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Posting Board Southeast Regional Report
Edited by Gil McLemore - southeast@jambands.comIn This Issue
The Dirty Dozen Brass Band The Tony Trishka Band Band Profile: 4:20 Gov't Mule John Shain Upcoming Shows
Dirty Dozen Brass Band
September 25, 1999 - Cat's Cradle, Chapel Hill, NCAn impromptu visit to the local club proved to be a truly memorable evening as Saturday night saw the Dirty Dozen roll into an unsuspecting Chapel Hill. Considered one of the most influential bands in modern jazz, this seven-piece ensemble took the Cradle by storm, transforming a motionless crowd into a bouncing gang of newfound converts.
Witnessing this 'standard' 2 set gig was anything but predictable as the band rollicked through their impromptu setlists with the kind of familiar ease that only 22 years of cohesive experience can bring. The boys from New Orleans bebopped and swung their eclectic style masterfully, fusing jump blues and folk in potent delivery. True musicians in every sense of the word, the evening's duration found each member performing with multiple instruments, exchanging lead solos alternatively, even taking turns at Efrem Towns' role as lead vocalist. As the dynamics of the performance revealed itself onstage, the band was in constant motion, each man in time with the music, at times more animated than others. Song transition was facilitated by one members propositioning hoot, another man's yell across stage, then a deceptively smooth segue that left goosebumps on one's neck. The band delivered a great version of 'All Over Now', a song covered during their supporting performances with Widespread Panic this past summer; these appearances during the summer months gave a new fan base extensive exposure to this remarkable group, and these fans made their approval known with a roar of delight as the band punched the tune home.
The crowd did indeed embrace the band as they finished out the performance with true showmanship, but the real treat came at the end of the second set - as the band had apparently ended the night without an encore, many already had emptied out into the night, but tapers and revelers found themselves minutes later in the midst of a raucous, apparently impromptu encore! Finally concluding with a humorous cover of 'Iko, Iko', the band delivered another brass blast of pep and funk that sent the lucky remnants of the crowd home with a smile... one hell of a show!
*Check out the band's new release on Mammoth Records, "Buck Jump", voted 'Best Jazz Album of the Year' by the CMJ*
** For any interested DAT or CDR collectors, to spread the good music and promote the band, copies of the show can be arranged on either media **
Keep it free - Gil McLemore - Editor
The Dirty Dozen Brass Band is:
Efrem Towns
Roger Lewis
Terence Higgins
Julius McKee
Richard Knox
Kevin Harris
Gregory Davis
The Tony Trishka Band
August 8, 1999 - The Town Pump Tavern, Black Mountain, NC[Editor's note: We decided to run this review from an August show due to some confusion on our part. It should have appeared last month. Sorry]
by Dave Wilson
Man, I love the mountains of western North Carolina! Where else can you go on a Sunday evening in the little town of Black Mountain and be treated to a great show by banjo extraordinare, Tony Trishka. I must admit, I almost backed out since it is a 30 minute drive from my house and I had to be at work at 8 the next morning, but I figured what the hell. How often will he be playing in my area, at a bar that can hold no more than 125 people, tops! Plus, after missing the Trishka/Fleck performances a few months back, I had to go!
The evening started by us walking into the Town Pump and practically running into Tony since he was standing there in the doorway. I wished him a good show and he very graciously shook my hand and said thank you. The atmosphere at the bar was pretty cool, except for the rowdies playing darts, talking about damn long-hairs as soon as we walked through the door. Then as I was trying to get a beer, I saw a sign behind the bar that said "Hippies use back door". I was getting kind of nervous about the place, until the 2nd bartender came from the cooler with a Tam on and hair down to his ass! I felt a little better then. He assured me that it was cool, and I proceeded to enjoy my beer. The band started playing around 9:45, which usually meant that the show would end a little early, which was cool since it was a Sunday Night. They continued to play for about an hour and then took a short set break. I figured this would be a good opportunity to ask Tony if he minded that I took a few pictures. He said no problem at all, but he couldn't guarantee they would look good in the pictures and thanked me for asking. I went and got my camera and then came back in to set everything up. They came back on after about a 15 minute break and played for another 45 minutes or so. I thought that was going to be it and then he told us that they were coming back for another set after a short break. Three sets in a bar that holds about 125 people! Who would have thunk it!
