|
Mid-Atlantic
Regional Report
|
||
|
Edited by Anthony Coloneri
|
||
|
Derek Trucks Band With Special Guest Jiggle the Handle The anticipation was high for this special Sunday night show. The Derek Trucks Band was appearing at the Stanhope House in Stanhope, NJ for the fourth time with Jiggle opening up the show. Looking at the schedule in the weeks leading up to the show, this looked like a great one to catch. Reviews of the previous DTB shows have been full of praise. I was anxious to see how the band sounded with their new member, Javier Colon. For anyone who has not been to the historic Stanhope House, it was constructed in the late 1700's. It has a long history as being a great place to see live music. The inside of the club looks like an authentic juke joint. The walls are filled with pictures of the great artists that have graced the stage of this great venue. It is a narrow room with a low tin ceiling. The walls are dark wood and the windows are stained glass. The stage is only a few inches off of the floor, so it is very intimate and gives off a great vibe. Jiggle jumped on stage early. You could tell that they were pumped up to play from the very first note. A very talented band out of Boston, these guys can jam with best of them. Early on you could tell that they would win over the crowd that had come to see Mr. Trucks play. Starting out with " Walking Backwards," they continued to segue into a heavy groove influenced jam. Proclaiming that "they have started to feel like family" at the Stanhope House (this was actually their fourth appearance as well), they launched into a fiery set of Jiggle originals that had the crowd quickly moving up front to dance. Near the end of the set, as the band did 'Liz Reed tease, the crowd started to buzz from a rumor that Derek Trucks was going to come up and jam. Derek's soundman, Marty, was soon seen setting up a guitar rig on the stage. As soon as they started playing "Kinka," (a heavy reggae jam), you suddenly heard the signature sound that the packed house was waiting for. That familiar sound of Derek playing slide guitar started cutting through the thick air in the club. Jiggle seemed to kick it up a notch as Derek was ripping it up in a tune that he probably had not heard before. Guitarist Gary Backstrom and Derek dueled back and forth as they transitioned into "Aliento de Vida," giving the crowd goose bumps as they hung on every note being played up on the stage. You could feel a tremendous amount of energy in the club. Everyone on the stage looked like they were having a great time. As they finished out the song, a loud roar came from the crowd. It was definitely an indication that we were in for a special show. After a quick break, the Derek Trucks Band took to the stage. You could still feel a lot of energy coming from the crowd. The band immediately went into "Naima." This instrumental showcases Derek's tremendous ability with slide guitar. The second song, "I Believe," showcased the soulful vocals of Javier Colon. For anyone who had not seen the band since Bill McKay left, you quickly got the feeling what direction the band was going with their sound. You had to love it. The set continued through some great songs including, "Traveling South," "Tutu", and a really soulful version of "For Your Brother." A long, ripping "Feel So Bad" finished off the set that left the crowd craving more. The second set opened up with a real mellow feel, until they jumped into a spirited version of the Miles Davis classic, "So What." A great version of "555 Lake" showed off the talents of Kofi Burbridge on keys. Kofi and the band were grooving hard and segued into a spaced out ending with Derek flexing his muscle on the guitar. This quickly moved into a soulful version of "Use Me Up." The band seemed to be hitting their mark. The next song was a highlight for me and seemed to leave the crowd standing there with their jaws on the floor. The band moved into "Maki Madi Ni," a song performed by the Pakistani artist, Nusrat Fateh Alli Kahn. The tremendous respect that the band, led by the young Trucks, showed to this song awed the crowd. You could tell the band and the crowd were totally tuned into each other. The set ended with a rousing "Yield Not," leaving everyone cheering for more. As an encore, a quick "Cissy Strut" transitioning into Bob Marley's, "Lively Up Yourself," left everyone in a great mood. I felt that I had possibly just seen one of the best sets of music that I have seen in a long time. Many tapers were in attendance, I would suggest tracking this one down. After seeing this band so many times, I cannot help but to think how lucky I am to watch these guys progress right in front of my eyes. Every time I think that it cannot get any better, they seem to raise the bar another level. If you have not seen this band play in awhile, make sure you check them out again. It is well worth it. They are by far one of the most talented bands in the scene today.
Soulive @ The Bowery Ballroom, NYC 11/4/00 2nd night and missed the opener again- this time it was Kudu, another member of Velour Records funk-n-soul army. On the upside, J. was with us and wiggled her way right up to the stage so we were able to be rail rats on Alan's side. Soulive took the stage at about 11:30 and laid down some serious groove for the following hour and forty-five minutes. Alan: "Yeah, we play both kinds of music, R and B." Uncle Junior began the set in classic style- just tearin' it up. After a night of intense, ear damaging music, it was Junior that I woke up singing. During Eric's solo the Evans brothers linked up on a tight little improvised break down that pushed the tune over the edge. After so many shows, Junior still rocks. Next up, a perfect compliment, The Isley Brothers' It's Your Thing. After a very funky intro featuring Neal playing widely spaced short phrases, a slower, stretched out version of the song developed. Taking long step after long step, Neal created wonderfully lengthy rising action in his solo and carried it as an undercurrent throughout Eric's solo. A strangely groovy version of a regular rager was the end result. Doin' Something was tight with a similar vox theme as Friday night's show, and it also did without the Chameleon jam. If anything, this version was a bit short with it's increased focus. Staying on that straightforward approach, they ran through a solid Evidence with Kraz in the forefront. The third shorter tune in a row was an excellent reading of the relatively rare Scolive. Again Kraz was sliding all over it, but Alan and Neal were right there, weaving through the song's intriguing dips and tucks. Jacques Schwartzbart (?) entered the mix once again for a nice Bridge to Bama. Quieter that Friday's rendition, the wavering end segment was absolutely exotic and absolutely dependent on Al's round driving drums. Jacques stayed on stage for Rudy's Way, a tune that is often played when a sax player sits in- something about the wacky organ lead resonates well with a squonk. To close the set was Stevie's Jesus Children of America. Up through the wind down of Kraz's vox solo the song was good, but as it moved into Who Knows, at Eric's prompting, not Neal's, it spun off, out of control. The Drumz segment was longer and deeper than Friday's. Al rolled over his kit with practiced ease and sweet inspiration. Neal stepped away from his organ and Kraz switched guitars, as he had broken a string, with Alan dug into his own groove. He closed by driving the tip of his left stick against the head of one drum and playing around it with his right, using it like a talking drum. As if that show of style and skill wasn't enough, he finished by playing the Jesus Children lead in this manner. Outrageous! You had to know the encore was going to be Church > Turn It Out. The Oteil composition was nicely done and led to a long intro to Turn It Out. The heralding "wa-wa-waaaa" stretched on for up to a minute or so before exploding into a pounding version of the standard Soulive closer. During Neal's solo he was standing up, leaning over his organ, his body moving in that rhythmic rotation, when he started slapping the top of his B-3, just having a blast. The wind down tease actually came to a complete stop before erupting into a huge finale, with Kraz reprising Who Knows through his screaming wah. Awesome. Soulive just doesn't get old- the continue to shatter minds and wear out bodies wherever they go. Gotta say that since there's no Phish this New Year's Eve, I'm glad I get to spend part of it with Soulive.
