had a couple brews at the pub and headed down to the River for some jazz. Soulive is an impressive trio. The organ based jazz trio is a much neglected but fabulous style of music. If you like MMW, then you will probably dig these cats. While they are not quite as avante garde as MMW, they do organ based jazz proud. I imagine that Jimmy Smith would be proud. They only got to play for about an hour but it was a tasty hour of jams. This is a band that is bound to please both jam band fanatics and jazz aficianados. I look forward to watching these guys develop over the next several years. Then after a brief break, the crowd was treated to guitar legend John Scofield. This guy is one of the deans of jazz guitar. He came out to play. The set focused largely on numbers from Scofield's latest album "Bump". They are similar in feel to the already classic "A Go Go" album. It is not as funky but a few jams were really spacy and dare I whisper--psychedelic. Scofield's band included guitarist Avi Bortnick, who also added samples to the mix. This is not really a new innovation in jazz but it is new for Scofield. It really suits his style well. He is showing an increasing appetite for exploration into different musical styles. Hooking up with the jam band scene appears to have re-energized this legendary guitarist. I was completely enthralled with his jams. It was great to see a large crowd, many of whom aren't jam band or jazz fans digging this music. It was a great show. Now I have to wait a week to go see him again at the Gathering of the Vibes. He'll no doubt take a few young guitarists to school.
Max
Creek By Steven Shepard Upon arrival at the Wetlands, Max Creek, (or the Creek, as they are called) were stuck in the center of a "Cocaine Lady" jam. The jam was mellow and a bit meandering for my liking. Last time I saw these guys I shook my ass. That jiggling memory was what got me to this show. My rump wanted to jitter and I wanted to let it. The Creek must've sensed, or smelt, my pain because after "Cocaine Lady," the room got to rocking. Max Creek churned out a delectable "Big River" for everyone to shake to. Before I could say, "Marx Marvelous," people were swishing and swirling about. Dresses flowed, appendages bent, and spirits soared. The tune peaked with a sumptuous vocal jam that left my palate dripping for another Newcastle. I love the Wetlands to finish off a Saturday. After "Big River," the Creek turned out another treat. As soon as the first note of "I Saw Her Standing There" hit, I turned my noggin to the VW bus and the painting of Saint John on the wall. I spied John, "New York City" shirt, arms folded, looking over us under his shades. It was 20 years ago when that fool put not one, but six, bullets into him. Now we're left with Yoko Ono hollering about real horrorshows at Central Park "jazz" fests. The band next played "Twist and Shout" with spirit, and I looked over to John with my arms crossed. "It's a shame. No one's rattling their jewelry," I said to John. He had no reply. Jingling or not, the jam went on and went on well. The song was followed by "I've Just Seen A Face," and I found myself wishing for "I'm Looking Through You" next to continue the progression up proper. No melon though, as the Creek started churning out the notes to "Come Together." Now this, I must admit, was a bit dicey. A few fun nods to The Beatles are one thing, but Saint John's favorite Beatles song? Some things are better left both un-said and done. Max Creek might've been well advised to leave that one alone. But who gives a rattle and hum about might'ves and should'ves? We're talking about what happened. What happened was the Creek set a groove to "Come Together" so dirty, it left skid marks on the porcelain. There was a release in yelling, "One thing I can tell you is you got to be free!" Coming from a band that's been around for close to 30 years, you believe it more too. Max Creek can play whatever they want. Max Creek returned to their own material for the remainder of the set. Mark Mercier's keyboard stylings brought "Katie Mae" a nice glow. Bassist John Rider and Mr. Mercier decided to grab a blow for the next tune, "The Same Things." Once I saw neither a bassist nor piano player stageward, I went downstairs to take a break. There was no one around but it was still fun. I drew a picture. The band members were all present for a driving "Just A Rose" set closer. Scott Murawski's throaty and inspiring vocals led the way. His guitar solo was flying about the commotion and the rest of the band was in full groove mode. The Creek then returned for a "Free Born Man" encore to fasten the top, quite securely, on the evening. After the last note struck at 3:48 AM, I made way for the City outside. I thought of jumping in a cab and bellowing, "Path station at Christopher. And make it snap, crackle, and pop!" but shot it down. There was a little breeze going and my tummy was growling. Before I knew it, I was being pulled to my favorite after-hours eatery. There, I calmly waited for my French Toast and read Tom Robbins.
The
Zen Tricksters By David Karpman Set
I Set
II It is impossible to review a Zen Tricksters show without using the words "Grateful Dead cover band," so I will get it over with quickly. To say they cover the Grateful Dead doesn't do them justice. They have mastered the music of the Dead, and offer intense fluid versions of live concert staples. Their versions of China Cat, The Other One, and Shakedown shine (both live in the moment and afterwards on tape). With my eyes closed, during the jam segment of Morning Dew, I felt like I did many a night in Oakland or Berkeley back in the mid-eighties. It's no wonder that Rob Barraco and Jeff Mattson have been chosen to perform with Phil Lesh and Friends on a number of different occasions. I believe Rob and Jeff did a run of P and F shows together, and Rob has joined Phil on keys on a number of different tours. That being said, their original songs are lively and very interesting. On CD their original work is well honed and played to perfection. Live, their originals simply rock! "Going Down Slow," for example, which is on their latest CD A Love Surreal will surely prove to be a live show staple for years to come. Anyway, on to the show. I arrived at the Stanhope House a little late, getting inside just in time to hear the end of "Here Comes Sunshine." For those of you who haven't been to this venue, the Stanhope House is a funky little place in (as the name suggests) Stanhope NJ. It's actually quite easy to get to from both Routes 80 and 46 in NJ. The old-house-turned-bar has an ornate paneled ceiling and old wooden floors. Pictures and posters adorn the walls. This club goes as far as calling itself the "Premier NJ Blues Club." And, judging by the acts they bring in, they're probably right. Anyway, after the opener, the sort of meandered through a sandwich of two original tunes around the often covered traditional, "Stagger Lee." From here, the band launched into a wonderful musical excursion. "China Cat Sunflower" was played with precision and the energy really started to build as they segued into a beautiful instrumental version of the Beatles' "Eleanor Rigby." From there they jammed some more and thundered into a remarkably ripping version of the "The Other One." And then, as if we needed our minds melted anymore, they unleashed a stellar