GREETINGS!

Just wanted to let everyone know to please send all reviews for June's issue to me by June 1 instead of June 5. I will be crossing the pond and going to Europe  in early June and would like to get all reviews before I leave. If you have any reviews that you write later, send them directly to jambands@jambands.com. Thanks for your help. Take it easy.

Anthony

The Ally
5/6/00 The Wetlands, NYC

By Alex Rosenfeld

It struck me heading towards the Wetlands tonight that just about two years and a few months ago I was walking up the same ramp in full view of Hudson Street about to catch my first show at the Wetlands.  Two years have been a long, long time in a lot of ways.  When I started going into the Wetlands a few times a month in high school to see the new faces of the jambands, it never occurred to me that one day these same bands would grow to be the focus of the jamband scene.  Moreover, it never occurred to me that one day two years down the line I'd still be coming to the Wetlands to experience the new future of jambands, the current cutting edge of improvisational music.  Time has its ways of surprising us, though, and tonight I experienced the newest of the new in the jamband scene, the Ally, playing their first gig at the acclaimed Wetlands.

The Ally, following in the tradition of one of the bands I would see in my earlier excursions at the Wetlands, are from the University of Pennsylvania.  Also strikingly similar to another prominent jamband, they extensively employ an electric viola/violin.  Perhaps the most impressive thing about the Ally, however, is how distinguished their sound is from other jambands.  The band varies modes extremely well, moving between reggae, electronic, funk, fusion, and drum and bass without fully falling into one of the categorizations.  The result of this diversity in sound is a groove that constantly keeps you on your toes.

The floor at the Wetlands was surprisingly cramped tonight, a sign of the mark the band has already made in shows and venues around Philadelphia.  The crowd, a significantly younger one than the typical Wetlands ensemble, drew many from NYU and UPenn, including a number of stunningly attractive girls alone worth the price of admission.  Taking the stage, the Ally showed a presence that seemed to confirm this will be the first of many times they'll be at the Wetlands.  After announcing that the show was being videotaped for a film to be possibly featured on the Sci-fi Channel, they busted into an approximately two hour set.

The tone for the entire performance was established by the first two songs, "Fallen" and "Zuga Zaga Zuga."  The band's sound was tight from the first notes, with extraordinarily precise percussion work coming from Mike Greenfield and excellent adornment being added by John Kim on electric viola. Ira Wolf-Tuton inevitably comes off as the band's front man, carrying vocals

and wielding bass parts for most of the set.  His very sweet, catchy "Fallen" features excellent vocals on his behalf, and the following "Zuga" sets off with his capturing vocal howls.  On "Options," John Kim got his chance to steal the front, leading the reggae influenced tune about the choices we are granted as free human beings with his traditional body movement for the song. The set closed with "2CE," perhaps the band's most recognizable number.  A brilliantly written song, "2CE" progresses through a sedating chorus, perfectly orchestrated instrumental sections, and finally a culminating jam whose acceleration moves through intense dream like phases until returning to the song's conclusion.

The highlight of the night, however, was "First Down" and the following segue towards "2CE."  Scott from ulu sat in for "First Down," which starts off with a drum and bass darkness somewhat reminiscent of the Disco Biscuits.  The song then picks up a house beat backing, somewhere into which John Kim broke out the saxophone, soon after to join the band again on viola.  The jam that developed at this point was ridiculously awesome.  For the first time in the night the band traveled into a musical zone of space, marked by a lessened presence of the bass part, allowing for the most interesting improvisation of the night.  John Kim's viola parts, coloring the band's sonic momentum with interstellar designs, went to perfect the sound, and for a segment we just might have been exposed to what to expect from the future of jambands.

Listening to the Ally, especially tonight during "First Down," it is hard *not* to think of the present and future of the band.  Besides that segment of "First Down," the set was marked by a notable tightness in the band's sound, which is certainly an accomplishment for such a relatively young ensemble, but also a restraint on the greater potential for improvisation that lies within the band.  Much of this restraint inevitably grows out of the bass part.  While Ira's faultless, stable playing led to excellent interaction between him and Mike on drums, which in turn led to an overall cohesiveness between the band members, such cohesiveness too often resulted in orchestration as opposed to improvisation.

I should emphasize, however, that with such a young band it is more important to concentrate what has been accomplished than what has not accomplished, for what has not accomplished is just as likely to be what is yet to be accomplished.  The tightness of the band should ultimately prove to be a launching pad to greater improvisation.  With a more subtle and shifting bass part, greater incorporation of lead roles in both guitar parts, and a loosening up of the rhythm the band will naturally move from linear jamming to more dimensional jamming, and indeed they have already begun to do so, as shown tonight in "First Down."  Remarkable things are soon to come from this band, and perhaps when walking into the Wetlands two years from now today's future will have become tomorrow's now.

Phil Amazes in Philadelphia
Tower Theater Upper Darby, Pa. April 13-15

By Larry Brent

Philadelphia has always held a special place in the heart of the GD community for so many reasons. The Unbroken breakout in 95, the Blizzard show of 82, I could go on for quite a while. It was with great anticipation that the spring 2000 Phil and Friends Tour rolled into town this Thursday.

A few words about this hallowed venue: it is a bit run down but what it lacks in sparkle, it makes up in charm. High vaulted ceilings are ornately adorned with all sort of beautiful trim molding and the ceiling even featured little recessed lights that appeared to be stars. The balcony began at about the 35 row and every seat in the building had tremendous sight lines and sound.

4.13.00

The band arrives on stage promptly at 8 PM and after a few minutes begins gently building the initial jam within moments the Tower is a swirling mass of bodies in motion and it seems as if they could have been playing for hours in terms of intensity. This jam continues in many different directions and themes, as every transitional passage performed will demonstrate.

Help On the way begins with a bang and the tightness is readily apparent. The band has developed a tremendous amount in the week since opening night. The Help and Slipknot are performed with immense precision. As Slipknot begins to veer off into hyperspace there are some very avant-garde moments. While any deadhead would recognize the Help on the Way, if you were late and walked in on this Slipknot, you might think you were hearing Dark Star or something equally heavy. By the time we wind back to the Slipknot theme, I glance at my watch and realize that these guys have been playing for close to 40 minutes already. Everyone expecting Franklin's Tower is both surprised and delighted when a gigantic Cosmic Charlie begins instead.