Soulive @ The Bowery Ballroom, NYC, 11/3/00 My good buddy Smokin' Dave came down for both nights of Soulive, and it's always treat to have him around. But long before we made it to the Bowery on Friday evening, we headed uptown to catch a rare and special event at the Beacon Theater. The Shaolin Masters were in town as part of an extensive 25 date US tour. No, this isn't some band you've never heard of. These are true Shaolin monks, masters of Kung Fu. The put on an exhibition comprised of two 45-minute acts, each encompassing two seasons. While there were some missed steps here and there, and the curtain fell on stage at the beginning of the show, it was nonetheless an amazing display of discipline and martial arts prowess. There was a great Drunken Fist segment, one devoted entirely to animal styles, including Bear, Toad and Scorpion, along with other, better known styles like Crane and Mantis, and a series of astonishing feats, such as one man being hit repeatedly with a battering ram. Of course the best way to compliment an early evening of precision and skill was with a late night display of similar prowess, only in the musical arts. While we missed Robert Walter's 20th Congress, we made it just in time for Soulive to rock a packed house. It was nice to be in a venue that was probably sold out, but not oversold. There was definitely enough room to get down without constantly crashing into other people. Plus the Bowery just sounds great- crisp and clean. The trio opened with New Neal, a new tune that popped up on the West Coast earlier this fall. It's somewhat goofy, playfully bouncing along Neal's keys. Certainly an enjoyable little groove. Steppin', still a personal favorite, was next on the docket. A solid version, upbeat, it featured some really explosive playing by Alan at the transition and a cool little breakdown with Neal towards the end. It's been a while since I last saw Soulive, and I was surprised to hear no Chameleon jam in the middle of Doin' Something. There was, however, a clearly organized bit in the vox solo, but whether it was a tease of some sort or not, I can't say; I didn't recognize it. 1 in 7, another new tune, was definitely a welcome addition to the Soulive arsenal. It's a longer song with an aggressive feeling to it. It's one of Neal's, but it sounds like it's by Alan. There is a series of tight drops at the beginning, an intense mid-section, and wonderful, creepy carousel organ at the end. Jacque Swartzbart joined the band on tenor sax for both Cannonball and Bridge to Bama. The former was nicely done with a hot solo from Neal, Jacques joining in at the end for a slick little interlude. The guest then took his own solo with Kraz and Neal doing a count, a la Rudy's Way, underneath. The sounds morphed into a smooth jam with Neal and Kraz taking over the lead before building to a speedy segment that brought it all back to the coda. Whew! The later tune was also nicely done, longish with a flowing end. I was fairly disheartened when Jesus Children began to change over the summer. It lost its smoothness in favor of over the top speed. But the band seems to have reached a nice middle ground, keeping it old school slick for the beginning and pushing the speed during Who Knows, dropping back properly at the end. In the mean time there was as fantastic vox solo that had Al and Neal drop off completely, leaving Kraz to work it alone and bring the song to a total standstill. I really enjoyed this, much more than I thought I would. A monster throw down of Right On closed the set, bringing huge smiles to Smokin' Dave and me, as we'd been shouting for it early on. The encore was an equally potent So Live! with a little Rudy's Way tease from Neal thrown in for good measure. As Soulive continues to pick up speed, draw larger crowds, and become an internationally touring act (they're going to Japan in February), the gaps between shows are just too long for this devotee of the live soul groove.
String Cheese Incident The String Cheese Incident gave us all another great show this night at the University of Maryland, Baltimore County Fieldhouse. There was a predominantly young, college-age crowd present at the show, but also a ton of Cheeseheads. The band started out with Walk This Way by Aerosmith. Billy Nershi was going crazy on stage during this hot opener. It was a short, but sweet, hint at what was to come. Then Kyle Hollingsworth started his night of amazing keyboard/organ playing with his tune, Got What He Wanted. He sounded so sweet during this song, and him and Nershi had a nice interplay between Nershi's wa-wa enforced acoustic/electric guitar. This was a sick, spacey, long jam. It was like an ever-growing wave that didn't want to crash. Toward the end of the song, Michael Travis started playing a very fast beat, then slowed down into The Hobo Song, a classic old tune reinvented by the Cheese. It did well to settle us down from the previous song's emotional high. Another Kyle song followed, called Latinismo. It had an obviously fitting Latin taste to it. During it, Nershi played a vase-like instrument with ridges on it which he downstroked on. This song was even slower than The Hobo Song. It really showed how sick Kyle really is. There was a long Kyle solo, then Michael Kang pitched in with his mandolin and the beat started picking up and up and up. Then, there was a short drum solo on congas by Travis, accompanied by some Latin keys. Some loud drums with Nershi back on his instrument ensued. When this instrumental piece was finished, Nershi yelled out "Freak out, freak out!!" and got a good response from the pumped-up crowd. Travis started with a short conga opening that led to Little Hands, one of SCI's "nicest," yet best, songs. This had another Kyle solo and an extremely hot Kang solo on violin. There was a great climactic, exciting end to the song with the crowd loving it. Then the band played a low, somewhat funky jam that picked up into a fast, foot-stomping bluegrass jam that was pretty hot: Daryl. To close out the killer first set was a slow reggae song, called Skort, a much anticipated and talked about song. Before they played it, Nershi vacillated whether or not to reveal the name of the song. They played it very nicely, led into a spacey jam that was filled with spacey keyboard effects by Kyle, and then finished it off with a super-hot techno-like jam to close it all out. The first set lasted from 8:05 p.m. to 9:25. After a satisfying 35 minute break, the Cheese was back on stage!!! When SCI came back on, Nershi led the crowd in a "Let's Go" clap, then the wave, and then the wave with the lights on. God, it was fun!! Wake Up opened the 2nd set nicely. It included yet another hot solo by Kyle, this time on organ though. Travis then initiated another short conga intro that blended with Keith Moseley's bass. It led into Kyle's This Must Be the Place. It had a long funky and Caribbean sounding jam that segued into a very slow Kangy improvised jam. Then came a completely sick Pirates, with Nershi on a cowbell-like instrument. It had a nice Caribbean sound with Nershi switching to claves and more Kyle. Nershi then went back to the "cowbell" and the jam started to get hotter and hotter, sweeter and sweeter, and louder and louder!! It was a sick, escalator jam. Then a short, concise Good Times Around the Bend was played, with Kyle on organ. Travis then started a short, but loud, conga intro Rivertrance, which was played great. Kang played the violin Celtic-style and played it wonderfully. Travis jammed on the congas and bongos and a hot, long jam ensued. Black and White was then played FUNKY!! Kang even did some major scatting and Nershi was super. It was an interactive jam fused with FUNK and a semi-drum solo by Travis. It segued into Round the Wheel, which then segued into a great jam that started out mellow then took off into an exciting interplay between Kyle and Kang. They traded licks like Luke Skywalker and Darth Vader on Star Wars. It was a sweet way to end the second set. The encore was none other than Herbie Hancock's classic FUNK song, Chameleon!! Man, it is hard to describe such an awesome display of musical prowess by each band member on this rendition of such a classic tune. The band was really tight. Nershi had a great wa-wa solo. Kang was great on mandolin, as were Keith and Travis at keeping the beat going. But, the man of the encore and of the whole entire show was Kyle. Man, was he funky on this rendition. He played the organ so seamlessly you wouldn't think he was even trying. That's how good he was and is. This show was a superb example of how damn good the String Cheese Incident really is and how well-crafted their songs and jams are. They are a complete group, not lacking in variety, musicianship, or showmanship. They get my vote as the hottest band on tour. Check 'em out!!