performance of "Morning Dew." The jam segment of this tune, in particular, was incredibly well executed, and (as I said in my intro) was reminiscent of the better GD versions of this tune. Your mileage may vary, of course, but after that, set break was well needed. The second set was solid and fun. However, after the last half of the first set, I think this one came up a little short (with a couple exceptions). The set started out with "Pride of Cucamonga" which was interesting and fun. Then they got rolling with "Going Down Slow" into "Done is Done." For me these 2 songs and the Shakedown St. later in the set were the highlights. The back-to-back originals were played with lots of energy and passion- they were feeling it. At this point, though, I have to say that I am not very fond of their covers of some slower ballad songs (Morning Dew excepted). In this set, they also played both Dylan's "Simple Twist of Fate" and the somber Jerry tune, "China Doll." While I really like these songs, I felt that nothing new was added in these versions, and in fact the vocals (for me) fell short of bringing out the emotion that Bob and Jerry are known for on these tunes. To be fair, though, musically these two songs were played very well and accurately. I guess they were just a little sterile for me. "Shakedown Street," however, which came after "Simple twist" was outstanding. The energy was very high and the house was rocking. Not only did the Tricksters jam this one out, but they also added a little interpretation of their own to the vocal jam section of the song. This was the definite peak moment of the set for me. The set ended with a crowd-rousing version of Dylan's anthem like "Rainy Day Women #12 and #35" with everyone singing along to the words "everybody must get stoned." The band came back for their encore, and in tribute to the blues club, they performed a fine cover of the song, "Born Under a Bad Sign." I don't actually know whose song it is originally, but it's been covered by the likes of Eric Clapton and many others. All in all, it was a very fine show at very cool venue. If you live in New Jersey, or within a reasonable distance, you owe it yourself to catch a show at the Stanhope House. The Stanhope House, by the way, is pretty taper friendly. They have a counter and tables around the soundboard area, and usually have a good set of mics hanging from the ceiling. They don't seem to be fond of mic stands crowding the floor, but I don't think it's an issue with the plentiful space to set up patch chains.
Charlie
Hunter By Jeremy Welsh Have you ever attended a show where you tried to prepare yourself for what you would be seeing, but those pre-conceptions and guesses were just blown away? A show where, on more than one occasion, you just had to laugh out loud, in disbelief, at what you were witnessing? Well last night was one of those shows. And I don't think I was the only one to have these feelings. Up until last night, I had only heard Charlie on a few of his albums, a live show or two, and on a few MMW tapes when he had sat in. But I was fully aware of his unique/rare/one-of-a-kind playing style - my brother tried to explain it after his one show and I had read plenty on a few occasions online and by email. I also checked out his site, reading-up on his eight-string guitar/bass. I was trying to prepare myself for what I was about going to see. Recess encore: Rendezvous? Charlie came on around 8:30. He was accompanied by Chris Lovejoy on the congas and Stephen Chopek on drum kit (well, just snare, cymbal, kick, and cow-bell - but he certainly made the most of those!). After some playful banter with the audience (allowing fans to take pictures, but asking that no flashes were to be used or he would turn into a silver-back gorilla), they started off with Recess. And from the opening notes, I was in awe - I just sat there, watching Charlie's right hand, and then watching his left hand, and then the other. It didn't matter which one, both were equally enthralling. My guess is that he plays the bass with the thumb on his right hand, as the other fingers play the guitar parts, and then the left hand fingers the unique-splayed frets? Recess was a nice opener and quickly got the crowd into it. Run for It turned it up a notch - great stuff. At the end of Run for It, Charlie put his guitar down, picked up a tambourine, and awed us some more, lol. He played these runs on a tambourine that I have never seen before - his fingers moved so fast as he jammed along with the other drummers. I should take this moment to comment on Chris and Stephen, as they were very impressive in their own right. As mentioned above, Stephen was playing a sparse kit - but he certainly played it! This un-assuming drummer (kind of looks like a med student ; ) ) worked it very well, from the brushes during Recess to hitting the side of his kick on another jam. He was in constant eye-contact with Charlie and the two of them really worked well together. Chris was also very talented, and played the congas, cow-bell, mini tambourine, and maybe another drum or two. The drummers were really show-cased on Stinky. Shuffle and the closing samba tune. Thelonius Monk's Epistrophy and Al Green are songs off of Charlie's new self-titled album - the first being a bit up-tempo and the second a bit more quiet, "slinky" (Charlie asked the crowd to quiet down a bit with a finger to his lips at the beginning of this one). As mentioned above, Stinky. Shuffle really featured the drummers - this song was one of the highlights of the set. Along with the following tune, which I couldn't ID. This song was rocking, finding a nice and deep groove and had everybody in the club bobbing their head. This was very impressive (sounding a bit First Tube-ish to my brother's ears, if just a bit). The short-ish set was closed by the samba tune Mestre Tata (at least that is what I think it was - I can't really read Charlie Hunter's handwriting, as he helped me fill the gaps in the set list after the show. This latin-flavored song closed with a cool drum jam, again featuring Charlie on the tambourine. The band left the stage to loud applause and a standing ovation - the pause was brief, and they returned to play one more song. My friend Rich seems to think it is called Rendezvous, another off of Charlie's new Blue Notre release. This song certainly didn't disappoint and featured a jam between the drummers that sounded almost like a Drum-n-Bass tune, with some noodling by Charlie over top. By the end of the encore, the show ended up being around 90 minutes or so. All in all, it was a pretty amazing evening. To be able to see Charlie Hunter for the first time in a setting like the Club Cafe was a real treat - I thoroughly enjoyed watching his fingers do their magic. It really is kind of mind blowing - I couldn't help but laugh at some instances. I really don't know how he does it; I could close me eyes, and would be able to easily picture a bassist up there . . . and then I would remind myself that it was just one man. If you have the opportunity to catch him any time soon, run, don't walk, especially with Stephen and Chris backing hip up. It was also kind of neat to have the band hanging out outside, packing up their mini-van. Charlie was rather friendly, shaking hands, answering questions about tunings, and signing my set-list. Cool ending to a great night.