Cosmic is fairly swift in pace and sung with wonderful harmonies, no small feat on such a complex song. With the crowd totally energized, the band again begins to jam wildly with tremendous intensity. Ideas are buzzing around on the stage like a swarm of bees and Phil's attention is constantly darting back and forth amongst each of these great musicians.

As the jam begins to settle in for a landing the delicate and beautiful strains of New Potato Caboose begin to become evident. Hoping this is no tease, I hold my breath for a moment, and the song begins to crystallize. Marred only by a small PA glitch, this was a perfect Potato, vocal harmonies, and individual musical parts coalescing into a beautiful and warm rendition of this classic.

More interplay follows and we arrive at Get Together, the popular cover tune used a few times as an opener on the fall Phylan tour. This version showcases a few new subtleties and as it comes to an end the band stops on a dime and plays the little coda part from before Franklin's tower to close the set.

After the set break we return with an instrumental Crazy Fingers theme that sounds as if the song is guaranteed. There of course are no sure things with Phil's set selection. Many times in each set, you can be sure they are about

to play a particular song only to have the band morph into something else at any unexpected minute. This twist became a beautiful Bird Song, sung quite capably by Phil and unfolding into a blossom of swells and builds.

A mild stumble at the beginning is quickly forgotten as Alligator roars into the Tower. This gently lands in a delicate and beautiful version of Days Between. Phil has really taken to this song and it's poignant Hunter lyric and it has been slightly reworked to add a bit of dramatic tension which makes the resolution even sweeter. How many old songs can be played in one night?

More, cause we are not done yet. In stunning fashion and inspired set placement we are all shocked yet again by Dire Wolf, one of my all time favorites. It comes from nowhere with this ramped up opening that sound a lot like US Blues until the song begins. A fairly straight reading on this leads to an expansive Not Fade Away. Familiar in the vocal parts and unlike any Not Fade Away I've ever heard, we all thought this was gonna be it for the set but Phil pulls out Franklin's Tower to complete the Trilogy started almost 4 hours before. Joyous celebration ensues as the Tower becomes an old time Dance Hall in the grandest tradition and the set finally comes to an end.

Still not done with surprises, Whiskey in the Jar features Peevar on mandolin and is a warm gentle way to send us off into the night after such powerful music.

4.14.00

Back for more fun and tonight's jam eventually becomes the Wheel. Nicely sung and interestingly restructured, this is a fine opener and allows ample room for development of ideas. An idea materializes that sounds a lot like Big RR Blues but quickly morphs onto Deal. Wheel >Deal, how cool is that?

A sax player appears as whispers of Branford spread over the Tower. The true identity of the sax player is Gregg Osby, a little known jazz musician, who is apparently on of Phil's favorites. Some time along this period of time as the jam begins to coalesce into Dark Star something begins to happen between Herring and Peevar. These two guys are both great players with unique tone, interesting ideas, and a huge pile of chops. Most bands do not have one player this talented and it is undoubtedly a major challenge to find a room for all of the ideas they have. Up until this point, it has seemed to me that each guitar player is basically backing off while the other guy leads. While this works well and everyone is well versed at this approach, somewhere in the Dark Star, Jimmy and Peev find a commonality of their guitars voicings and begin to work together much more intricately. They volley ideas back and forth at each other like a world class ping pong game and no-one in the room looks happier than Phil, whose head tracking back and forth between them like a courtside spectator at a tennis match.

More of this newfound approach, as well as the talented Mr. Osby are featured prominently in the Mountains of the Moon that follows. A beautiful reading of Mr. Tambourine Man brings this set to a close and to my amazement, I discover that it's almost 9:45 p.m. Some incredible set. Apparently the entire band thinks so because they all linger on the stage exchanging hugs.

The jam that begins the second set sound a lot like Hell in a Bucket but will eventually become Cold Rain and Snow. Reworked to become a much more formidable tune than the more familiar version we all know and love, few have any clue about what is next to come. A traditional style reading of New Speedway Boogie is a huge surprise. I never thought I'd hear this one again and what a treat is was. Friend of the Devil follows and it too has changed, becoming an upbeat almost calypso soul version and featured Peev on lap steel slide guitar.

Now comes the most momentous event if the night. Terrapin was a total revelation. It is a fairly straight interpretation of the fist ½ of the song once the jam begins things really begin to happen. If you haven't seen this yet, I won't ruin it for you with my attempt to describe it; my words could hardly do it justice.

Peev leads a raucous Midnight Hour to close the set. I look at my watch and realize that it is almost exactly Midnight when the song begins. Holy Cow.

Box of Rain is a perfect end to an excellent show and I can hardly wait to see what Phil has in store for us on Saturday.

4.15.00

The air is full of anticipation of the closing night as many wonder how tonight can come close to the immense level of the previous evening. All thought are quickly dispelled as they begin. There are no off nights for this musical experiment called Phil and Friends. With the Dead, you had to see all the shows because just a random and precious few would be gems. This lineup is clearly well rehearsed, the vocals make the point clearly, but something different seems to happen on stage as I now enter the midst of my second P & F Tour in 5 months. These excursions display a developmental style unlike anything I have ever seen in music. The tours seem to be one long musical journey with each successive night's performance becoming stronger, tighter, and more inspired. The band had changed since the opening night in Conn. and they have evolved to a different level again during this run of shows.

With tremendous enthusiasm Why Don't We Do It in the Road is a total shocker. Everyone seems to be really enjoying this and by the end they are all practically screaming the words. Off we go into jam land. Herring darting and weaving, Peevar soaring and sailing, Rob taking it all in, making it his own and serving back to his bandmates on a silver platter to enjoy. Phil is totally unique and inspired and John Molo is the perfect anchor for these ensembles: swift in the corner on the move in the changes but the rock of Gibraltar when it needs to be held down. A nice Stagger Lee acts as a brief interlude to the jamming which on the way out hints again at US Blues until we are jolted by the recognition of Mississippi ½ Step. Peevar and Herring are so intertwined now it can be hard to tell whose playing what at times, but it doesn't really matter. These guys are totally in synch and the Tower is on the verge of levitation as Scarlet Begonias begins. More explorations follow and we arrive at another shocker, Cumberland Blues is a searing bluegrass romp that raises the crowd to a fervor and completes the first set.