moe. "We are not in Kansas anymore Toto." One look around the Tower Theatre Halloween night confirmed that. The theme for the night might have been the Wizard of Oz, but this was not the Wizard of Oz we are all familiar with. The stage was set to look like the haunted forest complete with trees and fences. Above the stage was a circular movie screen reminiscent of the round movie screen used by Pink Floyd in their live shows. On either side of the round screen were two larger movie screens. The entire stage was much more elaborate then any other moe. set I have ever seen. The band was all in costume, Rob was an easy choice as the cowardly lion, and Chuck could have been born as the tin-man. Al was definitely no Judy Garland, but one has not lived until they have seen Dorothy lose it during a guitar solo with pigtails a fly, glasses slipping down his nose, dress swirling all around. Vinnie as the scarecrow and Jim as the witch rounded out the band. Kirk Juhas from freebeerandchicken sat in on keys the whole show. They were also aided by Adam Ash as a flying monkey on sax and Nancy Falco as the good witch on vocals throughout the night. The band was not the only ones in the Halloween spirit. In the crowd were a walking mushroom, the sultan of smoke, a foam cowboy, more than a few 70's lounge lizards, a lunch-lady named Lulu, and a large collection of Dorothy's, Lions, Scarecrows, and Tin-men. The band opened up with "Somewhere over the Rainbow", the two side screens then flashed to life and the familiar MGM lion appeared. On the second roar the first couple of notes of "Speak to me", the lead track of Pink Floyd's classic album Dark Side of the Moon, was played by the band. This brought a huge welcome cheer from the crowd. What followed was a note for note rendition of the entire Dark Side of the Moon album in synch with the Wizard of Oz movie being shown on the side screens. After Al sang the final line to "Eclipse" the band left the stage ending the first set. This provided me with a chance to refill my beer, make a trip to relieve myself and through a crowd vote, with Rob as the host pick the best costume of the night, which went to a walking mushroom. The second set started with a huge crowd-pleasing "Plane Crash" that had the entire theatre on their feet. This included a nice crowd sing-a-long; " I get too fucking high!" Al and Chuck both took very nice solos and Rob found his courage as someone through a courage medallion on stage for the cowardly lion. Vinnie and Jim then traded spots for "Threw it all away". Two newer songs followed, first "Opium" a Rob song with a very nice driving bass line and then "Gone" an Al song he has only recently started playing. With a new album due out in January, both of these songs would be fine additions to it. Some guy a couple of seats over from me attempted to pee in an empty cup, which caused everyone in the row to scatter towards the aisle briefly. But he could hardly be blamed as the band was in the middle of one of the finest versions of "meat" I have ever heard. It emerged from a short "Moth", which followed "Gone". "Moth" included the line "We're not in Kansas anymore" in place of the usual "But-to-fly" line. "Meat" was nearly forty-five minutes long and included solos by Rob, Chuck, & Al, a drumz break by both Vinnie and Jim, Al on keys, an O-E-O munchkin chant, and Adam Ash joining in on sax. If I had to pee, I might have looked for a cup as well. The jam was very nice as it changed tempos numerous times lulling the crowd into a slow head bob, before awakening everyone with a thunderous final rush that ended the second set. "You say potato and I say three" was the start of the encore. A nice "Spine of a Dog" with a jam highlighted by Jim on percussion led to the common partner of "Spine", "Buster". "Buster" was another crowd sing-a-long. Near the end of "Buster" twenty volunteers dressed as munchkins joined the band onstage throwing candy to the audience. The final song of the night kept with the Wizard of Oz theme as they sang "Ding Dong the Wicked Witch is Dead". Rob, who had clearly enjoyed himself the whole show, looked as if he did not want to leave the stage. But, eventually the house lights came on, that familiar signal that means, "The show is over, time to leave, you don't have to go home but you can't stay here." All that was left now was to stumble outside, avoid the now filled cup on the floor in the middle of my row, gather up my friends, find a cab home and figure out how I was going to make it up for work the next day.
MMW @ The Beacon Theater, NYC, 10/31/00 Halloween with one of the most frightening bands around- what could be better? Frightening because the precision, aggression, and sonic charisma of Medeski, Martin and wood make them one of the most pulse pounding, mind bending, cutting edge musical acts around. Joining them on this particular All Hallows odyssey was Phish's own Chris Kuroda, a true leader in his own right, on lights and NYC's own jazz sojourner Marc Ribot for the entire second set, including a rare but appropriate Dracula. CK's work was fantastic as he used a different pallet, including a large video screen, to create his spontaneous visual constructions, and of course MMW offered him just the challenge he needs. The decadently urban sounds of the trio ranged from the wild screams of chittering primates to the soothing, rhythmic purr of the panther, passing by every other denizen of the concrete jungle along the way. The composed segments of songs settled like brief clearings before the tangled thicket encroached once again on those ephemeral moments of sanity. Two real highlights from 1st set include a pair of Hendrix covers, Third Stone and Manic Depression, a haunting Last Chance to Dance Trance, and a smokin' Seven Deadlies. MMW doesn't play in the city, as a full trio anyway, often enough for a band that's based here, so if you get the chance and you think you can handle it, check 'em out.
Medeski, Martin and Wood Lions and tigers and people with really cool psychedelic purple wigs -- oh my. The Beacon was alive tonight with ghosts of yesterday and shadows of tomorrow. When the lights went dark, the priest from Poughkeepsie was as comfortable as Wonder Woman. A video projection screen started showing clips of what seemed to be random pieces of nature, industry and baby Kodak moments. Taped MMW music played as Medeski (donned in an intergalactic silver uniform and mask making him look like a funky Star Trek Data on keys), Martin (dressed in a thick shiny cape, turban and beard was the wise man on drums), and Wood (simply wearing a big, black shag cut wig playing rocker on bass) faded in over the tape with their instruments. Each seeming to take off in their own direction, sound filled the theater. With the video visuals the description could be; the sound of a bee pollinating, rustle of malnourished leaves being bullied by a breeze, girl tap dancing, baby's rolling toy, some sort of industry medical worker. In short, while the first part of the first set was confusing riffs and contradictory meters; it was also perfectly in tune with what was being captured on the video. At times, Medeski and Martin looked at the screen as they played. Later it was discovered that, in fact, this was their new video for "Partido Alto". "Third Stone From The Sun" bought a majority of the audience back into more familiar territory. Medeski absolutely shined silver as he, at times, simultaneously played two different keyboards while weaving chords on each one, as a blanket's yarn would be spun on a loom. "Last Chance to Dance Trance" came on as strong as the last song ended and led into a jam that Chris Wood just plowed down the baseline for. Martin stepped in to add his wisdom on drums and the whole jam escalated to the galaxy where Medeski had stationed himself; and the moon witch danced her magic over the night. Almost ironically, they closed the first set with the MMW version of "Manic Depression". Signaling the beginning of the second set, Martin led a small parade of New Orleans style drummers through orchestra. He continued to direct them and Cyro Baptiste as Marc Ribot joined them on stage. What followed was another dimension of sound and space. "Partido Alto", Cyro Baptiste added sound and layers to MMW as a master chef would add herbs and spices to his entree. Never overpowering, always adding or subtracting to maximize flavor. Marc Ribot lighted up about halfway through the second set on "Dracula" and, straying from his jazz leanings, seemed to lead the crew to some serious groove music. "Shacklyn Knights", "Note Bleu" and "Jam in E" was a do it - dig it - groove it - party of jazz/blues/funk/fusion madness. MMW gave out lots of treats tonight. The encore was certainly a very pleasant one. Robert Randolph came on to kick in his pedal steel guitar for "Chubb Sub" and "Hey Joe". The ghouls and goblins that haunt music venues of NYC were quite pleased tonight as the crowd floated out of the theater en route to wherever tomorrow's shadow would take them; heads full of good musical jammy treats.