Jimmy
Cliff By Bob Hand Politics, positive vibes, and parents were all a part of tonight's festivities. Jimmy Cliff performed at a free community show on the first Sunday of Summer, 2000. Politics. . . as Cliff encouraged people with a "save the planet" chant, and invoked the spirit of the protest era with his anthem "Vietnam." Cliff also pontificated briefly, but powerfully, on the importance of "equality," and he performed his reggae rallying cry, "Third World People." Positive vibes. . . as the legendary Cliff led a tight band through more than an hour and a half of danceable pop-reggae classics. And parents. . . in that I made the trip south to the 'burgh with friends of mine who recently welcomed their first child, Neil, who was only five weeks old at the time of the show. Imagine being able to say the first concert you ever attended was Jimmy Cliff. And my friends weren't the only parents on hand. The site was crowded with parents, grandparents, and families of all ages. The band was joined by a young female vocalist, Chavelle Franklin, who both supported Cliff with soulful background vocals and updated the songs with her hip hop influences. "Many Rivers to Cross" was beautiful, but the more upbeat songs kept the hippies and the happy families dancing. Here's a set list, but please remember several factors hinder my ability to document precisely which songs were played and when. They include: talking to friends, dancing like an idiot, and a lack of knowledge of the song titles. In some cases I have improvised; hopefully diehard Jimmy Cliff fans will recognize the songs from my made up titles. Humanitarian, Reggae Street, Trapped, Many Rivers to Cross, Samba Reggae, Keep the Family Together, Save Our Planet Earth chant, Vietnam, I Walk with Love, Wild World, Sweet Music, The Harder They Come, Third World People, I Can See Clearly Now, You Can Get It..., Chant of Freedom/Peace and Love, Wonderful World/Beautiful People SOUTH CATHERINE STREET JUG BAND 7-1-00 My Wedding, Portville NY A beautiful bride, a beautiful day, family, friends and food : all that was needed to make our wedding day perfect was good music. Yes, we asked South Catherine Street Jug Band to play our wedding, and yes, they did a fantastic job. I had two concerns. First, that ANY band asked to play a wedding, might not take the job seriously. Second, that our guests might not be as into S.C.S.J.B's groove laden folk-funk-bluegrass sound as Nicole and I are. All concern melted away after the first few songs. The tent in the front yard replicated the feel of most summer festivals, a new experience for much of the family. At first, the band was too loud for the grandmothers in attendance, but after some seat adjustments it wasn't a problem. Sensing they might have to win over the crowd, the boys dug into a few funkier numbers, then laid out a cover of "The Mighty Quinn." Even distant cousins had to dance ! "Harvest Dance," the leading track from their first CD was a highlight of the first set. Lead singer and guitarist Michael Bond played the songs catchy harmonica lead to perfection. By the way, expect a second CD, July 20th. The second set started with a few slower songs (to make the traditional dollar dance possible) then continued until the bride could dance no more. A percussion jam toward the end of the set was particularly enjoyable. The performance was so solid, my in-laws forgave the band for showing up at 4 a.m., shortly after their gig at The Hickey in Allegany the night before. The flowing American Flag painted on the tour bus was loved by all. You can check out South Catherine Street Jug Band at www.scsjb.com. And be sure to keep them in mind, if you're planning on getting hitched !
Phish By Anthony Coloneri I: Chalkdust Torture, The Sloth, Taste, Bathtub Gin, Piper > If I Could II: Down With Disease > Harry Hood > Gotta Jibboo, When The Circus Comes to Town, Mike's Song, Albuquerque, Weekapaug Groove Encore: First Tube, Loving Cup Well, here it is, my first show of the summer tour. There is something about that first show of the tour for myself that really lifts all excitement to another level. I had the opportunity to see six shows this summer (PNC>Camden), and still remember the feeling I had right before the first show. I felt like I arrived at a scene, a scene so familiar to myself over the years, but sandwiched in another realm I call reality. It's always a good thing to dive beneath the surface for a week's span and just live for the day, not for tomorrow. The boys took the stage and trey immediately ripped in Chalkdust before the other band members had a chance to get behind their instruments. Trey had a big ol' smile on his face as you could tell he was excited to be playing in New Jersey once again. Later in the show his banter concluded that these were pretty much hometown shows for Page and himself. Chalkdust made way for Sloth, an anthem of sorts for myself at times, and an all around funky choice. Taste was well played with a nice extended sonic jam at the end. Bathtub Gin was next, and included probably one of the more intense Bathtub jams I've ever heard. Instead of the usual ambient paced jam out of Bathtub, the boys didn't let up as Fishman kept the groove at a fast pace and trey started ripping through his guitar. The energy was incredible as the jam slowly gave way to a very melodic and transcending intro to Piper. Another favorite, this version was no slouch. Not the longest version I've heard, but monstrous nonetheless. The jam they are creating towards the end is just crackling with energy. Each musician is shredding their instruments and the song is reaching this incredible sustained peak these days. If I Could closed things out nicely (My first one!!), even if it was a bit on the mellow side. What a beautiful song and rare treat. All in all, a great first show/first set for myself and phriends. Down with Disease kicked things off for the second set and segued nicely into Harry Hood. Glow sticks were a plenty during Hood and Trey was joining in on the fun. He started to try and catch those sticks of glow and throw them back in the audience. The crowd was loving it. Hood gave way to Jibboo, which was solid as well. It's funny to write this review after hearing three Jibboos, and realizing how much better each one got along the way. Nonetheless, a solid version. Circus slowed things down a bit, setting things up for a stellar Mikes>Albuquerque>Weekapaug Groove. Mike's included some really interesting "stop and start" jamming by the band, as Trey had this concentrated look on his face. He looked really focused on the silence of the jam, pronouncing visually how important the space surrounding his music has become. On the last stop the band hesitated and kicked back in with Albuquerque. I was hoping for anything but a Simple between the two legends, and I wasn't let down. Weekapaug started with a rift from Trey for a few measures until Mike kicked it down and the funk started. Not the funkiest version I've heard but it closed out the set on a note of high energy. First Tube was a great choice for the encore, the first one actually. They could have ended the show right there, but decided to hose us down with a rocking Loving Cup. Someone ran up on stage and shook Trey's hand during the jam. The boys, especially Trey, are such good sports when it comes to people running on stage and glowsticks flying across their face. I've notice that Trey will never say don't do that, but instead will incorporate the mishaps in a song (4/3/98 ala fishman). Classic. All in all, a great first show.
