Spring 2000 Ira Tour

by Ira Pasternack
with a special guest appearance by Rob Turner

The month of April was a crazy time in my life. In addition to leaving my job of the past year and a half, and starting several freelance projects that will allow me to pay my bills, the whole month was a series of road trips. What follows is an account of a hectic - and very fun - few weeks that some of my friends took to calling "Ira Tour".

I spent the first week of April in Los Angeles and Los Vegas. This working vacation might have been the main excitement in the life of someone not addicted to music in the way I am. For me, this week was the calm before the storm.

I arrived home to Providence from my week in the West late on Friday night, April 7. The next day, I was headed to New York City (the first of several visits in the next few weeks) for the premier of The Maui Project, the first public performance by Marc Brownstein since parting ways with The Disco Biscuits. I made arrangements to pick up my friend Bryan on the way to NYC, and settled in for the night. The next day, as I was running some errands and getting ready to leave Providence, I bumped into my friend Jaimee. She had been convinced by another friend just minutes earlier to go to the show. This led to a few hour delay in my departure, but Jaimee, Bryan and I arrived in plenty of time to grab a slice of pizza, and say hi to friends as we all settled into an evening at the Wetlands. Brownstein is a great musician, and an incredibly charismatic performer, and he surrounded himself with a fantastic band that came together for this occasion. It was a special treat for me to see Max Delaney from Uncle Sammy, who played guitar in the group, since Uncle Sammy is my favorite local jamband.

After a crazy, fun, and long night of music, we slowly made our way out of the club, and by daybreak we made it up to Westchester where we were staying. I got a few hours of sleep, and then awoke to two unfortunate things: a pounding headache, and snow. The headache I could explain, but snow in the middle of April, when I'd been wearing shorts the day before, was not something I wanted to even try to understand. As we gradually got ready and began our return to Providence, I was all be certain that I would be skipping my musical plans for this evening, with Phil Lesh and Friends at the Orpheum in Boston. I was also going on Monday and Tuesday, so missing one would not be too bad (I tried to convince myself).

But, as we made our way East, catching up to and passing the snow we'd awoken to, I began to feel better and more energized. After I'd dropped off my passengers, I made a few minute stop at home, and met my friends in Boston just as they were ready to go into the show. I soon began to wonder if I'd made a mistake, as I struggled to stay awake during the first set - until the set closing "Blue Sky", one of my favorite songs in the world, and one I did not expect to hear Phil play (at least not without one of his Friends who have an Allman Brothers connection). This got me going, and I thoroughly enjoyed the rest of the show.

The next few days were a blur. I returned home to Providence (about an hour away) after Sunday's show, then worked all day both Monday and Tuesday (at my now former office, half-way between home and the shows). I had a great time at the shows, bumping into new and old friends, and remembering the majesty of the music of the Grateful Dead. On Wednesday, I had the day off from both work and music, and I focused on recovering and catch my breathe before diving back in for more.

Thursday was another day off from music, but I worked and then had a goodbye dinner with some co-workers, before my final day of work on Friday. After work, I rushed home to prepare for a house full of people coming over to celebrate my friend Kendall's Birthday, prior to the Bob Weir and Rob Wasserman show we were attending in Providence. I cleaned up just as the first guest arrived, made what turned out to be a perfect guess on the amount of sushi to order for the party, and the fun began.

Bob and Rob played at Lupo's, which holds about 2000 people and was the most crowded I'd ever seen it. Still, this was a big difference from the Orpheum, which Bob's former band mate and friends had sold out 4 straight nights. Bob has not always impressed me with his post-Grateful Dead performances that I've seen, but on this night both he and the crowd had plenty of energy. I enjoyed the show, especially the jam they played with heavy Bird Song teases that led into The Other One. Although not as much as the next version I'd see of The Other One....

On Saturday, it was back in the car for the short trip up to Boston, where I met my friends Matt, Dave, and Sherry for a night of bluegrass. This was also the fourth night out of the last seven I spent at the Orpheum (making it the most popular venue on Spring 2000 Ira Tour). The evening's entertainment was provided by the David Grisman Quintet, followed by Bela Fleck and the Flecktones. The highlight of the show was probably when Bela and Grisman did an improvisational duet where they played off each other beautifully for about 10 minutes during Bela's set.