String Cheese Incident Not to shabby for a seven year old band from a place called Crested Butte, Colorado. The costumed mimes, jugglers and other assorted street performers entertained the crowd outside the venue while anticipated conversation echoed throughout the rounded ballroom. The lights finally dimmed; five musicians walked on stage and the crowd cheered -- loud. After a brief tuning, they went into "Rhum'n'Zouc". Bill Nershi was comfortable on guitar as was Keith Moseley on bass. Kyle Hollingsworth's keyboard work floated notes above the crowd. Michael Travis (drums/percussion) and Michael Kang (violin/mandolin) seemed to be having big fun which was what they delivered from stage. "Impressions" gave way to "Land's End Reprise" which flowed nicely into "Smile". The first set closed with an audience full of sweaty, smiling faces. Standing on line at one of only a few bars, combined with not being able to leave the loge area, made for a very cramped set break. However, liquid nourishment was certainly necessary to replenish for the second set. SCI wasted no time and got everyone moving with "Tom Thumb's Blues". Nershi kicked into high gear on "Rivertrance", definitely a jig groove that got deeper with "Water" and "Sittin' On Top Of The World". Their range of musical capabilities was certainly demonstrated in the last part of the show. "Use Me" sailed into a jam that got bigger and bigger then exploded into "Best Feeling". This surged into yet another jam that somehow managed to be more intense than the last one; running, running until "Roll Over" with guest Aaron Johnston (from the Anger/Marshall Band and who sat in on a few earlier songs as well) erupted its all good energy over the ballroom. The din of crowd as they roared for the encore was louder than the band itself. As an encore, and keeping their fans happy, SCI gave the audience Led Zeppelin's "Ramblin On" with just a hint of bluegrass flavor. This String Cheese Incident show was all about positive energy, happy vibes and jams with no boundaries. Certainly worth checking out, even if it's just to see what all the commotion is about.
The Hammerstein Incident, NYC, 10/27/00 It's been said that the band that will benefit most from Phish's hiatus is SCI (although I think moe. stands a lot to gain as well) and if the Hammerstien show was any indication, the mountain boys aren't wasting a minute of their window of opportunity. "Now's the time; the time is now," echoed in the hollow space of the Ballroom during the encore, the first SCI version of Zep's Ramble On. Immediately preceding that, however, was a take no prisoners second set that opened with a classically rendered Tom Thumb into a heavy groove that quickly shifted just a slight degree and created a richly layered River Trance. But that was only the beginning as the band slid and ducked, hopped and dove through a powerfully intoxicating set, overflowing with energy and the spirit of good, clean fun. This being only my 6th SCI show, I can't give the color I'd like to, but a real highlight was the exquisitely soulful Best Feeling that had Michael Kang bending the lyrics over a sweetly played, slightly slower composition. The music snapped like glowstick and emanated light clear through to the huge Roll Over that closed the set. These boys can't possibly benefit from Phish's break as much as Phish will (as Keith said last month) but they certainly deserve the accolades that they continue to win.
Tweakin' at the Beacon with Phil & Friends, NYC
10/09/00 Making my way to Columbus Circle along Central Park South, I see a mammoth projection of John Lennon underneath the A & E sign. He would've been 65. First night. Incredibly excited. I've been known to avoid reading reviews if I'm only gonna catch only one show of a tour 'cause I want to go in cold and form my opinions without any outside influence. That was in no way the case with this tour. I bounced around between every discussion group I could find, eager for any reports from the front. What I found was a flood of ecstatic voices singing the praises of veritable Dream Team of GD, Allman Brothers, and Phil and Friends veterans. What surprised me were how few negative reviews I read. Favorite review: "Wooooooooooooo!" They walked on stage pretty close to eight o'clock, with the lights still on while they tuned. A sharp drop into darkness was paralleled by an immediate fall into sweet, embracing opium space. After pushing the liquid air around for a few minutes, Phil stepped up and quietly began to sing the first Phil and Friends version of Imagine. During the lyrical portions, Warren delicately played the "I-I-I-I" part, before stepping away from that mindset by unleashing the first of countless scorching solos. Birdsong is unarguably a Ratdog song- they've re-forged it into a real epic and infused it with a new life that never had before. That being said, this P and F version was huge. Strong and emotive vocals came from Phil who was all grins. Warren played that high end wavering guitar wonderfully, linking up with Jimmy over and over- the effect was more than the classic Allman's duel leads; the guitarists finished each other's thoughts, even each other's notes, to a point where even this pair of discerning ears was unable to process the shifts. A dynamic equilibrium of like-minded voices. The jam rolled along at a good pace, building to a transcendent moment where Jimmy stepped up to hold one long, glorious note, before slipping through a jazz movement into spacey nether regions. Rob perked up a bit with off kilter keys as the jam descended repeatedly, becoming louder and louder. And it was Rob who deftly pulled it all back with two simple bars of the coda. This was the way to start a show. Never been a fan of Tennessee Jed, but it was weird and slick with some particularly nice spacing by Molo. Jimmy also had a nice solo at the end- it was quickly becoming apparent that he was more confident on stage this time around. As an unabashed GD/Phish fan I was overjoyed, if not overwhelmed to hear my first Wolfman's. It was certainly different, but after all, "this isn't who it would be if it wasn't who it is." A little stripped down, with different spacing between verses, it was none the less a blast. Warren took the first solo, Jimmy following hard upon, and all the while Rob rising up with bright boards. Before long the tune was ragin' as Rob, who was smiling and clearly enjoying himself, won king of the mountain before allowing the music to settle. "Whew!" That's what it says on my setlist. Molo became forceful through the transition into a long, but strangely quiet Cosmic Charlie. A series of builds permeated the song, but it never quiet took off. Watchtower, however, was a barnburner, an absolute rager, a monstrous musical montage of mammoth proportions. It was too much before Warren's first grainy verse. Again the solos went Warren to Jimmy to a fast and furious trading of licks that just wouldn't stop. Devastating. And complimented by a hot Cold, Rain and Snow. Phil's thunder throughout the years has shown his love for this tune, and he charged into this one head first, a tunnel jam exploding in the middle. Shakedown, with Warren on vocals, to open the second set- churning and very energetic. Warren broke a string and even though his tech stood just off stage with a back up guitar, he continued to crash forward, finally pausing to switch up after a disintegration of the jam. Molo again stepped it up during the quiet section, becoming forceful and pronounced before the transition to Little Light. Nothing but fire here, Warren and Phil finding the right balance, while the former growled out the lyrics. One of things that makes this tune so great is that its construction differs so much from other GD tunes, with the strange spacey pools that hover near the sharpened composition's edges. Jimmy led the way into the second, vaster of the pools pulling the band into unformed places where they tried to shape some sort of reality before resurfacing to end the song. As much fun as the show was to this point, the best part was yet to come. The intro to Crazy Fingers was fast paced and dropped nicely into the song. A very upbeat version, it featured wonderful interplay between Rob and Jimmy, and Warren smoothly leading the transition into Friend of the Devil. Phil was wonderful throughout the song itself, playing a punctuated loping theme and Rob's solo began with chaotic leaning, but