Phish By Anthony Coloneri "Dancin' on my lawn" I: Down with Disease, Guelah Papyrus, My Mind's Got a Mind of It's Own, Foam, Bathtub Gin, My Soul, Heavy Things, Fluffhead, When the Circus Comes, Run Like an Antelope II: Runaway Jim, Glide, Theme From the Bottom > Sand, Meat, Chalkdust Torture, Bittersweet Motel Encore: Waste As I made my way down to the cement playground I call Camden, I was excited to be celebrating 4th of July for the second straight year with Phish. I had a blast in Atlanta last year and could not wait to see what they were going to play this time around. We arrived in the lots around 4:00 p.m., relaxed for a few hours before show time, and watched the crowd roll in. Right off the bat, Down with Disease got me moving in the lawn with a big ol' smile on my face. It was a tight version and proved to be a great show opener. So much energy was released right out of the gate. Next up, Guelah Papyrus, was a rare treat. I don't hear this one enough. My last one was 10/30/98, another stellar version. I figured we were in for some bluegrass sooner or later and My Mind's fulfilled my heel kickin dreams. Foam was a great third song for me, as it was my first. This show in general is marked by newbies for myself, and Foam started the trend nicely. I think around this time the clouds were starting to form heavily above my head and the droplets of rain were thickening. As soon as Bathtub emerged from the stage, the rain came tumbling down and the groove intensified. What a perfect song for the weather, as the energy of the ending jam raged and the crowd exploded with each note. You could see and feel the tension and release with each part of the jam. It was a cool experience, as I felt like I was getting hosed with music. My Soul and Heavy Things were my ticket to the pavilion, as I leaped above the seats and decided to dry off. I felt like I ran a marathon during Bathtub, but in reality, my brain was still caught up in the Foam. Fluffhead came next, and it was exactly what I needed. Fluffhead is one of those songs where I'm never not excited to hear it. You never really hear a sigh from the opening notes, or a collective sit down, puff and chill attitude from phans. It was a fun version, and the Circus that followed was a prime opportunity to sit down and chill for a second. Good thing too, because Antelope followed to close the set. A hot Antelope, with Tom Marshall coming out to sing his lyrics for the song. Yep, that's right, Tom Marshall, Goolia and Barka's favorite part of the show (phriends). All in all, a very hot set, tight versions of just about everything, and the rain made for an interesting variable which undoubtedly got the band and crowd energized. The second set showed its face before I knew it, and Runaway Jim got things underway. If my memory serves me right, this is one of the hottest Runaways I've seen in a long time. The jam coming out of the vocals was inspiring. The boys basically stopped dead in their tracks after the vocals, and created a jam out of nothing. The silence between the song and jam was perfect, as the next 20 minutes got more intense with every note out of their instruments. I thought for sure they would ditch the ending of Runaway, as the jam was getting really out there and much different than most jams I've heard out of this song. But, in typical phish fashion, they came back full circle and ended the song in style. Out of the six shows I've seen this summer (pnc>camden), this was probably the best second set opener. Glide was a first for me, and I couldn't stop dancing. It was so much fun to roam around the muddy lawn on this number, weaving in and out of people in a blissful state quite common during the show. I must have heard Fishman tease the beginning drum part of this song in my head show after show. For the boys to actually play it made my night. Theme>Sand was next. I absolutely love these two songs, and to hear them together was a treat. Sand was good, but the PNC Sand was much better in my opinion. That dark, sinister jam in the PNC Sand was just incredible. They really transcended so many different approaches to fear through sound. Good stuff. Next up came Meat. It's always good to hear a little bit of that slow, soupy funk halfway in the second set. Good grooves were being formed and Mike was belting out soulful lyrics. Chalkdust came next, with a nice jam in the middle. Chalkdust, Chalkdust, Chalkdust. The boys love their Chalkdust. Bittersweet Motel was an interesting way to end the set, as I thought they would choose another song before walking off. Very pretty song though, and the harmonies are getting better. Waste was a very mellow encore, but well played and a bit of emotion swayed into the picture. A beautiful choice to end the show, even if it wasn't the rocking tune I expected to close things out. I walked away happy, soaked, and eager to hit the post show lot scene.
Phish By Anthony Coloneri I: Star Spangled Banner, Farmhouse, Rift, It's Ice, Bouncing Around The Room, Stash, Lizards, The Man Who Stepped Into Yesterday > Alvenu Malkenu > The Man Who Stepped Into Yesterday, Julius II: Gotta Jibboo > I Saw It Again > Magilla > Twist > Slave to the Traffic Light Encore: Lawn Boy, Good Times Bad Times Well, here I was; sitting at my friend's house in N.J in the early afternoon of July 4th, sipping on some brews and simply waiting for the shade to give way to another great show. Taking the train two stops to the show, I've come to realize public transportation is a great call when going to shows sometimes. It was much easier and less sobering to walk to and from the train station instead of driving out of a lot scene covered in insanity and broken glass. In contrast to last year, the boys started things off with an a cappella version of Star Spangled Banner. They opted to close the show last year with the same song. The performance was much more festive last year during this song, wearing red white and blue wardrobes that led to an incredible fire works display. Still, a tight version of Star Spangled Banner was played. Farmhouse was next, as this version was your standard Farmhouse; tight, well played, and the band seemed to be having fun up there. I noticed a slew of guests to the left of Trey backstage during this song. Rift was a great choice for the third song. A few flubs from Trey during the guitar solo, but things stayed together and finished out strong. It's Ice allowed for a two song "Rift" theme. I haven't seen It's Ice since Champagne, Il 95' so I was pretty pumped to check it out. I love the middle jam of this song; descending below the ice into a different world. The boys really captured that moment well in t! h! is version. Bouncin was fun, and Stash had me dancing all over again. Lizards was completely unexpected and sounded really crisp from the lawn. I absolutely love Lizards. What a great song, great concept, and a beautiful melodic solo by Trey towards the end. It's moments like this where I tend to take for granted not only how well these guys know music, but also how well they play with each other. I thought that this could be the end of the set, but they surprised me again with Man Who Stepped Into Yesterday>Alvenu Malkenu>Man Who Stepped Into Yesterday. Sometimes my favorite Phish moments are wrapped inside musical compositions that almost force you to just stare and listen. Breathtaking is the first word that comes to mind. This is one of those songs I wish they would have played at Big Cypress in front of 80,000 people, but I got over it. Julius ended things nicely, got everyone dancing again and carried us into yet another set break. To be honest, hearing Gotta Jibboo AGAIN as a second set opener puzzled me. I was hoping for a 2001 or Punch, but Jibboo started things off. I guess I would really mind if the versions weren't getting better and better. Clocking in at around 30 minutes or so, this version was all over the place. The jamming that they are exploring during the song is so much fun to be a part of. It's obvious they love playing this song, and Mike is starting to explore a bit more on the bass during the jam each time I hear this number. Out of my last 8 shows, they have opened up the second set with Jibboo 4 times, and each version is getting better. I Saw it Again was next. Good song, definitely not one of my favorites, but well played. Magilla was a nice surprise (another first for me!), and I thought it was Get Back on the A Train for a split second. I just couldn't believe they were playing Magilla, and in the second set taboot. Twist followed, and I have to say I still like the new intro. The Radio City version was funkier but a solid version nonetheless. Next was a beautiful transition in Slave which lifted me off my feet, literally. The ending was magical and their sound seemed to soar over their heads and wash us all onto shore. Great way to close the set. I wasn't really too sure what to expect as an encore, but I can tell you right now I would have never called Lawn Boy. Besides, how many bands do you know can play a lounge song as the encore to a three hour performance and pull if off in style? Page sounded great and was obviously enjoying himself up there. Mike Gordon gave us an inspiring bass solo, Factory Hughes spoke the truth once more, and then Good Times Bad Times ripped apart any doubts of a two song encore. It was typical rock star status for the band as the smoke from fireworks on stage after Lawn Boy was still bellowing amongst the lights. Trey was digging it as they ended the rocking Zeppelin cover and called it a night. Although there were no fireworks outside the venue by Phish after the last encore, they played really well during this run of NJ & Conn. shows. I can't wait until the phall.