I returned to Providence late Saturday, because the next afternoon the fun continued. The Slip, another of my favorite local jambands, was playing a free show just down the street from me at Brown University. I was expecting the show to be outdoors, but because of the threat of rain it was moved into a wonderful building that used to be a church. I hope to see more great bands in this room someday, although unfortunately I doubt it is normally used for such purposes.

Monday morning, after a few hours of work, it was time to get back on the road. Trip #2 of the month to NYC, for two more Phil and Friends shows. After a quick stop in New Jersey where I was spending that first night, I headed in to the city to meet the man with my ticket for the night. The one and only former Roadtrip of the Month Editor, and all around Music, Sports, and Howard Stern Guru, Mr. Robert Turner.

On that note, I'm going to hand the proverbial reigns over to Rob for a few paragraphs of fantastic insight into two amazing nights with Phil and Friends at the Beacon Theater.

By Rob Turner:

I had the good fortune to attend the first two Phil and Friends Beacon Theater shows with the dynamic Ira Pasternack. (I also caught the third, but Ira had to rush back to Massachusetts to perform emergency surgery on a wayward puppy dog.) These were my first shows since the Amherst Phylan blowout last fall, and as a Jimmy Herring fan I was fully amped. I even greeted Herring with a yell of "Athens in the house" (he's from Georgia's best town, Athens) when the band took the stage in what is fast becoming the post-Garcia Lesh tradition, quietly and with the house lights still on. No set list can justify what unfolded next. Phil's first public performance in New York City since Garcia's death lived up to the anticipation that was bubbling on Broadway. The band took those paying close attention on a majestic ride that rivaled the best of the opening jams I had seen with the Phil "super groups" of last fall (i.e.-w/Haynes, Trucks, Kaukonen, etc). I was instantly reminded of the bad and the good of seeing GD-related performances in New York. The playing was impassioned, as if fueled by this eminent city. However, the din of chitchat that was present at the beginning of the show would resurface during almost every improvisational section of the show. Unfortunately, there are many folks from the city with little patience for the portion of the show that departed from the song structure. These folks had things to discuss that they felt were more important than the performance that their neighbors had paid over forty dollars to attempt to enjoy. If you really have something that's so important to have a full-blown conversation about, talk at the bar, but listen at the seats.

Many of the New Yorkers that I know had been telling tales of the week of rain that preceded this run, and how these shows were a potential "Beacon" of light in the city of flight. What could be more appropriate than "Here Comes Sunshine" to open the show? Barraco gave it away first, hinting at the familiar notes of "HCS" as the extended opening jam began to wind down. Jazz Is Dead has performed the song many times, so it is no surprise that Herring was more than comfortable playing on this one. It was my first post-Dead version of "HCS" with Phil on stage, and I thoroughly enjoyed the full twelve-plus minute workout that it received. Barraco's work on the grand piano gave this version a feel that was decidedly closer to the band's versions from 1973, than the Vince Welnick arrangements the band performed after the song was resurrected late in 1992. The only thing that I felt was missing from this particular version were the guitar lines that Garcia used to play behind the chorus in the '73 versions. However, he is gone, and it's time to accept new interpretations.

As the set progressed, I noticed that Barraco stuck to the grand piano much more than he had in the fall. Perhaps the intimacy of the theater is the reason for this, whatever the reason it made for a fresh experience for those jumping on tour. His lead vocal on "HCS" and the "Shakedown Street" (never more appropriate than in New York) were very strong. Jeff Pevar demonstrated an ability to lay low, and insert his considerable acumen at pivotal moments. His understated approach illustrated that he was motivated more by his respect for the other musicians than by an eagerness to be dominant. His sweet lap steel was, to this listener's ear, the most enjoyable part of this evening's reading of "Friend Of The Devil."

I also reveled in the seemingly relentless teases and quotes that were being thrown around. "China Cat Sunflower," "Fire On The Mountain," and "Cosmic Charlie" were all teased liberally, and many other songs were alluded to, particularly between "Shakedown" and "Foolish Heart." During this transition jam, I caught Ira with his eyes shut, soaking in the music like he was on a beach taking in the sun. "Foolish" was another Phil and Friends first for me, and I found this reworked version to be beyond satisfying. The instrumental break found Herring and Pevar intertwining beautifully, pushing the song to regions never explored by The Dead. Lesh has in the past alluded to being frustrated with some of the pairings that the Dead relied on late in their existence ("Scarlet>Fire," "China>Rider," and "Stones>NFA" for example). It is probably as refreshing for him as it is for many Dead Heads that they are able to approach "I Know You Rider" from "Foolish Heart" regions. "Rider" was also an appropriate set closer as it was one of the many songs the group had teased earlier in the set.