he pulled it off in the end with characteristic style. He teased China Cat before helping to ease the music into a quite gossamer space, as ephemeral as the wind. A groove developed, hinting at Get Together, but heading instead into a fine jam, smooth and bright. By the time the end of FOTD resurfaced nearly fifteen minutes had passed. Warren dealt out a healthy dose of tight string scratching, a la Sco, while Jimmy screamed out more long brilliant notes; Phil and Molo linked up just right, and Rob took the chance to frame the tune, riding glorious overtop of it all. The slight arrhythmic movement of the Get Together sounding jam reestablished itself and announced it's true name, Tomorrow Never Knows. Warren took vocal duties for the second Lennon tribute of the night, Rob doing the echo work. Phil's bass popped thick bubbles of sound, creating a loose and supremely psychedelic rendering of the acid rock classic. The music wound down to a complete stop before those light, ethereal notes rose up to a nice clean Unbroken Chain. If there is a complaint about this line it's that while Jimmy certainly took more of the reigns, stepping up to groove without hesitation, there were also times when his rhythm work was too aggressive, working to drowned out Warren rather than compliment him. The end of this set, however, featured the cleanest tightest, most straight-ahead rockin' of the night. When kicking up Sunshine of Your Love, Phil and Warren were both bent over, as if pulled by magnetic forces, grinding it hard. An amazing moment, the glory days of psychedelic rock returned with all of its intended power and precision. Before I knew it Rider took shape, not stopping the pulse-pounding pace for a beat, Rob and Jimmy smiling at each other as they closed the set. And the only way to cap off a second set like that was with a fun, rolling Doin' That Rag. If there is any band that should singing "Hipsters, tripsters and real cook chicks," it's Phil and Friends.
10/13/00 Friday the Thirteenth, end of a busy week. Heading to The Beacon and feeling good (despite the black cats and pennies, tails side up) with a front row seat just to Warren's side. The security guy looked at my ticket and said, "Oh. Well, hell man, front row." and pointed down the aisle. 'Course there're folks in the front row at every show, and folks who push their way up to the front row, but to actually have the ticket- to me it was something special. I spent the whole night leaning against the stage, allowing the vibrations to wash over me. And because of the way the speakers were set up, I was listening to the crisp, clean monitors as opposed to the towering speak stack to my right. It just doesn't get any better. I don't mind saying here that this show clearly crested the peak of my concert going career, firmly planting its flag and declaring itself to my new favorite concert ever. Bear in mind that such statements are not to be made lightly. It's certainly a title I've avoided giving to any one performance; after all, you reach a point where there have been so many great nights that it would be impossible to choose just one. I focus more on favorite moments than whole shows. But this show stomped up and knocked me flat- there were multiple moments when I was truly overwhelmed by the entire event, bordering on the loss of consciousness. The show had a different tone than others I saw or heard from this tour- loose and flowing, wonderfully shaped yet ultimately amorphous, with a smoothness that contrasted with the aggressive playing on Monday. And that tone resonated with something buried deep in my mind. The first opened with a pair of jams, one springing from the tail of the other. The latter moved at a good pace, swirling about, but was ultimately grounded by Molo, who punctuated the groove with nice wood block work. Phil was clearly the driving force as he played an upbeat, slightly funky strut, before taking us into Dancin'. Stretching with Warren and Jimmy taking the lead at the same time, the song moved beyond itself. It was Phil, however, who really pulled the music into the spacier regions. Rob moved from organ to piano. But a hard funkin' segment took shape, Warren shredding on the wa-wa before the two approaches melted and melded into a wonderfully fluid fight through tight canyons. In Your Eyes was much stronger than those from the spring tour were. It had an edge to it, although it was still firmly planted in the regions of heavy drums and bass. The development, however, allowed Molo to lead the way into a spacey jazz jam, or a jazzy space jam. Warren continued to push in his almost aggressive style, and finally the first Phil and Friends' Ramble On surfaced. Deftly performed with Rob at the helm, it was a surprise closer to a great 40-minute jam that was just a harbinger of things to come. Just like New York City, just like Jerhico. Big smiles and congratulations flowed from the stage before Phil called everyone over for an honest-ta-God huddle- arms locked an everything. They're plotting. Wheel was slick and solid, moving at a good pace. The guitarists darted through the nooks and crannies of swollen groove like lean sand sharks in a school of jellyfish. A tight drop plunged the band into a deep cavernous underwater space before Rob resurfaced to bring it back to the second verse. Phil was glowing, pulling out some wonderful rolling bass that morphed into a straight out blues jam, lights and all. But even that couldn't hold up to the ever encroaching detriments of time and the seriously spacey vibe. And the rollercoaster continued as Jack a Roe emerged from the squeaks and tweaks. A great version, it was the surprise winner of the night. Closing the first set was another fine pairing of songs, beginning with a nice Foolish Heart, Jimmy shining early on and Warren displaying clean wah work through the jam. Easing into less defined reaches, Phil was able to pull everyone up to Lovelight with potent string thumping. The 'light was burning from the start, quickly becoming a raging inferno. I was overwhelmed and had to grip the stage just to stay focused on Warren as he barked out "Shine, shine, shine." Another first performance began set II- Strawberry Fields with Rob taking vocal duties and using the bell piano throughout. During the actual song Warren played his wavering guitar that so prevalent on the first Phylan tour, and it worked perfectly. An intense tunnel jam followed, Molo serving the engine of cerebral destruction. It eased down into a pleasant stroll before tripping and staggering in a loud cacophony of sound. Easing up again, a calmer riverside ride led through the outskirts of town to a homeless man at the Wharf. Warren's growling vocals and brutal wah gave Rat a sting I haven't felt in a long time. Phil's grinding bass beamed through the last verse and announced a very tight Box of Rain. At the end Phil repeated, "To be, to be, to be." as he's done for the past couple of years and then SLAMMED into NFA with the full band in tow. His bass was overpowering between the first and second verses and Molo worked a serious groove into a space odyssey during the jam. The entire event was 50 minutes of musical mastery. To close Phil led his squad through another 45-minute jam that opened with Help. I'd been expecting this one and was pleased with its position since it makes such a strong show closer. The music oscillated around each individual instrument simultaneously as they broke into a very brief Slipknot! It seemed that for an eternal second Phil was signaling a descent into those nether regions that perforated the whole show, but in fact he was haling the train to Terrapin Station. The crowd exploded with such ecstatic emotion that Phil stumbled backward, laughing. Absolutely unreal! Rob ran with beautiful piano lines through Lady with a Fan and the peak was entirely too much to handle. As the locomotive left the station at a racing pace, it melted into a soul train before becoming mired into the wilds of Slipknot! once again. Rising back up to the coda, the jam dropped down into an appropriately glorious Allmans-esque Franklin's. Last stop on the line- all passengers off if you can still stand up. This monster show was characterized by phenomenal segments of totality- jams that were perfectly satisfying in and of themselves. The fact that the band was able to string one after another just shows the true power of this particular ensemble of merry pranksters.
