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Southwest Regional Report

Edited by Chris Garner

Local Flavor: Einstein Electric - Jerry Garcia Tribute
August 1, 1998
by Casey Wilhm - cwilhm@gte.net

From deep within the Land of Oz jams the band that wears the crimson slippers: Einstein Electric. This twister boasts five mean musicians who constantly expand the realms of rock, funk, jazz, and blues. Although hidden in the rolling plains of Kansas, the storm has been raging for almost five years. Brian Baggett provides the gusts on lead guitar and vocals; Ben Lambertus rumbles on bass guitar and vocals; Ben Singer brings the rain on keyboards and vocals; Drew Perkins hails on percussion and vocals; and Matt Miner twists the winds on drums and vocals.

Of all of the shows Einstein Electric plays, none showcases the band talent like their Jerry Garcia Tribute held on August 1st and this year was no exception. In 1997, the band dedicated their second set to one of their biggest influences. This year Einstein Electric surprised the crowd by starting the show with an intense China->Rider, showcasing Brian on lead vocals and boasting a five-part harmony on the chorus of I Know You Rider. Of the songs that could have possibly followed up this dynamic curtain raiser, probably the farthest from everyone minds was King Solomon Marbles that ensued. As Drew and Matt built up the anticipation by pounded out the song distinct rhythm, the crowd erupted when Brian, Ben, and Ben finally joined in. This version truly shook the breath from the audience. As the last notes filtered through the club, Brian, Ben, and Ben bowed and yielded the stage for an intense rendition of Drums delivered by Drew and Matt. When the three B retook the stage, the funky beat of Shakedown Street brought the boogie-woogie to the floor with Drew and Ben exchanging vocals on this very convincing set closer. Before they left the stage, the members of Einstein Electric gave thanks to the audience and to Mr. Jerry Garcia, who inspired so many individuals, including these five musicians. Hopefully, August 1st will remain an Einstein Electric tradition in the years to come.

Not to lose any momentum, after a short break the band launched into their second set. No matter how many shows are seen, Einstein Electric always manages to invent new bounds in Round Two. This show was certainly no exception. The band presented classics played in stellar form. The second set was launched into with Virgil Song. Historically performed after the animated Paraiso Verano, tonight the story of Virgil, a clouded man torn by love and lust in "a town that has no name", stood strongly on its own. The band continued down the winding brick road with an equally impressive Take the Vader. A rather new song in the band repertoire, Vader already shows an amazing maturity. Only several months ago did the band add a verse of vocals sung in a round containing the cryptic lines such as "ride in winds that gather stones made endless higher". The traditional crowd-pleaser, Enter the Moon brought all of the ladies to the dance floor. It is easy to become addicted to this beautiful ballad that tells of a trip taken to the moon "to watch the world spin around". There is no show like an Einstein Electric show with the instrumental mind-eraser, Cosmic Imperative. Tonight, the song clocked in at over 20 minutes. The musicians led the crowd through a barrage of virtual landmines and explosions. With every passing minute the song intensity and complexity rose and rose, driving some of the more chemically induced to the edge of stability.

Still, one of Einstein Electric best qualities is their ability to take a person to the breaking point and then skillfully ease them back into reality. Tonight, the suppressant was Sound Travels. The band broke this song out around the same time as Take the Vader. It features the two Ben on lead vocals and Matt and Drew on backing vocals. This deceptively light-hearted song recounts the tale of a person "lost in a dream." Only Esta Delirando, which followed with its amazingly passive intro, could completely soothe the tangled wit. This instrumental song begins with imageries of vivid desert skies and rolling hillsides before changing directions. Halfway through, the song jumps into a real western boot-stomper, climaxing with a raucous bandito yell from the band. Leroy, another classic instrumental that focuses upon a bass solo gratefully provided by Ben Lambertus. This song displays the band "fondness for the Funk." During Leroy, many in the audience heard the distinctive Allman Brothersclassic: Mountain Jam. Although the band does occasionally break out an immaculately played, Jessica, never have they been known to play Mountain Jam. Still, Einstein Electric audience would unquestionably accept the song with wide-open arms. Surprisingly, And with that strong statement the band said their adieus while the audience discovered the time had somehow slipped through thecracks.

Even with all of the commotion from the crowd, the lights were turned on and the bar-goers were asked by the management to leave without an EE encore. Still, no one left without a smile; the band played two very impressive sets and showed every member of the crowd how important Jerry Garcia is to them.

For those who have yet to hear Einstein Electric play live, feel free to check out their Website at www.e-e.org. There are taper friends of the band who would be more than willing to spin tapes for any and all who are interested. The Band mostly plays originals, but they are known to cover songs by such artists as Phish, Jimi Hendrix, Stevie Ray Vaughn, Led Zeppelin, John McLaughlin, and of course, the Grateful Dead and Allman Brothers. This is one band that really leaves you wondering, not whether youe in Kansas, but whether youe truly on the planet anymore.