Peev has changed his usual button down shirt for a tie-dye and leads the Casey Jones opener. The Broken Arrow that follows was incredibly poignant, Phil's singing ascending to new heights especially on some of our old and more familiar favorites. The harmonies on this are stirring and the undercurrent of the "Broke" theme yet to be played out. Way more explorations lead to an up tempo bridge to the second verse of Dark Star. I had the pleasure of enjoying this tune from the front of the balcony where the beauty and artistry of Candace Brightman was more prominent than anywhere else in the room. The crowds response to Unbroken Chain made the balcony shake and shooed me back down stairs to my seats. Like Thursday's Help > Slip, the execution here was phenomenal. Inspired, precise, oh so powerful, what a moment.

Fire on the Mountain was recanted in 7/4 time and this made for some very interesting effects as the music swirled around the room. The most gentle of landings performed to perfection with Brokedown Palace. I can't say enough about how beautiful the vocals are in this lineup. I was caught a bit off guard as the Brokedown actually had a formal ending instead of another jam.

Phil returned to speak to the audience about organ donation but on this night he also commented about all the wonderful memories in the city. He thanked and applauded the audience and was quite eloquent as he thanked us for all the healing energy and love he received after his liver transplant. He certainly does not look like a sixty year old man recovering from a serious and life threatening illness and major transplant surgery. It must say a lot for the power of love in his home life as well as professionally and we should all thank Mrs. Jill Lesh for creating such a healing a loving home that her husband is able to come share some of this love with us in such a special and intimate setting.

The St. Stephen was a monumental encore, a microcosm of the entire run. Great singing, exploratory jamming, and a new fresh perspective on some great old songs. This music is very much alive and hardly a nostalgia act or cover band. These guys are phenomenal musicians and they have given this music a fresh and new approach that is a joy to behold. I am most thankful for the opportunity to enjoy these shows, almost 4 hours of music in some of the nicest theaters I've ever entered.

Vassar Clements 72nd Birthday Bash
Grand Prospect Hall 4/21/00 Brooklyn, NY

By George Schaefer

This is a show that I was really psyched for.  It's a new venue for me, but the building itself is registered as a historic site.  That designation is well deserved.  This is a beautiful building.  Heads and Grassers were delighted at the beauty of the architecture but this is a music review so let me not digress.  I got off the subway and trudged through the rain.  I was startled by the sheer beauty of the place.  There was sweet bluegrass music coming from the stage.  It was a group called Train Wreck.  They had a few guests up on stage with them helping out: Vassar, Buddy Cage and Michael Falzarano.  This was a grand start to what would be a classic night of music. Next up on the bill was Stir Fried.  This is a smoking jam band.  They featured the legendary Buddy Cage and were also joined on stage by Vassar.  Their rendition of "Turn On Your Lovelight" was a wonderful jam.  Now the crowd was pumped up and ready to jam.  The only complaint which is inevitable in events like these is that the bands have to play short sets.  Vassar put on a clinic.  72 years young and still able to smoke the joint.  The Zen Tricksters minus Rob Barracco on keyboards came out to play.  They were playing some smoky jams.  Vassar Clements sat in with them for a stimulating jam of "Mississippi Half Step."  Vassar displayed more energy than a man half his age on this night.  The Tricksters are a mighty fine band.  They had recorded Half Step with Vassar many a moon ago.  It still sounds great today.

Brooklyn's own Bennett McLaughlin Band with Levon Helm on drums came up next. This was my first time hearing them play.  I was impressed with what I heard. This is a band I had never even heard of before this evening.  I would recommend them to fans of jamrock everywhere.  And Max Creek also played a fine set.  It was a long night of music.  Vassar again popped out on stage for their set.  They opened the set with "Lonesome Fiddle Blues"  Vassar stayed out for their all too short set.  Short sets are a trade off at events of this nature. 

The Grand Finale was Vassar's own band The Electrix joined on stage with everyone.  This was a sweet tease.  They did such classics as "Panama Red," Midnight Moonlight" and "Going Down the Road Feeling Bad."  It was an  outstanding musical display.  It ended all too soon and it was back out to face the cold rain of the night but the memories will linger.  This was a classic night of jams.

Is it a coincidence that there was no 4/20 show?

Phil Lesh and Friends
4/21/2000, Beacon Theatre - New York City

Going into New York City on a rainy Friday afternoon with pneumonia still rattling round the old chest cavity wasn't how I'd hoped this evening would start for me, but as Mick told us all and Rusted Root repeated, you can't always get what you want...or can you?  After a long, painful, high-traffic, ugly weathered ride into the Center of the Known Universe, all I wanted was a Half-Step opener, a Tom

Thumb encore, and some twisted jammin courtesy of Mister Lesh.  We showed up inside the Beacon about half an hour after the show started eager to explore the farthest Unknown Reaches of the Universe with the Magical Musical Mystery Lesh.  Phil and Friends were just getting into "in your eyes" when we got in (we'd missed the Playin' opener...)  So, I didn't get my Half-Step opener...but that's okay, 'cause I missed the opener anyway... (an odd point to note is that I've yet to see the start of a Phil and Friends show.  Maybe that will change tonight...) 

In Your Eyes expanded and twisted in directions Peter Gabriel never intended, but Phil won't do nothing that Peter would disapprove of. Phil and company, always seeking out new directions in every tune they play, took this song up into the highest reaches of the Beacon, and contorted it, reshaped it, and returned it to itself in the space of about three measures, repeatedly seeking and finding new ground in this classic non-Dead cover tune.  The exit jam alternated between Dark Star and Bird Song themes without ever hitting either song specifically then winding down into the now-trademark Phil and Friends meltdown and spacial experimentation. Drip drop drip into a...