Phil Lesh & Friends Phil Lesh and Friends captures the spirit of a Grateful Dead inspired jam with musicians who are so in tune with each other, the sound of their music overflows from stage. By the end of the concert, even a jaded soul should have had some part of them aurally touched or awakened. The following are highlights of the shows from October 11, October 13 and October 15. Wednesday, October 11 at the Beacon Theater: Phil Lesh, Rob Barroco and John Molo created a concert that challenged the laws of gravity. Imagine yourself in the middle of a gyroscope. Phil Lesh starts your spherical rotation with "China Cat Sunflower". Haynes and Herring take off to explore outer boundaries with "Playin in the Band". You barely catch your breath when Barroco takes you in a magical direction with "Here Comes Sunshine". Lesh's bass is your axis as Herring and Haynes go full throttle forward; Barroco's keys spin around you while Molo's drums kick the ensemble into warp drive with "Smokestack Lightning", "Uncle John's Band" and "Low Spark of High Heeled Boys". During the encore, "Deal", you feel your feet almost touch the ground but wonder what sun Barroco is moving around as his keyboard work causes synaptic overload. Friday, October 13: The full moon lit up the New York City night. The Yankees were on their way to winning the playoffs. Phil Lesh and Friends were ready to deliver their fourth night of their seven show series. They came out of the dugout with an unremarkable jam that finally struck out with "In Your Eyes". Barroco saved the inning with his vocals and keyboards in "Ramble on Rose". Lesh called a time out and the group went on to play "The Wheel" as a team driven home run. Haynes closed the first set with "Lovelight", a strong drive up the middle of centerfield. Lesh must have put a call in to Torre during the set break for some late game pointers because the five players took over the Beacon ballpark in the second set. "Strawberry Fields Forever", (probably played as a memorial to the untimely murder of John Lennon), erupted into a series of perfect plays by everyone. All of a sudden the Beacon turned into a sort of "Field of Dreams" fantasy, Grateful Dead, Fillmore West jam knockout. "Wharf Rat" was so mesmerizing that when they segued into "Box of Rain" most of the audience was moving trancelike on their feet. "Not Fade Away", "Terrapin Station" and "Slipknot" gave new meaning to grand slam home run. Just to ensure a winning night the powerhouse delivered "Franklin's Tower". The full moon's beams that lit the city's night sky most certainly delivered Jerry Garcia out of the bullpen in this set. During the encore, "Built To Last", it seemed as if many audience members started looking for parts of their brain. Minds certainly exploded. Sunday, October 15: Phil Lesh and Friends penultimate Beacon show. Melodious beauty seemed to be the theme of the evening as Hayne's led the opening jam with some dulcet slide work. "Here Comes Sunshine" highlighted their on stage teamwork and communication abilities. The jam ebbed and flowed with "Dark Star" flavor. Each player seemed to take the lead without drowning one another and segued into an atonal jazzy-Dead jam. An environment ripe for Greg Osby to add his sax sound in "Playing With The Band" was created. Osby and Molo played off each other, Barraco nudged Herring to turn up the heat on his guitar. Haynes joined herring and together with Lesh pushed the boundaries of harmony until psychedelic jazz halos showered the theater. Osby's alto sax unwrapped "Patchwork Quilt" as Haynes' vocals and slide, rugged yet somehow soothing, tucked it around the audience. In the second set, Haynes' emotionally charged vocals on "Soulshine" watered many eyes. Lesh shepherded everyone into "Get Together" which broke into a middle-eastern flavored improvisation jam that led into the "Playin Reprise". "Blue Train" was perhaps the best placed song for a Sunday city evening. Osby opened up his sax and the six man team allowed the audience to sit back, relax and absorb the beauteous, sultry sound. A brief interlude allowed everyone to savor the moment before getting blown out of their seats and into the streets with a funk-rock jamming "Shakedown Street". The band performed a climatic "Passenger" which just caused massive amounts of synaptic distortion. Before giving the encore, Lesh commented, "...we're gong to have nothing left for Chicago". "Goin Down the Road Feeling Bad" gave way for a tear jerking, spirit soothing, "We Bid You Goodnight". Catharsis achieved. Writer's commentary: I've heard statements that Phil Lesh and Friends as well as the Allman Brothers are to old to be considered jam bands. In my opinion, they're the masters of the jam.
Funky Meters Saturday, October 14: Funk Master class began with an early show by The Funky Meters at Irving Plaza. Brian Stoltz on guitar and Russell Batiste, Jr. on drums opened with a jam that called the venue to order. Art Neville, Jr. joined in on his Hammond B3 and George Porter played his bass while leading to the first lesson, "Groovy Lady". "Sing A Simple Song" and "Change Reform" got people into a groove shuffle that turned into a dance party with "Funkify Your Life". This was just the beginning of the accelerating rhythmic pulse that carried through "Fiyo On The Bayou" and a sweet guitar solo by Stoltz. Porter delivered the mid-term with his kicking bass line in "Voodoo Chile". Porter and Batiste kept the meter ticking with a delicious jam that segued into "Just Kissed My Baby". "Ain't No Use" signaled this class was almost over. Any remaining questions were answered in the first encore, their own, "Cissy Strut". As the Funky Meters showed how to put the "FUN" in funky, a lesser known regional band demonstrated another aspect of this type of jam music. Following this, Moon Boot Lover with Peter Prince opened for Oteil and the Peacemakers at the Lions Den. The best way to describe Moon Boot Lover's style is James Brown meets Led Zeppelin. Definitely a funk/soul/rock jam type band. Prince combined his unique stage persona with his ability to run wild guitar riffs for a high energy performance. John Hawe's on bass and Andy charging ahead on drums added power. The crowd's groove got so low-down the floor started to smolder. At one point a friendly, albeit shirtless, fan hopped on the edge of the stage to give Prince a salute. Thus far, the night's funk master class covered the basics as well as demonstrated a funk/rock variation. However, Oteil and the Peacemakers bought the night's class to graduation. Oteil opened with a quick scat and some warm up bass riffs. It wasn't long before Kebbie Williams joined with his alto sax. Oteil asked that people not smoke during the performance which was a good idea because the smoldering ash (left over from Moon Boot Lover) spontaneously combusted when Jason Crosby added his immense talent on keys. Oteil lead his band, but never dominated, into a synergized and balmy funk soul groove. Once the musicians were in their zone Oteil broke out and worked the bass line in such a way that it had enough jag for a jiggle yet bought all the sound together such that it sounded as smooth as the surface of a mirror. Fun, energy and soul is what this night of funk music was all about. Class was dismissed at 3:00am.