The band played an eclectic mix of just about every genre of music imaginable. All of the members came from different musical backgrounds which made for an interesting, but amazing show. I must say, I was going expecting to hear a bluegrass show, but that was not the case. The band consisted of (sorry, but I don't know their names) Tony on banjo, a guitar player who had definitely taken influences from southern rock bands, a bass player who could have fit well with some type of jazz-funk band, saxophonist/flautist, and a jazz-influenced drummer. They were all very talented musicians and mixed well together. They blended jazz with rock, funk, and hints of bluegrass. I was totally impressed with how tight these guys were and how much they enjoyed playing with each other. All of the guys were openly hanging out in the club talking about music and travels and how much they liked Black Mountain and the mountains of North Carolina. All in all, I would HIGHLY recommend this band to anyone who enjoys seeing an outstanding performance by an excellent band. Thanks Tony!!!
Until Next Time...
It's Always 4:20 in Orlando
by Elena Cipollone
Everyone has something. Something, week in and week out, that makes the day a little brighter, and your smile a little wider. Maybe it's "The Simpson's" at 6:30, or Ladies' Night on Wednesdays, or if you're one of the "heads" here in Orlando, Florida, maybe it's the local band 4:20. 4:20 essentially owns Sunday nights at a little place called Reilly's Lantern Pub, right across the street from Orlando 's Universal Studios. They have played nearly every Sunday there since early 1996.
"We all really think it's funny that 4:20 has actually been playing together for over four years now," states Tony Hume, founding guitar player and vocalist. "It didn't really sink in that has been that long until last April, when looking back through the book of collected set lists, I noticed that Easter 1999, was the fourth Easter show we've done there at Reilly's. [Bass thumping] Dan Goore, [former drummer] Rex, and I all got this 4:20 thing together to have a weekly gig where we could jam out for some friends, keep our chops up, and also make some spending money. We pretty much teased ourselves in the beginning and called every week a 'paid practice.' We would think up some fun songs to do, and then just debut them live in front of people. Sometimes it works, sometimes it just crashes and burns."
Either way you see it, it has been an ongoing, weekly Orlando event for four and a half years now, and throughout this entire time, it has remained free and clear of any cover charges whatsoever. So as a free event to come and hang out, it's become quite popular on Sunday nights to go see some kind brothers and sisters, and shake your groove thing for a few hours.
"I live to work on Sunday nights," claims Tammy Reilly, the bar's owner, "The Sunday night crowd is the kindest crowd that I have all week. Everybody is so mellow, and are here simply to have a good time. I see a lot of regulars come to see Tony and 4:20 play, and the best thing about that is that my customers are all here because of word of mouth."
After his band 'Sharing In The Groove' abruptly stopped playing together, Tony Hume started 4:20 as a way to play what he was into at the time, and still subsists on, the music of the Grateful Dead and Phish.
"Dan Goore had actually filled in on bass once with Sharing In The Groove for one of the very last shows I think we ever played," Tony says, "The next day, Dan called me back and said he really didn't want to play with us again and not conceitedly, it was well below the level he was used to playing at. So when Sharing In The Groove did call it quits, I thought it best to keep playing with people better than myself. When Dan called and asked if I wanted to maybe get a little weekly thing going with himself and former roommate, Rex, I jumped at the chance."
Dan spent some time up at the Berklee College of Music in Boston and is also an accomplished luthier. He moved down to Orlando from New Jersey with his band Bluesberry Jam. Right when Sharing In The Groove was beginning and ending all around the same time, Bluesberry Jam lost their female lead singer and their guitar player within a few months of each other, and had to call it quits as well. So 4:20, in the early stages, was a three-piece unit. About a year later, Carter Everett, lead guitar player of Refried Confusion (another great local Orlando band), started to come by and hang out with everyone, drinking many dark beers, sometimes bringing his gear out to sit in. Carter shared the same love for the Grateful Dead, and when he sat in, it just naturally clicked, and fattened the sound out. It had to be done, so 4:20 asked Tammy Reilly for a raise to incorporate Carter into the Sunday night fiesta as well - he's been in the mix ever since. This past May, Carter's ex-bandmate and drummer for Refried Confusion, Joe DeBottis, took over the drumming duties for 4:20 and since this past May, the band has seen growth in their own styles, improvisational skills, and song base (at least 20 new cover tunes to the repertoire).
"We actually have about 120 songs that we keep on our playlist, and hopefully try to rotate those tunes as much as possible," states Joe. "It seems that they never got a chance to practice before I started playing, and now, be it that everyone's a little more psyched about it, or maybe just the fact that we can find the time to get together, we're trying to learn some new songs that are not the ordinary, three chord wonders, or some old standard blues songs, but ones that take some time to get the parts down, like Phish's 'The Wedge', or 'Mike's Song.'"