HALF STEP!  Just what I'd wanted this evening, even if it wasn't the opener.  And what a Half-Step.  This is one of those Jerry songs that I really dearly enjoy hearing Phil sing.  It works well with his voice and, as always seems to be the case with Phil, covers brand new ground each time around. At the end of the second verse, in the "Half-Step Mississippi Uptown Toodeloo" part, Phil apparently forgot the words or something because it came out something like "Half-Sip Miss-iss-step-i-de-oh Uptown Toodeloo."  Funny funny funny!  Granted, I didn't hear that at the time, but on the tape when we were at a bar after the show. Only in NYC will you go to a bar after a show and hear tapes of the show you were just at!  After the vocal flub, things just got better, and once again, the jams went in new and different territories, stranger, curiouser and curiouser.  Songs with "room" are the songs Phil does best and Half-Step most certainly has lots of room in it.  The jam drifted off into the DarkSong/BirdStar territory again and abruptly found the familiar tones of "Come Together," which isn't listed on the setlists provided by philzone.com or thephilzone.com.  It was a lot of fun, but isn't one of those songs that does much for me anymore. Too much television, I guess. Nice close-out jam though.  It ran out into a little  playin with "Playin", sounding great, and into "Fire On The Mountain".  Fire on the Mountain has got to be one of the most versatile songs in the Dead repertoire. It's been done in several different styles over the years, and each one is effective in its own way, and Phil's new arrangement is no different, even though it is tough to describe or explain.  You just gotta hear it!  The jam out of Fire was explosive and seemed like it was going to go on for another month or two, but sadly, it had to end, and with it, so did the first set.

A NEW YORK CELEBRITY ENCOUNTER - Dar, my girlfriend and showtime companion, had the pleasure of talking to a highly intoxicated Ron Howard (Opie Cunningham) during intermission ... well, if we wasn't Opie, he was a DEAD RINGER for the guy.  Opie at a show... "Gee, paw, what's that funny smell?"

The long intermission wound to a close and the lights went down.  The band took their places in the pale purple light onstage, picked up their instruments and resumed the communal exploration into space.  Space... Space ... music from nothing, music from the Center of the Known Universe spiraling out into the far corners of the vast unknown.  Where does the compass point?  Where are we going?  Does it matter anyhow?  After a nice ten-to-fifteen minute exploration into the music of the soul (with DarkSong/BirdStar teases, and Playin with Playin abound), Phil stepped up to the mic to tell us a little story about a "Lady With a Fan." Most of the time, I don't separate Lady with a Fan from Terrapin Station, but in some cases, you don't have any choice, and last night was one of those cases. Phil sang "Lady with a Fan" in his best Phil Lesh voice, hitting all the highs he could handle and accentuating the lowest of lows.  beautiful...simply beautiful.  And once the story was told, even though we still haven't heard the end of it, the journey resumed.  The journey to that place in space, that space in place, the home for all the wayward lost souls, the refuge for the noble zealot and the eager coward alike... TERRAPIN.  It took them a long time to get there this time.  The jam had a life of its own and it wanted to take the long route to Terrapin. You know, the one that chases the shadow of the moon, knowing the destination lies ahead but in no hurry to reach it.  Until finally the ship lands at Terrapin Station. Magical.  In music of this type, there is no destination, only brief stops along the way.  And so beautiful a place as Terrapin Station may be, it is still not our final destination.  It can't be. You can't have too much of such magic for soon it would become more mundane than magical.  And so off we lift again as the DarkSong/Birdstar jam returns briefly and at times shows hints of Days Between, only to be brought home with a pistol shot at five o'clock.

China Doll.  A pleasant song for my ears, but after the Terrapin I'd just experienced, served more as a reason to shake my head and go "WOW" about that Terrapin than a chance to explore the song with the band.  The exit jam from China Doll went up and down and round and round into what I was almost certain would become a "Miracle" (which would have been TOO strange), only to end up in a "Deal".  I love Deal.  I just love that song.  You know how some songs just seem to work for you almost every time, for no real reason except that they do?  Well, I'm that way with Deal.  Nice Deal, kinda strange at first to hear Phil singing it, but it worked, and worked well ... the outro jam was nice and long and played with Playin a little more before settling into a smooth blues groove for the penultimate moment of the night...

"Smokestack Lightnin".  DANCE DANCE DANCE DANCE.  That's just about all anyone could do.  Oh my God!  Epiphanal moments galore!  And it just went on and on and on. Just when you thought it couldn't get any better, it DID!!!

This In The Midnight Hour, though not as long as the version on "Fallout from the Phil Zone," was just as good, even without Pigpen.  Amazing is about all I can say.  Amazing... Long Long outro jam into Playin with Playin Reprise, until finally, after all that fooling around with the theme, Rob Barraco belted out the reprise verse and that was all she wrote boys and girls ... the band left the stage.

Organ Donor Rap: Hey, look, Phil's got a good point. Discuss it with your family, let them know you want to donate your organs in the event of some horrific event. And I can see why he feels compelled to tell us about it every night ... organ donation brought us this show, and will hopefully bring us many more.

Casey Jones encore.  Oh well, it wasn't Tom Thumb, but it was just right for the night, hotter than hell and full of all those things you want in a good encore. And now that I think about it, the energy of that Smokestack->Midnight Hour->Playin Reprise just didn't lend itself to the sedation grooves of Tom Thumb... oh well, maybe tonight.

Phreakin' at The Beacon with Phil and Friends
4/17 4/18 4/21 4/23 NYC

By Dan Alford

    I only caught one Phil and Friends set on the fall tour, and while it was great, I had a very hard time digesting the experience.  The same sense of overwhelming has accompanied Phil's triumphant return to NYC.  I think the best way I can describe it, or at the way that keeps coming to the surface of my thoughts, is to say that Phil and Friends is like a hit of acid.  One touch is so chock full of layers of experience that it really takes some time to figure it all out.  The sound tapestries woven by the band, in every incarnation that I've heard anyway, are so richly layered and involved that while at a show there isn't much that you can do but really lose yourself in the music.  A lot of it has to do with the constant change in line-up.  Even though many P and F shows had Phil, John and Steve as a core, and now Phil, John and Rob are a fairly cohesive unit, the additional musicians bring so much to each song in the way of approaches, inspiration and energy that you are kept a bit off balance all the time.  There really is that air of magic, that feeling that anything could happen. Almost every show opens with a free wheeling jam, each unique in its tone and quality, but similar in that different GD themes seem to percolate therein. Many will remember that soon after the Dead disbanded Phil spoke of writing a symphony that made use of many GD songs.  I think that these jams really accomplish what he was going for with the symphonic idea.  They are sound constructions that simultaneously tug and prod at the past while earnestly stretching for an unknown future.  And ultimately they exist just when they happen.