The second set started with a Coltrane-esque take on "Viola Lee Blues," which was followed by a "Wish You Were Here," that featured some of Phil's most impassioned singing to date. They attacked "All Along The Watchtower" with a vengeance, with Jeff Pevar leaping out of his shell, and revealing an ability to tear up the fret board. "Eyes Of The World" found the band at times meandering and at other times offering blissfully ethereal music. The teasing and referencing of songs continued throughout this set, but as they were coming out of "Eyes" it reached ridiculous proportions. At separate points, I was convinced that "Tennessee Jed" and "Big Railroad Blues" were underway. The latter tease turned out to be "Goin' Down The Road Feelin' Bad." I remembered that I had been fooled this way at The Warfield and Barton Hall, so I'm beginning to think I should listen to more recent Lesh shows and get things straight. There's just so much music to listen to, you know?

Anyway, they slammed down a rockin' "Goin' Down," and offered another post-Garcia staple of Lesh's live show. Back "in the day" when The Dead would perform "Goin' Down," Garcia would usually conclude it with an instrumental coda of "And We Bid You Goodnight." Lesh now uses this as a bridge between "Goin' Down" and "And We Bid You Goodnight." "Bid You" exemplified the current unit's ability to harmonize, as well as the ideal way to conclude a show. Phil reminded everyone of his last area appearance with Dylan by encoring with "Like A Rolling Stone." Phil seemed to step on Herring's solo during "Rolling Stone," but it was getting late, and there were five more shows to play.

The second show started with a shorter, and quite frankly considerably less inspiring opening jam, which gave way to a pretty good "Uncle John's Band." Although this was perhaps the most well sung Phil and Friends version I had seen, I felt the playing was not up to the previous evening's experience. "Broken Arrow" and "Cosmic Charlie" were each mesmerizing, and the muse again seduced me. A tepid rendition of "Jack-a-Roe" lightened the seduction, and the set closing "Tennessee Jed" featured some more solid Barraco lead vocal, but it is one of those numbers that seems to get bogged down by the extensive jamming.

Perhaps the band was laying low, offering a calm before the stormin' Warren Haynes took the stage to provide a colossal kick in the ass to the evening. His familiarity with Herring was immediately evident in the opening jam, as these two seemed to wrestle control of the band from Mr. Lesh, much to Phil's delight. The jam settled into "Low Spark Of High Heeled Boys," which had been blatantly teased a couple of times in the opening set. Warren sang with more conviction than he had on the version I saw him perform with Gov't Mule last fall. Lesh and Haynes regaled each other in some tantalizing interplay, and Jimmy Herring also inserted a section of gorgeous guitar. The band seemed to accidentally wander into Coltrane's "Blue Train," with Warren reminding the crowd that he can play jazz as well as he can rip new assholes. This settled into a stunningly tight version of "Pride Of Cucamonga," with Lesh offering a spirited lead vocal. Warren nailed the vocal of "Just A Little Light," for perhaps the strongest Phil and Friends version yet (The Mule should tackle this one once in a while). At one point Warren was delivering some stinging guitar over Lesh's aggressive bass line. "Morning Dew" had some rough moments, but it was predominantly satisfying. This was one of those rare Phil and Friends moments, as I felt they could have jammed this one out a bit more. Warren brought the house down, as he clearly took the reins, leading the band through the set closing "Sugaree>Lovelight" which was outstanding, even if the "Lovelight" seemed a bit short. Phil saluted his former and future tourmate in the encore as he did the night before, delivering Dylan's New York-friendly "(Just Like) Tom Thumb's Blues." This was a pretty straight reading, perhaps because the show had already run an hour later than the previous evening's performance.

and back to Ira:

After the show on Tuesday, Rob and I had to move our stuff from one friend's to another's apartment. We maneuvered our way around the city, and had to wake up our friend Nick who had fallen asleep waiting for us to show up (of course, this was the night Phil decided to let the show go way late). We then went out for a late night meal and a beer in the City that never sleeps. A few hours later, we decided we needed to sleep though, and after a semi-forced laughing attack we entered our friend's apartment and managed not to wake anyone up.