Phish
By Dan Alford Set
I: Star Spangled Banner, Farmhouse, Rift, It's Ice > BATR, Stash,
Lizards, TMWSIY > Alvenu > TMWSIY > Julius Fourth of July and spirits were high. Parking was quite a bit easier than the night before and I unloaded an extra ticket on a girl who said she'd been held up at gunpoint in Hartford and had all her tix for the rest of the tour stolen. As unlikely as that seems, she was crying and told me the story after I gave her the ticket, so who knows? Phish chose to open with the Star Spangled Banner instead of using it as an encore, which was nice and a bit less predictable. Following it was a fairly energetic Farmhouse and a Rift. During the latter Trey stumbled on some simple rhythm work, although the vocals were great. In contrast, Page slipped up on the last verse of It's Ice, but the music was tight. The song bottomed out in an arctic region where Trey's guitar echoed the creeks and groans of a glacier that was ready to break up. At one point just before the first shout, Fishman stood on his stool and did a little dance. Everyone was having a blast. A solid Bouncin' preceded a leering Stash. Nothing but sly, it had precise syncopation early on in the jam. Page was leading the way, Trey matching him with each line. Mike decided to take control, driving for a while with a repeated note. The eventually resulting jam carried the crowd along at a nice pace before landing them in the midst of a murky bog. There was some nice full band jamming here before Trey began to thrash about. His screeching movements contrasted nicely with the rest band, especially Page's melodic piano. It was really nicely done. Vermont's Phinest pushed it up a notch, hitting us with a truly wonderful Lizards. Page was absolutely on fire just flying over his solo, wheeling off towards chaos and yanking it back effortlessly. Trey, not to be outdone, treated us to an excellent prayer section that left me chilled and blissed out. Keeping the Gamehenge vibe going, they played The Man Who Stepped Into Yesterday. Having seen this one 4 or 5 times over the years, this was my favorite. It just built so nicely each repetition building on the previous in terms of emotion and volume. A snaky Alvenu featured a loose groove and a nice solo from Mike before revisiting TMWSITY and moving us into a solid Julius closer. People had been calling it for days. Set II was probably the best single set out of the four shows I saw on the summer tour, and since it was the last set, it lingers with a particularly sweet taste. They opened up with Gotta Jibboo, and I started to boogie, figuring it would wrap up with ten minutes or so. It started off with a pretty little groove from Trey and Page, a very enjoyable sound that preceded a space funk section. Page skwonked out with weird organ sounds, and Trey continued to chase after him hitting on a hot rhythm riff. A Glow Stick War erupted and by the time it ended it was clear that this was no ordinary Jibboo. We were in new territory, and I think you have to credit the audience with taking us there. They started the GSW right at the point when the song could have ended, and forced the band to continue the musical journey. A cool groove developed with Fish and Trey repeatedly hitting three sharp notes as Page funked out over the idea, building up to a blazing climax. Somewhere in this area the fireworks display across the river in downtown Philadelphia began to light up the sky. There were many "ooohs" and "aaahs" from the lawn crowd, but the pyrotechnics on stage were far more intriguing. I saw someone refer to this as "the first real Jibboo" and it certainly showed the universe that is contained within this simple groove tune. The explosive chaos was pulled down into a tight cluster that thundered into a tune that no one could have called, I Saw It Again. This one was played only a handful of times in 97 and then disappeared completely only to make a monstrous return here. Huge and dark, the lumbering Beast crashed on to the scene, not stopping to look around at the destruction it created, but moving off into the forest. Finding its lair, its rage cooled down and the beast settled down to doze and dream. Space noodles and nice piano work flitted through the creature's mind, finally taking shape in the form of Magilla! Wow! I was going nuts! What a treat! Twist Around started up, with its smooth composed section and abstractly contorted jams. Phish is doing really wonderful stuff with this song, creating egoless sound structures that are nothing less than thrilling. The jam tried to move back toward Twist, but Mike dragged it away and the Beast was suddenly on the move again. It devastated the landscape with vamped riffs from Trey and as the dust dramatically settled, the first delicate notes of Slave heralded the end of a really monster set. There were no real fireworks, just some indoor explosions after Lawnboy, but that wasn't really important. What was important was that the four shows I saw on Phish's summer tour were incredibly exhilarating. The band is tight and has hit a nice middle ground between focusing on structured songs and tight, exploratory jamming. I'm more excited by Phish now than I have been in years. We're on an uphill ride here and I can't wait to see what the future holds. These shows also reintroduced me to the camaraderie of the scene as I met many friendly, intelligent fans of all ages. The whole experience was a revitalizing event.