People repeatedly say that playing with Phil and Friends is one of the most liberating experiences because Phil's approach is so very hands off.  He tells folks to play what they feel like playing.  I imagine that as welcome as that is, it must be nerve wracking too, at least at first.  Eventually though, a real sense of trust must be established, where everyone has faith that everyone else is loose, listening, and willing and able to adapt at the drop of the hat.  For the most part no one tries to dominate the sound, or really push things in any particular direction.  Rather the music plays the band, in a very real sense.  One of the best things about an ensemble cast is that it is usually a meeting of the mutual admiration club, and members all make room for each other and really get off on each other's work.  You may not always see the tightest performances, but nine out of ten times you'll see a uniquely wonderful performance.  Phil and Friends shows certainly hold to that axiom, although a good deal of wood shedding allows each group to be as tight as any band out there, while keeping the door open at all times.  Probably the best example of this is that each ">" in the set list actually counts as a three or four minute jam.  Sometimes the jam just goes and goes with no clear direction, sometimes it goes right where it's heading and sometimes it points to a variety of

places before making a decision.  The point, though, is that there is real sense that the gates to the zoo are open, and just about anything might come trotting out.

4/17/00

Set I: Jam > Jam > Here Comes Sunshine > FOTD > Shakedown > Blues Jam > Foolish Heart > Rider

Set II: Viola Lee Blues > Wish You Were Here* > Jam > Watchtower > Eyes > Jam** > GDTRFB > Goodnight

E: Like a Rolling Stone * Stella Blue tease ** Two Soldiers tease, Tennessee Jed tease

    The Jam > Jam > Here Comes Sunshine that opened Monday's show was quiet and meandering.  I was impressed with how well the guys just leaped from nothing straight into an interstellar drift mode.  The second Jam was a bit more forceful than the first, but still on the mellow side, as was all of Sunshine proper.  The arrangement was the old 73 type, which was great because the 90s one never really caught on. Unfortunately this one didn't really take off either. It just sort of hung in orbit, neither trying to explore nor burning up in the atmosphere. The post song jam, however, consisted of a rockin' syncopated descent that flaunted how well these cast of characters can read each other.  In hindsight, it was a slight foreshadowing of the nice short spurts of interplay that made FOTD so pleasant.  Pevar played a lap steel for this one, a sort of classic touch and Rob really went wild.  Rob actually sounded much better than he did in the fall, more pronounced in the mix and totally uninhibited.  Many keyboard players act as if they were only sidemen, and not a lead player.  But Rob was right there all the time, tearing out fills and driving jams.  He matched well with the guitarists, listening but not being drowned out. 

    Shakedown was where things really started to happen. It was quite simply fucking tight.  The theater erupted in recurring swells of elation as the band ripped through the song at full speed.  Everyone was focused and no one had time to step back.  Foregoing the drawn out vocals at the end, Phil walked the band into a cool jam that preceded Foolish Heart.

    Foolish is a song of which I never thought when going to see the Dead, yet I was invariably impressed with the performance when it popped up.  (Check out 9/17/93!)  It was no different at this show.  Although the arrangement had high bell keyboard work from Rob, it included an insanely masterful jam, Jimmy sparking a flame at the beginning of the jam and Jeff carrying the torch out.  The segue into Rider included hints of both China Cat and GDTRFB. 

    From start to finish, the second set was spectacular. Everyone sounded louder, including Phil and Jimmy, and there was a slightly more serious attitude coming from the stage.  Phil was sort of marching in place, counting off, everyone watching when...POW!  They slammed into Viola Lee blues.  This was a monster, swollen with sound and energy.  Molo played heavy round Voodoo drums, linking up with Phil to drive the song.  After the second verse there was a quick drop into a very jazzy bass solo.  The rest of the band picked up on the idea and took the music into a realm deep cavernous space, where thunder echoed heralding the coming Meltdown.  Everyone took off like sparks flying from an explosion, a cacophony of sound.  Phil was leaning back, his left hand free as he slapped and shook his bass with his right.  A raised hand and they slammed back into the third verse. Wooo!

    Cooling it down just a bit, an easy space noodle leaked out, eking towards Stella Blue at first, but eventually settling on an amazing Wish You Were Here. This one was for those who complained that it lacked in interpretation when it first showed up last year. It was long with brief spaces perforating, bombs and solos and vocals all glistening.  Just wonderful, and leading into a great jam led by Rob and Jeff.  A darker moment that picked up speed, Jeff looking to a China Cat before tearing into Watchtower.  After howling through that, Rob rocking his B-3, they moved right into a tight, fast Eyes.    

  What really makes this band shine, what is really an indicator that any band can shine, is that they can do tunnel jams.  My favorite example of this type of playing is still the Playin' from 4/26/72 (Hundred Years Hall).  It is characterized by energetic but loose playing that oscillates around some void center. It is as if the power of a huge space section was confine to a narrow tunnel where it was forced to race along at break neck speed.  Ultimately it is forceful and focused, and for some reason never lasts for more than 10 minutes or so.  This Eyes had a serious tunnel vibe, as did the Like a Rolling Stone encore.   

  A very short jam that had hints of Two Soldiers led to a take no prisoners GDTRFB.  Rob and Jimmy were at their best here, and with a huge grin Phil took control.  And to follow it up, a real, honest to God We Bid You Goodnight!  It must've been five minutes long, Rob, Jeff and Phil taking vocal duties.  At one point there was a vocal jam with everyone singing their own lines, overlapping their voices and creating something wonderful.