Yonder Mountain String Band The Yonder Mountain String Band is an assemblage of four extremely talented musicians. Jeff Austin plays a lightning-fast, wicked mandolin. Dave Johnston tears it up on the banjo. Acoustic guitarist Adam Aijala commands his instrument with a calm, yet authoritative, approach. Upright bassist Ben Kaufman lays down traditional bluegrass beats as well as funky rhythms like a well-trained magician performing a diverse set of tricks. Wednesday night, October 5, at the Metro Cafe in Washington, DC, the quartet gave everyone present a night to remember of amazing music. The venue is a tiny little room inside a corner building. There is a small bar, two bathrooms, a space for dancing, and then a miniscule stage. Only about 50 or 60 people were in attendance, so, despite the small size of the café, there was plenty of room to dance. The audience consisted of 30-plus year olds who were into traditional bluegrass, young adults in their mid-twenties who were into the jam band scene, and me, a 19-year old freshman at the University of Maryland, College Park (that's right, Terrapin Station!) who is into all forms of eclectic music, ranging from blues and rock to bluegrass and jam bands. Yonder Mountain came on around 9 p.m. and started with a crisply performed set of traditional bluegrass, dominated by short songs and not too many extended solos. The vocal harmony that occurred between each member was great. There was only one microphone on the stage for this part. This was a new musical experience for me and a not too usual one for the band. They told us that they only did it occasionally, and that this night was the perfect time, considering there was such an intimate atmosphere present. The first set ended after about 40 minutes, then they took a 40-minute break. During the set break, I chatted with banjo extraordinaire Dave Johnston. He said he started playing banjo when he was 20 years old, and has been playing for six years. He was a cool person to talk to; he was totally down-to-earth and didn't have any celebrity-complex. When the band came back on stage to play, no one was prepared for what ensued. There were now four microphones on stage and everyone plugged their instruments in. They started out with a long intro to their first song, which was led by sick banjo playing by Dave. Their next few songs were continuous segues. When they came back to Earth from their bluegrass jam excursion, they stopped and conversed with the crowd and each other. They then played Shady Grove. Next, they played several bluegrass covers, including one by a band in their hometown of Nederland, Colorado. They jammed for a mind-boggling amount of time. Their jams were tinged with bluegrass, rock, and funk. I danced my tail off all night during the second set. Dueling banjo and mandolin solos, coupled with occasional guitar solos and supported by Ben's varied bass beats kept the jams endlessly flowing and changing. Several tempos were played, several chord changes and keys were used, and many solos highlighted their jams. The best aspect of their jams was the alternation of solos between Jeff, Dave, and Adam. Neither member would play for too long. A highlight of the set was a funky bass solo by Ben that was accompanied by Jeff and his mandolin. Their jams seemed to never end and always felt like they were entering different realms of musical mastery. By 12:30, their equipment manager pointed to his watch, signaling there was only time for one more. They finished with a five-minute traditional bluegrass ditty. But, of course, the small crowd wanted more, so they came back out for not one, but two, encores. The first encore was a short bluegrass tune. For the second encore, they unplugged their instruments and walked up to the edge of the stage. Everyone gathered around the stage and listened to a beautifully played rendition of Pink Floyd's "Good Bye Blue Skies". It was the most intimate, close-up experience with a band playing its music I had ever enjoyed. I was so close I could have touched each musician. It was such a joy to watch each member's speedy fingers fly up and down the fret boards of their respective toys. After the show, the band hung out with those who stayed around at the venue. I got a chance to talk to Ben about how his interest in bluegrass started. He told me he grew up in Boston, so he really wasn't introduced to it until he moved to Colorado and met the other boys. The electric bass was his first real love and his favorite current musical genre is Celtic. He said he would love to play Celtic with the band, but bluegrass is fine. I then spoke with Dave again, briefly, and told him how much he rocked. I said the same to Adam as I was leaving. Jeff was at the bar conversing with other fans, so I didn't talk to him. All in all, this show was one of the best I have ever attended. I have been to over 40 shows, most of which have been by jam bands. So, if you're interested in trading for a tape of a great, exciting concert, check out YMSB, 10-5-00. If, after listening to the show, you don't get the urge to stop what you're doing and just dance in a crazy jumble of physical insanity, then turn it up. You won't be disappointed!!!
Emergent Evolution and The Dude of Life Listen up: St. Bernard’s is quickly becoming an A-1 venue for some classic shows. I’d never seen The Dude of Life before. I’d heard his first and new album (Under the Sound Umbrella) just a couple of times and had heard a few mixed reviews about his shows, so I had no idea what to expect. The Dude had played Muzikfest here in Bethlehem this past Summer and got the drunken Sloths up and partying (from what Waldo told me), so I figured it’d be pretty good, but I didn’t expect it to top the last Bernard’s show with the Emergent Evolution/Dakini two-band set-long jam of Cryptical Envelopment/The Other One/Rider tease/Neon Cross. But this is The Dude and Emergent Evolution we’re talking about here. First, it should be said that The Dude is an all-around cool guy. The doors to St. Bernard’s open an hour-and-a-half before the show, so there was ample time to chill, eat veggies, drink lagers and just hang with the Dude (who we all called by his first given name, Steve). No one wanted to push him into Phish stories, because we figured he’s gotta be sick of always being asked about it, but after a while he asked us if we’d seen any good shows lately or made the western leg of the fall tour…before you know it we’re all sharing Phish-tales. As should be easy to imagine, Steve had quite a time with Trey touring Vegas (even though they missed our local boys, Schmedley, at Legends). As a long Phish devotee, I must admit it was an energizing (dare I say fulfilling?) feeling to be face-to-face with the legendary Dude of Life as he shared his favorite Phish moments and relayed music-industry tips to Emergent Evolution—-the night was off to a great start. The guys in Emergent Evolution (also not knowing what to expect from the Dude’s performance) had decided to take their normally freaky show one or two notches higher; the Dude’s reputation precedes him, and EE came out ready for anything. Guitarist Hot Rod Todd was disguised as McDonald’s Hamburgler, guitarist Mark was—-I don’t even know—-some sort of camouflaged winged fairy with a star halo, drummer Andy was covered in number fives and sported pigtails, and keyboardist Jason wore nothing but spandex shorts, a flashing neon visor, and a purple cape. As they dressed back-stage, The Dude’s guitarist, Cliff joked: "Uh-oh, Steve—-you’re gonna have to come out with just a sock on your dick now." Emergent Evolution then tore through an all-original set with a Zappa Scooby-snack at the end-—as freakish as they looked, the set was more balls-out rock and roll than usual.