The
Who/Phish By Steven Shepard Getting into the PNC Bank Arts Center in Holmdel, New Jersey never ceases to be an incredibly odd scene. Whether it is wandering through a petting-zoo fortress of three foot high gates for a useless pat-down from the salty Event Staff at a Phish show, or playing chicken in an SUV with a sixteen year old parking attendant upon arriving at The Who, it's always a nasty experience. The latter event was exceedingly more bizarre than the former. The Who still play loud, real loud. I'd even say teeth-chattering loud. But I think it's finally caught up with them. Each band member seems to be struggling to fight through the mix. When I saw Phish from the same stage three days earlier, the band members found a way to layer and blend their sounds on top of each other. The Who, for all intents and purposes, are playing through each other. The volume makes the groove kilter offbeat like the timeline of a Kurt Vonnegut novel. The middle-aged, mostly male, and seemingly frustrated, crowd howls in approval for the band. They blasted their throats out along with the Can't Explain opener, screamed real horrorshow at the Subsy Wubsy (what a friend and I call Substitute) that followed, and bellowed hilarious during the classic Anyway, Anyhow, Anywhere. Behind Blue Eyes was a blatant example of miscommunication. Blue Eyes is a beautiful tune, with tender lyrics that bleed from introspection. During a poorly made television show called Story Makers or something to the like, Pete said, "This song is more about what it's like to come from Europe." Townshend went on to point out various clashes around the continent, and the fact that whenever one is settled, a new or an old one pops up. I was surrounded with fake middle-age muscle heads blaring out the vocals, and drowning out some of the more poignant lines. Relax hammerhead, toke some cheeb. The Who did crank out a steady, slamming version of 5: 15. It sounded like a rock 'n roll train with Jack Nicholson, in full red-coated-Shining regalia, at the controls. The Ox had a rock 'n roll red leather jacket on. Pete's guitar solos sounded loose and fluid. Rabbit would pick them up and translate them on the keys. The Ox was a Mad Willy Wonka on the neck of his bass and Zak, in a red shirt, marched the beat out behind him. As good as the 5:15 was, I still wasn't connected to it. I read The Phish Book the day of the show. Perhaps I was 150 miles north in Hartford with my new friends. I was part of a class at that show, just a tad more experienced than the orange, lolli-popped head of the seventeen year-old first-timer on my left. On my other side, I was welcomed with a, "We're glad you're here man," by a smiling sect of veterans that riled in approval when they saw me scribbling notes. Everyone warmed together with Kuroda's lights. We partied along as Trey did the fun rock star stuff, windmilling the end of First Tube to a righteous close from the very same spot Pete Townshend would do the same in three nights time with Won't Get Fooled Again. It was all love and all that; at least most of the time. The Harry Hood glowstick war was a little sketchy. When the glowstick war started, it looked like a man-made fireworks display. Sticks bobbed and danced around each other along to the ambient sounds from Phish onstage. From the right view, the glowstick war was quite breathtaking. After a minute or two, a few of the sticks landed on stage. I'm not too wild about anything heading stageward at Phish. Trey can't dodge bullets. He's a Jedi, not Neo. So in conclusion, I offer in my best Comic Book Store Owner Guy from The Simpsons voice, "Worst glowstick war ever." The Who were trying on stage. They sounded like a band that was at the roots of rock 'n roll experimentation in the glory days. They've had a nonexistent playing schedule together for the last twenty years, and they were still going for magic in a bottle. They jammed My Wife out with balls. I saw a butterfly during Magic Bus. Baba O'Riley is still the workingman's rock 'n roll song. The Who arched their eyebrows and played a tad softer when they got to the "Before we get much older," line in the song. It was fun to hear The Seeker. They just didn't do anything like what Phish did with Bathtub Gin on Wednesday night. Rock 'n roll shows are never just shows. They're experiences that draw from a freewheeling fountain. Unfortunately, some of the elements that go along with a great rock show have been demonized. There's a poison about the drug war in this country that leaves the ignorant stale and weak-willed. When music is improvisational and pure, the results can often feel like great sex, only more religious. As I listen to the version of Bathtub Gin from "Hampton Comes Alive" now, I remember when I first felt the sprinkles the other night. Mike and Fish circled the groove around in the middle while Trey traveled off. My new friend Bill swore he heard a Boogie On Reggae Woman tease. Page jumped out of the middle with runs to groove along with Trey. The music peaked and peaked again. I laid on the ground, soaked and enlightened, and offered in my best Bill Murray from Ghostbusters, "They hosed me."
Phish
By Jeremy Welsh Have you ever attended a show where you felt like you were "inside" of the action? Not behind the stage or directly involved or anything like that, but you were so close to the action that you felt a bit removed? I am not saying this is necessarily a bad thing, but that is a bit how I feel about Friday night's Phish show at Star Lake. All in all, I thought it was a very good show; everyone was grooving hard, the funk was nice and deep at points, and we were treated to some great music. We didn't get Bittersweet Motel or a cover breakout (or My Friend My Friend), but I don't think those "misses" will cloud my memory of my 18th show. Set One: Chalkdust Torture, Gumbo, Divided Sky, Boogie On Reggae Woman->Funky Bitch, Maze->Shafty->Maze, Back on the Train, The Curtain->Character Zero The first set started around 8:16. I was hoping for a Tube or Ya Mar opener, something light and funky to get going. For some reason I didn't really think about Chalkdust - so when it began, I wasn't too thrilled. While it wasn't spectacular, the ten minute version proved to be a good one to get everyone up and dancing - "Can't I live while I'm young?!" Now, it took me a few seconds to ID Gumbo. One of the fun things about being so close is trying to read the bands lips - for some reason, I thought Trey was saying Ya Mar (or maybe my subconscious was putting those words in his mouth). But I quickly started jumping up and down when I realized what they were playing - this was a great surprise, and I thought back to the monster Gumbo that we got in 97. This version was a bit shorter (9 minutes) but featured some funky repetition and some nice playing by Fishman. At this point, I was happy with the way things were going - a full lawn behind me, grooving, positive fans surrounding me, and a beautiful sun setting off over to my right over the lawn. I was in no way expecting to hear Divided Sky. My brother and I talked earlier about hearing this song, but I thought it was a very long shot. Wow. I thought it was pretty well done - the excitement and beauty outweighed the rough edges. (I loved being so close for the minute-long Pause) As it seemed as though they were winding up, I turned to my brother to see what thought and just saw this huge smile on his face - to our surprise, the ending was drawn out nice and long. (15 or so minutes total) *I really haven't mentioned the playing of the band members yet, so let me just comment on a few things. For this tour, I had been reading the reviews rather religiously, and I was happy to read so many positive postings. And I was excited to hear what all the talk has been about firsthand. So I made a point to try and listen to Page, to see if I could hear him and how he interacted; and I listened to Trey and see if I could hear him lay off a bit; and I listened to Mike - boy did I listen to Mike. And I did notice some of what people were talking about - Trey stepped-up when he needed to/was expected to, but I did see him hold back a few times; Mike was pretty damn amazing all night, especially that second set (Ghost and Weekapaug!); Page was a bit low in the mix, but I could hear some really nice playing coming from his piano. I actually didn't listen to Fishman too much on Friday - but imo, you can always count on him. My joy kept increasing with the opening notes of Boogie on Reggae Woman - great song, great placement, and