4-18-00

Set I: Jam > Uncle John's Band > Jam > Broken Arrow > Cosmic Charlie, Jack a Roe, Tennessee Jed

Set II: Jam > Low Spark of High Heeled Boys > Jam > Milestones > Pride of Cucamonga, Just a Little Light >* Morning Dew, Suagree# > Lovelight E: Just Like Tom Thumb Blues

# Jeff on Steel

* Spanish tease

Set II with Warren Haynes on guitar and vocals

    While I spent the first night straight back against the wall, I had second row center stage for the second night.  (Actually the sound was great against the wall, so tapes/CDRs should come out well.)  There were some very nice folks around, and two pathetic forty somethings who were so wasted that they couldn't stand.  They wanted to be rowdy but could barely control their bodies, much less speak.  Why do that to yourself, especially when you should know better?  It was really sad.  A security guy said there was a special guest for the show, and although he wouldn't say who it was, he assured us that we would know him. I was more psyched than ever. 

    The opening Jam was much more forceful than on Monday.  Jimmy was playing more aggressively than he did the night before, grabbing lead lines and filling more space.  Jeff, who literally had nine guitars on stage, stuck with the white one that he seems to favor for rhythm work.  The last short jamlet featured some great funk from the man from CPR, before heading into a high octane Uncle John's Band.  The whole band was smiling throughout the song, looking to each other and playing around.  The in-song jam was hot, but the post song jam was pure white light.  Triumphant and ethereal and the perfect segue into a beautiful, as anticipated, Broken Arrow.  The following Cosmic Charlie finished up a spectacular show segment with those old school vibes. How do you do?  The entire theater was smiling, including the security guys.    

    The set then transformed itself into a standard first set.  Jack a Roe was good, nice drumming.  I hate Tennessee Jed, but to my surprise got into this one, a real rocker but still paling in comparison to what preceded it. 

    As for the guest, the first person to walk out on stage was Warren.  That was indicative of the whole set because he dominated the rest of the show.  He was turned WAY up in the mix, and was at the forefront of every jam, including the opener.  It wasn't too long, but continued to draw on the energy of the first set, pushing things to a new extreme.  With a smooth segue the band eased into a smokin' version of Low Spark of High Heeled Boys.  The sound was rich and involved and John did a great job keeping things grounded but interesting.  Phil was thoroughly enjoying himself, just grinding out mean bass lines.  Pevar kept taunting Warren to go lick for lick, a theme throughout the set, and before the last verse the pair went nuts.  Afterwards they dropped into a very jazzy segment with Phil in the lead.  At multiple moments throughout this run Phil went for a jazzy bass walk during in between jams, this drop being a prime example. 

    It was particularly appropriate, too, because the final destination of the vibe was a short but sweet Milestones.  Warren, Rob and Jimmy each took a quick solo in that order before jumping into Pride of Cucamonga.  Regardless of what folks may say, it's a silly song, and even though it was fun, it barely got beyond novelty stage.  Not that that's bad, mind you; you should've seen the wacky faces Phil was making.

    A picture of Brent (looking very thoughtful) hangs on the wall as you head into my bedroom.  I always wonder why he never got the respect that he really deserves, but hearing Warren sing Just a Little Light, man that was intense.  It was a bit harder than the GD version, but John and Phil put up a solid groove and Haynes' vocals are just right.  The spacey jam before the last Just a little light, was really nice and drawn out.

    A slight space lingered for a minute before Molo set up a brief Spanish jam that segued right into a growling, heavy handed Dew.  Wooo!  Phil actually said "I thought I heard a young man Growl this morning." For my money, this one could've closed the show, but the music kept coming.  There was the feeling that they were gonna just keep tacking on songs for as long as they could.  Sugaree was wild, with grinding solos from Warren.  Jeff was on lap steel, just smiling along.  At one point following a series of trades between Warren and Jimmy he started clapping along with the audience.  The Lovelight closer was fairly short, even by 90's GD standards, but Warren was finally fully drawn in by Jeff as the three guitarists traded leads in a circle. 

I'm going back to New York City...        

4-21-00

Set I: Jam > Playin' > In Your Eyes > Half Step > Jam > Come Together > Playin' > Fire

Set II: Jam > Jam > Jam > Terrapin > Jam > China Doll > Jam > Deal > Smokestack > Midnight Hour > Playin' E: Casey Jones

    An interesting jam opened the first set, full of fluctuating tempos and a very loud Mr. Lesh.  Phil was definitely in control, grabbing the wheel over and over, steering the vibe in a particular direction. While particularly apparent in this jam, he was in control throughout the night.  Hints of Playin' perforated the sound long before the sound actually started.  But when it did, it was great, a real 73 feeling to the performance.  You were instantly aware that this one could go anywhere.  Rob set out some great B-3 work that was matched by a smokin' fireball of a solo from Jimmy. 

    A shift in tone and the second jamlet began.  Funky Phil creating the ground on which an upbeat segment grew, preceding In Your Eyes.  Phil clearly enjoyed this, but Rob and Jeff were only so-so on back up vocals.

    The transition into Half Step was rough, but the song itself was the centerpiece of the set.  Potent and well pronounced, everyone was hitting the tune just right.  The slight shift in vocals really worked well with Phil's voice and the jam was shear pulse pounding ecstasy.  I spent the song on my tiptoes, leaning toward the stage.

    Cutting a path for Come Together, a very loose jam swirled about for a little less than ten minutes.  The cover was played well in classic form- nice and heavy. The transition jam had two separate minor meltdowns that pointed to the closure of Playin.  But even though the coda was played, the end's emergence was preempted by an abrupt drop into a speedy, pseudo-Latin Fire.  The guys were all shaking hands afterwards, and with good cause.  While this was not the tightest set, it was over before I knew it. 

    During the break I met a nice guy who was taking his son to his first concert.  He was very impressed with the band and we had a nice little talk.  Actually every night that I went to I met some really nice people- good to see that the vibe is still alive.

The second set was tighter than the first, and also seemed to disappear before I knew it.  The triad of jams that opened stood out as particularly distinct. The first was fast and funky, absolutely rippin'.  It eventually fell into a syncopated decent that made up the sum of the second jam.  Emerging from that was a beautiful, bright jam- gorgeous and morphing into a monster Terrapin.  My notes say "The way it should be," but I remember that the speed of it drew away from the impact of the "Inspiration."  The end was quick paced and really tight- just a blast.