Set List: I thought EE sounded tighter than usual-—I was really impressed. Usually they have a more loosey-goosey jam feel, but they were nailing stuff left and right this night. They must have wanted to leave an impression with the Dude and the growing Bernard’s audience. And, as usual, when I gave them props afterwards, a couple guys humbly thanked me and the rest said, "Cool, dude, but I thought we were a lil’ off." Jason, especially, was a little down on himself, saying his Moog keyboard was on the fritz and he hadn’t played well. Musicians…go figure. v Among the highlights:
For me, the big highlight was a sick-tight first-time played "Magic Fingers" from Zappa’s 200 Motels soundtrack-—I didn’t know anybody else knew that song even existed let alone play it out live—that’s a big part of EE’s appeal: they reach for lost classics and obscure covers to play out live. After a rippin’ Hot Rod solo, Jason and Mark got themselves into character as a "Mother" and groupie, respectively, debating about having sex after the show. What made "Fingers" even cooler was the fact that this was the last gig for EE’s bass player Mike; Jason announced from stage that as a going away present the band had learned the song without him—-Mark turned to Mike and said, "funky, in A-minor," and Mike had no choice but to follow as they ripped into it. Speaking with the band back stage, Mike said he was moving on to a different career now that their debut CD is in the replication process—curious timing, I thought, but he’s just got different priorities. Hot Rod said this is only a minor setback, and they’d probably go through a few bassists before this chapter is through. EE’s middle name is adversity… The band then transformed into "regular" clothes (which could be argued if you saw their digs), and made way for the headliner: THE DUDE OF LIFE.
Set I:
Spotlight The show opened with guitarist, Cliff, and some girl he met backstage going out to play a duo on the piano (remember the song Tom Hanks’ character played on the big keyboard in the movie Big? That’s what they were playing). Rumor has it, it was EE’s drummer’s brother’s girlfriend’s friend. It seemed an appropriately bizarre start for what I imagined a Dude show to be. When the tease was done, the audience cheered and let out hoots and pirate-like "y’are"s-—an apparent inside joke that Waldo thought was borrowed from the Simpsons and I thought had Ween origins. With that the Dude and band hit the stage and busted into "Spotlight." As said, I was expecting to be surprised by the Dude, and I was. The whole band came out plain-clothed (The Dude in just jeans and dark plain t-shirt) instead of the craziness you usually hear about. It put an immediate professional air on the event as if The Dude was ready to make people take the night seriously-—the focus was gonna be on the music, and the band did not disappoint. For instance, two of the first set’s songs were debuts: "Secret Weapon" and "King of Nothing." I had heard the band humming the latter back stage before the show and I really liked it-—I’m not sure why, but I got a Zappa vibe from it (perhaps the lyrics) and it was great to bear witness as it made its way into the world. With two debuts from The Dude, I knew beyond a doubt that I was witnessing a very special night go down. I’ve also noticed that crowds at Bernard’s take a while to warm up (possibly due to the several tables around the room that get people comfy), and the first seven-or-so songs were greeted and praised with sincere applause but no tails were up and shaking—-it was the debut of "King of Nothing" that coaxed many of the listeners up onto their feet. You gotta get out to hear this new one—-they were both memorable and should definitely make appearances on the next album. The set was winding to a close with "Blumpkin" (which now had the dance floor a bit more groovin’) and there had been no appearances of Steve’s Phish songs. Again, with the straight-up rock, the debuts and the low-key garb, you could sense the focus on this current band’s strength and originals-—a welcome scene, even if it did surprise me. The Dude’s voice was strong and the band played everything really tight—-total pros. Those of you who think The Dude relies on his Phish roots are sorely mistaken—-he and his band have a rippin’ original sound. And then the vibe began to turn. The first set closed with a plump "Fluffhead." This was where it was evident that Steve has put together quite a band. I wasn’t foolish enough to expect some sort of Phish copy, and the original spin and spirit they jammed with on this classic was a tasty treat as they reached back in the archives to make this Phish song their very own. All the members worked off each other well and never stepped on each others toes. The jams were intense, inspirationally free-flowing and boldly drove the sound out to the edge, forcing the remaining seated to get up and dance—-the place was in full swing now. And there was more to come: remember that earlier in the night EE had been given the gift of a jar of Vaseline on stage—-well, in the spirit of that event, The Dude took the Fluffhead jam into a raucous version of STP’s "Vaseline." What a gift! The place was shaking, the intensity of this riff-rocker built and built and built until…FLUUUUFF-HEEEEEEAAAAAD!!!!" The Dude knew to go out on a high note and announced a set break to some extremely satisfied fans. Back stage, as we listened to everyone cheering and belting out "y’are," Steve smiled and said to EE, "You guys got a pretty rowdy crowd here." Sensing some opportunities in this rambunctious vibe, Steve switched up the second set order to tap into the high energy and people—-like myself—-whose expectations for the next set were now very high with that first-set closing gem.
Set II:
Sanity And the Dude provided. Someone up front—-possibly insane—-was SCREAMING for Sanity, and then there it was. Again, The Dude band put a fresh spirit into this song. I’ve seen Phish do it a couple of times (including at the huge Lemonwheel), but it never matched the intensity and INSANITY of what I saw here at St. Bernard’s. Loud and insane. It felt like the original spirit of the song was alive again. The show could have ended right then and I would have felt fulfilled. "Sanity" was followed by "Mark’s Song" which glided into a "Susie G." This again gave me the feeling of how important this line-up of guys is-—they’re becoming a working unit and The Dude is comfortable with stepping aside as they perform compositions of other band members. The "Sanity/Susie" kick-off was the beginning of an awesome set. It was clear that the first set was more mellow and focused on the compositions—and the second set was kick-out-the-jams and rock the roof down time. A great night was winding down. Ever since the set break cats had been y’are’ing for "Family Picture," and the crowd went absolutely wild when it finally came out…mmm…one of my flavorites. The best moment of the night, however, was next…I was backstage munching broccoli and wheat-crisps when the music and The Dude began to get extremely intense—I- had to sneak over and witness what was going on. There, beneath a glowing red light, in St. Bernard’s Roman Catholic Good Samaritans Beneficiary Club, The Dude’s body was contorted as he screamed "this place is Satan’s Sandbox!" Of course, he was referring to Earth in his song "Satan’s Sandbox," but it was an awesome, heavy, tongue-in-cheek moment. The Dude was whipping the crowd up to full fever pitch…and then "last call" was announced. Someone said, "you’ve got time for one more short one." So, of course, they launched into a sick-hot "Antelope" worthy of any stadium—-a solid finish to a solid night. I’m grateful Emergent Evolution brought The Dude back to Bethlehem for this awesome show. In conclusion, I had expected the Dude to be in crazy garb to put on a wild act, but he dressed straight and proved you don’t need to look nuts to get a room to act nuts. The night closed with fans giving see-ya-laters with smiles asking when the Dude played next in the area. For those of you who haven't purchased Under the Sound Umbrella, it’s time! And for you disbelievers who need a little push, many songs have members of Phish cutting licks and the rest feature his current hot band. Upcoming show dates:
The Electrix. 11/18 - Calico Jack's Roadhouse 3297 Long Beach Rd Oceanside NY 12/01 - Fuzzy's Pub 239-21 Braddock Av Bellerose NY 12/02 - O'Brien's Pub (10pm) 605 Willis Av Williston Pk NY 12/09 - Limestones 7319 5th Av Brooklyn NY Christmas Party with Buddy Cage 12/15 - Calico Jack's Roadhouse 3297 Long Beach Rd Oceanside NY
|
||