great grouping with Funky Bitch. Very well done. This got everyone dancing nice and hard after the beauty of Divided. I was expecting a longer Boogie On (5 minutes), but the segue into Funky Bitch was pretty good and kept things going. Page took a nice long solo on the piano during Bitch, and Trey answered back a few minutes later (Funky Bitch was about 8 minutes total). *From our vantage point, Page reminded those of us in my group of Schroeder from the Peanuts - with his hands upwards above his head as he played the keyboard above his piano. The opening cymbal of maze was unmistakable - and should have been predicted. In the past, Maze has been a great Pittsburgh song, with a few versions dedicated to Mario (in 95 and 96). I was looking forward to Page's solo and wasn't disappointed - he was playing some heavy organ! And the Trey solo wasn't too strong, and actually had some good interaction with Page on piano. About 7 minutes in, Trey kept repeating a few notes, but I really couldn't ID it - he kept looking over our direction, to Page, probably hoping Page would pick up on what he was playing. It took a few moments, but everyone caught on . . . and Trey started singing Oblivious Fool, er, I mean Shafty. wtf?! I really didn't think this was planned, as I think Trey needed to convince everyone. Wow - the first Shafty in 145 shows! It was played for about 3-4 minutes before the band headed back into Maze. Very cool . . . (15 or so total) Get Back on the Train seemed decent, I guess. I have to admit I am not a huge fan of this song - so I headed to the restrooms. And while I was in there, I heard the opening notes that I just couldn't recognize from inside... but as soon as I got outside, I ran to my seats - The Curtain! Very cool to hear this one (funny, though, missing the beginning; I missed The Curtain at Big Cypress, not knowing when they would start that 2nd Set.) This was well played... my girlfriend turned to me and said "This is a weird song" - yes, it is, I guess. And I was getting all into the climax, as they built and built and Aaarghh. The transition into Character Zero was rather ugly. They just kind of halted Curtain, and tripped into Zero. Oh, well. We were already at 75 minutes into the set, and with the Chalkdust Torture opener, I guess Zero would have to do. All in all, a very interesting and cool first set. Lots of surprises, very danceable, and a good way to start. I was happy . . . I think they were playing Stanton Moore at set-break (All Kooked Up?). Used the break to meet up with my friend's Rich and Jenny, ran into Marc (lovin' the beard), and relaxed. Set Two: Ghost->Gotta Jibboo, Split Open and Melt, Roggae, Mike's Song->Simple->Weekapaug Encore: Frankenstein My friend Rich was actually stubbed-up by some friends, who were only two rows behind! And while we were taking our seats, Rich kept saying he was holding out for his AC/DC Bag and Ghost - well, he got at one. And boy what a nice one it was. The Ghost was very well played, pulling in at about 22 minutes in length, and started things off very well. Mike was nice and fat throughout (actually, for about all of the set!). At one point, about 17 minutes in, it got nice and slow reminding me of a 2001 sort of jam; it was at this point that Trey played with is keyboard, but that was actually really limited (almost not worth noting). It was about this point that a bit of a glow stick war began - while it was kind of cool to watch the lawn during the war, it definitely was not cool that someone hit Mike. Why would you try to throw a glow stick at the band? I do not understand. The Ghost picked up just a bit, getting nice and funky, as they transitioned rather well into Gotta Jibboo. Should have seen it coming. Again, this was very well played. Page and Trey had some really nice interaction going about 4 minutes in. Kept the funk going for about nine minutes. There was a bit of discussion after Jibboo ended - I guess Mike wanted to tell everyone that this was his set. So they kept the funk going with a tight twelve minute version of Split Open and Melt. Wow, was Mike on top of this one. Mike had a great solo early on, with Page adding some organ work and Trey holding back a bit. So great to see him slapping like a madman from so close. The jam really started to take off seven minutes in, with Page contributing with his "chunky" organ. The transition back into SOAMelt was done rather well. Roggae was a great break. Boy, do I like this song. Very nice, giving everyone a bit of a breather. Now, I have been noticing a -> from Roggae into Mike's, but I didn't mark one down in my book. I guess the opening notes of Mike's did come out from within the closing Roggae jam, but it wasn't that noteworthy a transition. By now, four songs into the set, I had stopped thinking about what they would play next - so the Mike's came as quite a surprise. Two years in a row for Star Lake - and my expectations jumped, hoping for a rival for last year's monster (or something that could compete with Big Cypress). And while this Mike's was good, it wasn't as big as those versions mentioned above (imho). The Mike's lasted for about seven minutes; as I was hoping, the jam turned a bit dark and Kuroda joined in with some evil red lights (along with smoke that completely enveloped Fishman and Page). *I haven't mentioned the lights. And it could be that we weren't able to get the full effect being as close as we were. But I did notice them during Funky Bitch (cool pink lights), Maze, Mike's, and Weekapaug. I can't get enough of those "Strobes" that spin vertically, as though they are running really fast over the stage. I was hoping for something other than Simple to come out of the Mike's, but Simple came. And it wasn't much to speak of. I always like Trey's little lick after " . . . a band without bee-bop" but that didn't come through. And I really like the jam after the singing is done, but that didn't last too long. I did notice some nice work by Page near the end of the 6-7 minute song. I was really prepared for a Hydrogen, telling Laura to keep her ears open - but what we got was a rather abrupt (and kind of tough) transition move into Weekapaug. Huh. Maybe they wanted to be done with the set. But even though the segue was a bit troubling, my worries didn't last for long as Mike started slapping away. God, he was all over the place! Really good opening, with things slowing down a bit for the middle part. But just as I thought it was going to end normally, I was proven wrong again - Trey just kept building, faster and faster. I wrote "super fast!!! (piper)" in my book - it was really cool, with Trey egging Mike on, and Mike stepping up to the call. This got a huge roar from the crowd . . . Very impressive. Let's see how it transfers onto the tapes. With a buildup like this, I knew it was going to end the set. And it ended with a huge smile on my face, with hugs all around. "Lighters are pretty" I wrote down during the pause - as we turned around, the whole expanse of the big Star Lake lawn was covered with lighters. It was a nice scene . . . I was really hoping for a Bold as Love, to go with last year. I kept saying it was Page's night (with us standing right there) and while his playing was very good, from what I could hear, he hadn't sung anything yet. So with the opening notes of Frankenstein, I was hoping it was the first of two songs. But alas, I would have to deal with a solid version of the Edgar Winter song. I think they might have been tired, or couldn't decide back stage what to play, so they pulled this one out. No worries. I left Star Lake Friday evening very happy and satisfied - while there really wasn't any mind-bending, type II jams, Phish did treat the 22,000+ in attendance to the first Divided and Gumbo of the tour, an interesting Maze->Shafty->Maze, a great grouping of Boogie On->Funky Bitch, and a second set featuring a great, slaphappy Mike. You know it is a good show when Laura was grooving along, and was still smiling when we left. ; ) It was great to be so close to the action - but as I tried to explain above, I felt a bit like they were playing "over our heads" to the lawn behind. It made for an interesting time of watching and observing, and I found myself talking about what was going on stage a bit more than usual. But it was nice to be dancing with so many friends, treated to so many smiles and laughs. Friday night at Star Lake only helped in increasing my excitement for Friday and Saturday in Polaris. Thank you, Phish, once again. Holding out for a My Friend in Columbus...