Following a segue-jam in which Jeff was leading Phil was a pretty, ethereal China Doll.  Never a particular favorite of mine, it was very nice, with Rob playing beautifully and Jeff matching him point for point. Phil tore out a few peels of thunder before moving up into a fast jam, opening the way for Deal.  Kind of short, it included "35 good solid years" from Phil.

The Smokestack was really short, like a half song, although Rob's B-3 was nice.  The set of three short tunes was rounded out by a quick Midnight Hour with Rob on vocals. 

As though they needed to stretch after playing so many songs one after another, when the Playin' theme returned, the 73 cosmic vibe that opened the show returned with it, pushing into some great spacy territory.  A gorgeous jagged seaside cliff arose, the music climbing its face, hanging on ledges and looking out over the waves.  It was an awesome way to close the show.

4/23/00

Set I: Jam > Unbroken Chain  > Space > Mr. Tambourine Man > Jam > Uncle John's Band > Days Between > The Wheel

Set II: Jam > Jam > Jam > Cryptical Envelopment > Other One > Mountains of the Moon > Other One > Cryptical Envelopment > Meltdown > Get Together, Blue Sky

E: Brokedown Palace, Box of Rain 

Last night of the run, last night of the tour.  First night in the Loge, first night for J.  The sound was still great, although it was a bit bassier.  I was still impressed at how quickly and effortlessly the band was able to jump into a full out jam.  This one was nice but not too long.  It paused for just a blink before heading into Unbroken Chain.  You had to know this one was coming, but it made for a great opener. The middle segment was longer than others I've heard, due more to extended solos than exploratory playing. Space erupted out of the song, sparked by some very loud bass.  What followed was some very "out there" playing that eventually materialized into an open, but ultimately quietish Mr. Tambourine Man   As soon as it ended, however, Phil pushed the band into an upbeat jam that really took off.  It was almost, but not quite, a tunnel jam and it had a wonderful SCI feel. This seemed particularly appropriate because before the show Michael Kang was hanging out on the balcony. Unfortunately, he didn't play. 

    The jam led into a great Uncle John's band, with Rob in the lead.  He got this great raised eyebrow look from Jimmy.  The interior jam was littered with Philquakes and a real psychedelic vibe that preceded another syncopated descent (the third time for this similar riff in the four shows I attended).  The post song jam dissipated quickly into a cloud of vapor, only to solidify again just as quickly into a groovy little road that lead to a heavy haunting Days Between.  My regular reader will remember how struck I was by the Days at the Meadowlands in the fall; this one wasn't as potent, but it was still good.  Jimmy blazed on the transition between Days and The Wheel that closed the set.  The Wheel was fantastic, imbued with a totally new life, the best way to close a great set.

    Not to be outdone, or rather in the quest to outdo themselves, the band raged during the second set.  The first jam had a real Allmans-y feel to it, Jimmy sliding along with that southern style.  The second was much funkier than the first, with Jeff playing wa-wa rhythm.  The final one was short, but granted brief glimpses of a more vast starscape, before teasing Wharf Rat and dropping into Cryptical.  You had to expect this one too, but that in no way detracted from

the performance.  The Other One was long and deep, one of those that gets far away from the song, settling in a quiet plain, or traveling down a pretty bucolic road.  As they played, I thought how cool it would've been if they had framed something like Chain with That's It For The Other One, so when Mountains sneaked up on me, I was totally blind sided and elated.  The middle jam was spectacular, crystallized and triumphant.  What a perfect example of tension and release, without the tension.  The move back into the Other One had the last of many China Cat teases and some absolutely sick playing from Jeff.  Also, the reworked start/stop end before the Cryptical bookend sounded great, as it did on the fall.  (It actually sounds more like a Ratdog innovation than a Phil idea)  The drawn out "He had to die" wasn't actually that drawn out, and was followed by a full Meltdown of solar system liquidating intensity.  The segment was about an hour from the beginning of the first jam to the end of the Meltdown, and exists as an example of wholeness, totality. 

    Get Together is kind of hokey, but Phil seems to really enjoy it, and Jeff unfettered himself and went nuts.  Blue Sky, on the other hand, rocks, and although this version was short with just a solo from Jimmy and one from Jeff, it brought the house down. The tip of the hat to The Allmans in their northeast temple was much appreciated by the New York crowd.

    Before the Brokedown and Box (obligatory) encores Phil came out and said, "They say Sunday is always as good as Saturday in New York City, huh?"  The crowd went nuts.  If Phil says it was the night, then it was the night.  This show was, start to finish, the best whole show of the four I saw.  I mean, Whoa!  The guys were simply on the ball, playing with some really incredible power, precision and emotion.  In retrospect, the things that stand out from the run are the whole second set from Monday; the beginning segment from set I on Tuesday, and the Low Spark from set II; the Jam > Playin', Half Step and Jam > Jam > Jam > Terrapin from Friday; and the Jam > Uncle John's Band and Crypt > O1 > Mountains > O1 > Crypt from Sunday.  See ya at the Dog in June.   

Deep Banana Blackout
Fletcher's - Baltimore, MD 4//21/00

By Ben Gray

I had heard a little bit of Deep Banana Blackout, but I had never seen them live until last night. My friend and I hurried down to the club to try to check out the opening band, which neither of us had heard of before (Circle 6). Somewhat bummed when we found that they were essentially a Rage Against The Machine rip-off. Ah, well, it would just serve to emphasize the funkiness of what was to come.