With bales of straw stacked upon the stage and hula-hooping scarecrows hanging from the rafters, Peter Rowan walked on to the Boulder Theater stage. The crowd treated Rowan like a no-name opening act, chattering loudly, even at his feet. Rowan played for around an hour before he brought on "The String Cheese Boys" for an all acoustic mini-set, including Keith on an acoustic bass guitar and Kyle on a Steinway baby grand piano. Rowan looked down and said, "They're all wearing shoes. I'm so proud." As the set progressed, the chattery crowd continued to be rude to Rowan. He requested the crowd quiet down several times. Rowan triumphed when he and String Cheese rolled into "I Know You Rider." The crowd quieted and got into the spirit of the evening. The combined mini-set included "Cold Rain and Snow" and "Panama Red". String Cheese began their first set with "Round the Wheel" with a little help from Billy's daughter, Ariana, spinning the vibe on her hoop. Four songs later Rowan returned to spin the tale of Bill Monroe teaching him "Walls of Time" while broken-down on the side of the road. Bill Monroe may not have conceived of his song as a reggae piece, but Rowan and String Cheese did. A mystery guest joined everyone for "Wake Me in the New World." A banjoist wandered out for a part of the song, left before the end, and was never introduced. String Cheese closed with a "Texas" so huge they might need to rename it "Alaska". Set two opened with an epic journey to "Land's End" into "Restless Wind." To close the set, Sting Cheese was joined by Rowan and Tony Furtado, who came in after finishing a show in Denver, for "Johnny Cash". Rowan spun the tales like a master to begin the encore, "Free Mexican Air Force". Light designer Nico was able to play with three new trippy toys. Batik artist Austin Shaw delivered a 15-foot circular tapestry based on Michael Everett's cover art from "Round the Wheel." Flanking either side of the stage were two ovals done by Tie-Dye Paul. Austin's tapestry glowed like a full moon under the blacklights. Paul's eggs pulsed and mutated as Nico painted the intelligent lights over the stage, ceiling, walls and crowd. A beautiful venue, beautiful artwork and beautiful music. Who could ask for more?

I was ready. It was my first time to see the Dawg, but I was ready. I knew that Dawg music was musical gumbo spiced with main ingredients like jazz, bluegrass, folk, and kelzmer with a Latin touch. I knew that Argentinean Enrique Coria was a wizard on the classical guitar. I knew that Matt Eackle was dragging his flute through uncharted musical regions. I knew that Jim Kerwin could walk, jive, and swing with the best of them on the upright. I knew that Joe Craven could do most anything in the world, and everyone knows what Grisman can do. I counted down the days for three weeks with growing impatience.

There is a sold out Lenny Kravitz show next door, and parking is tricky to say the least. I walk in late, zip to my spot, and gawk. I wasn ready. I wasn ready at all! The Quintet is barreling through a blistering version of "Milestones". Grisman is dizzying - swirling, spiraling, soaring, screaming, whispering, dipping, diving, dodging, pleading, covering more ground on an acoustic mandolin than most effects laden guitarists could dream of. Eackle flute is a brilliant complement. His lines flow with watery ease, winding beneath Grisman trills and fills like a stream, blending seamlessly in what would be an awkward counterpoint in less capable hands. The two guide this tune in directions that make Miles smile, wherever be may be.

After half a song, I am ready to proclaim this the greatest show of my life (I have a tendency to lose myself in the moment and wander toward the land of Hyperbole. I working on it.), and the tricks have not even started. They dance through the Grisman penned "Pneumonia" and the bluegrass tinted "Cedar Hill" which highlight the seemingly endless talent of Joe Craven. I have always been a sucker for multi-instrumentalists, but I have never seen a player who is so adept on such disparate instruments. His conga work is both smooth and driving, both rhythmic and musical. His mandolin work, even next to the master, is impressive, but, of course, he is really a fiddle player. His fiddle work on "Cedar Hill" leaves me slack-jawed. I find myself, at various times throughout the show, looking for the high-hat. It is nowhere on stage, but it is most certainly in the air. It isn until Craven steps away from his instruments and begins his convulsive body slapping and countrified scat/beatbox antics that the riddle reveals itself. The man recognizes no boundaries. He just won accept that no one is supposed to be that good at everything.

The set closes, and the chatter begins. The audience, which ranges from 18 to 63, from banker to head, was electric. We move back by the soundboard for the second set to afford us a view of Jim Kerwin and Enrique Coria, who were previously hidden behind Eackle, and settle in.

Kerwin and Coria, as I expected by this point, are stunning. Kerwin rumbles beneath the music, alternating between slap bass and bow, and Coria flies up and down the neck of his various guitars. It is not until the closer that we truly saw what Coria could do. The others fade into the shadows in back of the stage, and he opens "Bag Groove" alone. My words fail me here, but suffice it to say that this is one of the true highlights of the show. The band joins in after a few minutes and takes the show to a new level. While they had patiently taken turns in elaborating themes for most of the set, "Bag Groove" is a jam in true form as they playoff of each other, leading the jam down alleys and then abruptly whipping around blind corners in unison.

As the crowd percolates in impatient anticipation of the encore, Craven steps on stage in a baseball hat and begins addressing the crowd. He introduces the "SmokinGrass Boys" one by one. Each member takes the stage in turn with new names, hats, and jackets as Craven prepares us for some "real bluegrass". They work through three songs in traditional bluegrass style before they begin a jam that winds through woods, beside rivers, and over hills before emerging into a smoldering "Shady Grove" that ends the evening.

I had unreasonable expectations for this show going in, and they exceeded them on all counts. My over-zealous "best show since the War of 1812" proclamations have mellowed slightly with distance, but I do not recall a time when I have found myself in a room with so manywizards.