Zen
Tricksters & One-Eyed Jack By Suzie Creamcheeze First I must start by saying that anyone that did go to this show should be hailed as having the patients of a SAINT. It seems like the club took a stab at trying to accommodate the Tricksters with a sound system that was far beyond the club's grasps. This cause a two hour delay in having One-Eyed Jack start off the night. In the interim artist such as Chris Deleo (Pharmers Almanac covers) and Kindness (Million Marijuana March Posters) displayed their fine artwork at the club. Time did creep along, but the phrase "worth the wait" is probably a perfect saying for what happened next. One-Eyed Jack opened with the intensity of a bull out of the gate. They smacked right into their Blue Grass spangled "Shotgun Mamma." From what I was told this was the first show to include the new line up of Jeff Pearlman (Toni Brown band) on Hammond organ and Katie Schmidt on percussion and the sweetest of vocals. Keep an eye out for their next shows, it must only get better from here. Unfortunately, because of the long wait and the problems earlier in the night, the band was forced to steer clear of the long extended jams and quickly (3/4 hour) wrapped up their set with a fine "Damn Temptation" featuring a great drum & percussion solo at the end to wrap the set off with a bow. The Zen Tricksters are no strangers to getting the crowd up into a Gratefully nostalgic haze, and what a haze. Rob Barraco was amazing on keys, every tune harder and higher than the next, "Mission in the Rain," mixing into an intense "Dark Star" lifting you up where you were nowhere before. Then it was "Terrapin Station," Jeff Mattson's vocals and sweet guitar so reminiscent of Jerry, made you want to cry. Like that wasn't enough "At a Siting" blew in like a hurricane. Joe Chirco, on drums, did drum fills and kept the beat so tight an 8 arm drummer would have been jealous. Klyph Black pulled out licks on his bass that nailed your chest liked golf balls pummeling at you. I heard one person comment that Rob's keys during "Terrapin" was Thelonius Monk in Rag Time, not one person I've heard could match those crazy chords and inversions. The night was short, or so it seemed, because of the late start. The Tricksters will be at the Stanhope house, NJ on the 23rd of June and then the Gathering of the Vibes, CT on the 25th (for more info check out www.zentricksters.com). One-Eyed Jack said they are awaiting announcement of their first headliner with the new & improved line-up. They will be at the Handi Jam on 9/23 located in S.I., NY, acts such as Dave Nelson, Vassar Clements w/ Buddy Cage & the Electrix, & Baba Olatunji will be also on the bill (for more info check out www.one-eyed-jack.com or go to www.jambase.com). "Till the Morning Comes."
Update: The Zen Tricksters to Play Garcia Birthday Bash Everyone who is old enough remembers where they were the day that John F. Kennedy was shot. Everyone remembers what they were doing when the news of John Lennon's death broke. For me, the shock of my adult life came on August 9, 1995 when I heard about Jerry Garcia's death. Time stopped, work stopped, everything went numb. I thought I would never be able to listen to music again, but very much in the spirit of the man and musician who was Jerry Garcia, the music never did stop and I discovered that there would be much song and celebration in the years to come. August 1st will be Jerry's fifth birthday since that fateful day, and thanks to the Zen Tricksters, the renowned national touring jam band from New York, who've been on the scene for the last 20+ years, we have a big day of music and partying to look forward to. Each year on the Saturday closest to Jerry's birthday (July 29th this year), the Tricksters perform a free late-afternoon concert at the South Street Seaport Museum, located in Lower Manhattan on the East River at South and Fulton. It is a joyous musical romp in a gorgeous, colorful, carnival atmosphere. The outdoor stage is encircled by huge sailing ships, street vendors, shops, and crowds of dancing, twirling people who come each year to enjoy the warm sunshine and the great music. Later that night, the Tricksters move their music to a major bash at Wetlands Preserve, on Hudson Street near Canal, for two longs sets of assorted Dead and original Zen Tricksters magic. I look forward to this day each year, and I need this day of incredibly smoking and uplifting music to honor Jerry's art and his life. I can't think of a more fitting way to celebrate a birthday, and I think that Jerry would heartily agree! For more information, check out The Zen Tricksters web site at www.zentricksters.com. UPCOMING EVENTS NEAR ERIE PA Hippy's Ball, Sinclairville NY August 1-9 www.therevolvingdoor.com Grape Jam, Kissing Bridge Ski Resort, Glenwood NY August 14-16 www.grapejam.net Outrageous Universe Revival Festival, Brushwood Campground, Sherman NY August 14-16 www.hypnotic-clambake.com |
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