Deep Banana came out with a great funky song that included an absolutely incredible sax solo. It started out somewhat chill, but gradually rose to a ridiculously high-energy climax. A quick drop off of a cliff and a trombone solo followed. Even more buildup, and an even higher climax to the solo. By the end of the solo, it looked as if he was physically straining to make each note appear, and it most definitely had the crowd dancing our asses off. The next song included a great organ solo, and then moved into one of the funkiest basslines I have ever heard. A nice jam, heavily aided by Jen Durkin's vocals. On to the first song I was familiar with, "Everybody B'Fast." It was in this song that Fuzz first showed the Fletcher's crowd what he was all about. Mr. Hanky doll swinging from his guitar, he ripped through a momentous solo. An hour and a half after they started (which seemed like ten minutes ago) the band takes off but of course the crowd would not stop cheering for more. On for the encore. Jen comes on stage saying "We'll play one more, but only if you'll all sing along." Hmm? "Here come old flattop, he come grooving up slowly..." Sung by fuzz, they covered "Come Together" by The Beatles for the encore. And damn if they didn't make it funky. This included the highest energy solo (by Fuzz) that I have ever seen, and by far the highest climax of the night to close the show.

This show was definitely one of the best I have ever seen, and I was pleasantly surprised to see that these guys can play. Not only are their songs absolutely dripping with booty-shaking funk, but they are full of great solos and great vocals (not only from Jen, but also from the rest of the group). Highly recommended.

Retractions/Corrections from Dan Alford:

I reported that on 2/9/00 and 2/23/00, at the Wetlands, Soulive played The Chicken > Watermelon Man > The Chicken. The segments actually went Doing Something > Watermelon Man > Doing Something. Thus, The Chicken closed 2/9/00, not Doing Something. Sorry for the mix up- I'm sure you all were really stressed out about it.

Percy Hill
The Wetlands, NYC, 4/15/00

By Dan Alford

Set I: The Now, Ammonium Maze, Slave (Self Promoted), Soul Sister, Rush Hour Traffic, 313, Soggy Weather Skunk, Sun Machine

Set II: Setting the Boat Adrift, Beneath the Cover, Wrong Side, Jasper, New Tune* > Exodus, Chrissy Reid, Color in Bloom, Light Up or Leave Me Alone

E/ Fallen *First Time Played

New York seems to be the place to end a hiatus. The Disco Biscuits did it last month and next month Phish will do it in style at Radio City. In between, MMW was performing their first shows of the spring, celebrating the release of their new live album. That coupled with Galactic's two nights at Irving Plaza, meant relatively low attendance (a truly welcome circumstance) for the return of the Hill people from New Hampshire.

The quartet took the stage with big grins all around. Grins that stayed throughout the night. Even though rumors of a breakup have been debunked by John and Aaron, it was reassuring to see just how happy the guys were to be back. And what better way to open than with The Now? Right from the start John sounded spectacular- solid, loud and confident. I think he had a new bass; it looked different and he had no pedals. He shined throughout the whole show. Everyone else stayed right in check too, just rockin' out. After the second chorus Joe shouted out, "We got it!" and Aaron literally leaped up from his kit at the end.

The rest of the set was really hit and miss. Ammonium Maze didn't really go anywhere, and Slave had some sloppy playing by Nate during the composed section. It was a little surprising since both a very standard Percy Hill tunes. Soul Sister picked things up a bit- the end of the jam seemed dramatic to me.

Rush Hour Traffic was the first of three open jam songs for the night. Nicely played, the jam started out with a spacey tone, lots of Fender Rhodes work, and wavering sustain from Joe. Soon enough things turned wild, each bar pushing it higher and higher. The exhaust barely cleared before a nice 313, Joe standing out again. SWS is not a tune I dig, in any particular sense anyway, but this one really struck me. Sly like a demon, Aaron was just plain on. He is an exceptionally skilled and expressive drummer, and when he's singing, it just all comes together. Sun Machine closed the set on the same up swing that started it. A solar meltdown, this one cooked along that funky little rhythm riff, and it just wouldn't stop.

The crowd thinned during the break, leaving a perfectly comfortable space for the second set. The playing was definitely more consistent throughout, very high caliber. There wasn't a low point that stands out in my memory. Also the set construction was well wrought, moving from a mellow vibe through a psychedelic landscape that dropped the audience, before they knew it, at an absolutely smokin' closer.

Setting the Boat Adrift was smooth and simply perfect. Everyone played and sang just right- I'm at a loss for words. Beneath the Cover was a fine follow-up, Aaron playing especially well. The second longer jam tune, Wrong Side, offered up a long beautiful journey, continuing the easing groove of the set and taking it to a perfect end point. We wont be home for a thousand days.

Jasper, a really melancholy hard rocker about an old man's mistake and his lonely ghost, set things heading in a different direction. The middle section was actually reworked, putting forth a haunting feeling that contrasted with the screaming of other versions. The jam was also longer, giving Joe a bigger opportunity to show his skills. The new tune that followed was good, with Joe on vocals, some forceful drumming, and a cool bit from Nate. The end jam led to a quiet zone, inhabited by Aaron and segued perfectly into Exodus. I've said before that Percy's covers often have no life of their own, the exception being Light Up. Well add Exodus to that list. A real snakey performance, it squirmed through a variety of tempo changes before building up nicely at the end.

After Chrissy Reid Joe left the stage and the remaining three started a funk groove. It sounded like the intro to Open Up but when Joe returned a couple minutes later there was a pause and then they set off on Color in Bloom. Percy's monster exploratory jam, this tune is not sung, although it has lyrics. Instead it throbs with lysergic electricity. It swells out on a theme, stretching to a bursting point and retracts to the bridge, one intricate, slow motion cosmic heartbeat, followed by another. This one went from the intro > the bridge > a fast jamlet that eventually quieted down into a heavier, darker Moog jam. Nate set up an infectious loop with his right hand; I can hear it now. After the second bridge a third jam began, similar to the first, but featuring the funky B-2. Somewhere after the twenty-minute point, the ending appeared. It wasn't abrupt, but it seemed strange afterwards, as if the echoes of the song bounced around the continued to linger in the room. Like waking up from a dream.

Nate honored J.'s request for Light Up Or Leave Me Alone to close. It's such a hot tune, I question why more bands don't cover more Traffic. They played the hell out of it, Nate doing band intros in the middle. Percy Hill is a band that is absolutely on fire. If you haven't seen them lately, get out there and do it. You will not be disappointed. If you're heading to the Vibes make a truly concerted effort to catch their Wake and Bake set on Sunday, as it promises to set you the right direction for the rest of your day. Also sign up for the Ammonium-Mail list at www.egroups.com