The next few days were a pause in Ira Tour, as I celebrated Passover with my family. I was almost able to squeeze in a String Cheese Incident show or two, but my family obligations for the holiday brought me to Hartford the night they were in Worcester, and right near Worcester the night they were in Hartford. Then again, I am not sure I could have made it through the last weekend of shows coming up without a few days off. And, I had to start doing some work, with my friend Jeremy who came into town because we are starting to work together. The fact that his trip coincided with a couple of Disco Biscuit shows was purely a coincidence (of that type that I suspect we will see many more in the future). (For those of you wondering, the emergency puppy surgery worked out fine, everyone is back on their feet and barking up a storm.)

On Friday, Jeremy and I worked all day, then made the trip up to Boston for a night with The Disco Biscuits at The Middle East in a torrential rain storm. After a short opening set by Uncle Sammy, the Bisco show started off on the weak side, but the energy built as the night went on. In the middle of the second set, my friend Laura ended up next to me right up front near the stage. The band had invited guest bass players on stage the last two shows, and I knew Laura's boyfriend Bill had auditioned to be the bass player, so I got suspicious. My suspicions were pleasantly confirmed soon thereafter, as Bill came out to help the band close the set and then give a rousing performance on the Magellan encore.

After this show, there was a temptation to hang out with friends, but we had other important things to do. Namely, get home and get some sleep, so we could wake up and try to get Phish tickets for their upcoming Radio City Music Hall shows. Despite the use of three computers and two cell phones, we came up empty handed, but there was no time for despair. Instead, we hit the road again, for another Biscuit show. This trip took us to Keene College in New Hampshire, to a free show on a beautiful campus.

From the hot air balloon on the side of the dance floor, to the hard wood floors themselves, the room at Keene was amazing. Most Biscuit shows these days are sold out, or nearly so, and always crowded. But this room could have fit two to three times as many people as the 300 or so of us who were treated to what might have been the most fun of the shows I saw all month. A well played show, seen with close friends, in a care free environment, made for almost a perfect night....

But we had other thoughts, to make the night just a touch better. We were headed to NYC the next day for one last Phil and Friends show to end Ira Tour. The biscuits finished soon after 10 as we were on a college campus. So, given that we were going to NYC anyway, and that Uncle Sammy was playing a late set at the Wetlands, we once again hit the road as soon as the show was over.

By 3 am, after checking into a hotel, we had made it into the city. As we walked into the club, it was easy to find our friends. I'd told my friend Dave that afternoon not to expect us, and at the time I did not have any intention of making it. But, sometimes things just fall into place, and this was one of those times. We even walked in just in time for a crazy jam at the end of the song "Purgatory". At one point, Max took a guitar solo that went beyond anything I'd ever seen him do. I wondered if maybe it was just the adrenaline from the adventures of the evening, but the look on the faces of the other guys in the band told me that they were impressed also. It turned out that because the club was pretty quiet, the show ended on the early side, but we still got to see about 45 minutes of Uncle Sammy. And we had one last show to look forward to.

The last show of Ira Tour was also the last show of Phil and Friends Tour. As a result, my expectations were moderately high (which is unusual for me, because I usually force myself to not expect much from any show, that way I'm usually happy because my expectations were exceeded). Starting with the "Unbroken Chain" that opened the show, everything seemed to fall into place. I often seemed to hear "The Wheel" on my last of several Dead shows, and appropriately Phil closed the first set with this tune - the line "Won't you try just a little bit harder" always motivated me as I was forced to switch from tour life back to the real world.

The second set was like the cherry on top of my musical ice cream sunday of the past few weeks. My friend Tom, who I was with, had been hoping to hear "The Other One", and he got more than he hoped for with a "Cryptical Envelopment > The Other One > Mountains Of The Moon > The Other One > Cryptical Envelopment". My wish for this set was to hear either a "Blue Sky" or a "Box of Rain", and I ended up with both. "Blue Sky" ended the second set. Then, after encoring with "Brokedown Palace" ("the ultimate encore song", as Tom referred to it when we were trying to guess the encore) they continued on and closed the Tours - Phil's and mine - with the "Box of Rain".