Since Refried Confusion keeps a very busy schedule, and continues to play out of state as often as they can, there are other players who fill in for Carter and Joe. Pete Orenstein has pretty much been a permanent member of the band, taking sole keyboard duties since he moved back down from New Jersey to start Bluesberry Jam back up a couple of short years ago. Pete plays absolutely amazing Hammond B-3 licks, and the sound he adds fills out the overall 4:20 sound so much that it's almost fun to have Carter go out of town so Pete can fill in - and for those special times, when 4:20 gets to play other nights than Sundays, and other places than Reilly's, they usually bring Pete along anyway.
Taking the time to further investigate these new songs, this writer turned to the 4:20 web page (www.funkUs.com/420) and looked at all the setlists since Joe DeBottis joined the band, and I count 25 debuted songs. It also appears that more and more Phish is taking over the old Dead songs that have been around since the old days.
"I get asked all of the time, 'when ya gonna start playing originals?' 'Originals are where it's at man!' 'You won't make it doing covers forever'", quirks Tony. "I really see 4:20 as a live happening, sure we play only covers, but we have our own little thing inside every one of those tunes, and we can take it out to places that are completely our own. I enjoy playing the music of Phish, for one, 'cause to me that's the epitome of a live concert, that's the best live band I've ever seen and been a part of, and if I can take those songs that I love so much, and play them for people who love them just as much as I do, then I can make people dance and boogie and get into that 'show' mode of having fun, helping people catch enormously huge buzzes, and I'm 100% satisfied doing that."
Believers in the 'free music for everyone' mentality, 4:20 has recently started something new for all of their friends that come out on Sunday nights. Everyone is encouraged to put their name on a small piece of paper, and sometime in the second set Tony draws out a few names, with those winning names receiving one free tape of music. It's a raffle, it's a giveaway, and coming from 4:20, it's completely free. Sometimes it's live 4:20, or live Dead, or Phish, Dave Matthews, there's even been some Michael Ray, Bruce Hornsby, String Cheese Incident, and Keller Williams thrown into the mix.
"My buddy Pat had the idea that we could give away some free tapes, since he and I have huge live tape collections, and then it would make everyone get into our little hobby of tape collecting," says Tony. "Pat brought the first two tapes out to giveaway, and from then on random people at random times have brought out a tape or two to throw into the giveaway pile! It's been great giving away the music, and hopefully people dig it, and maybe bring out a tape or two for the next one. It's just another way that I can thank people for coming out and stirring up the needed energy for a good show."
This writer has been to a lot of 4:20 shows, and I can certainly add this point: energy can always be found within 4:20. When Reilly's fills up with all kinds of kindred souls, and it's starts to get hot and smoky, and people start to move around and get up from their seats, there is an energy that drives the music, pushing it to the next level. So just like any other 'jam band' that we might go see, we the crowd have the opportunity to be a part of that energy and personally raise the level with our reactions. 4:20 is the perfect example of this experiment with energy. It's within themselves, and it's within ourselves too - this is one of the main reasons that 4:20 has been performing for this long, and it's why the same people come back week after week.
www.funkUs.com/420 - e-mail: Orland0420@aol.com
Gov't Mule (with Dr. Dan, Jimmy Herring and John Scofield)
September 22, 1999 - Georgia Theater, Athens, GAby Rob Turner
There were a few good signs long before anybody took the stage at the Georgia Theater on this very special Wednesday. First of all, we didn't see a single cop after my buddy Brett and I escaped the dreadful Atlanta traffic and sped all of the way to Athens. Secondly, literally seconds after I had found a killer parking spot, there was Dave Schools, just truckin' in style along the avenue. He had a glow about him that hinted to me that he had as much anticipation for this night of music as I did. The third sign was on our way to the bar across from the Theater, when we took a peek inside as Brett had never been to this legendary venue. We immediately noticed that mingling among the roadies that were setting up the Mule shit was one Jimmy Herring. Jimmy is always a welcome addition to any musical event. So, the conversation was spirited at the bar, as an evening with the brilliant Warren Haynes exchanging licks with John Scofield AND Jimmy Herring (who has been greatly influenced by Scofield) seemed too good to be true. The final good sign, the juke box at the bar was loaded with Widespread Panic discs, and even had Government Mule's "Dose" CD, and the bar had a friendly and efficient staff on duty. I know that seeing Dave Schools walking around, or having a juke box with Panic discs is no big deal down here. However, I just moved down from Boston where Widespread is pathetically under-appreciated, and it felt nice to be in the Spread heartland.
It was at this bar that I met Julian Eldridge, who ultimately provided me with a stellar recording of this show. The three CDs he made for me of The Mule portion of this one time event greatly helped my review.
Chris Whitley opened the show with this set:
Long Way Around
Living With The Law
Clear Blue Sky
Phone Call From Leavenworth
Attitude
New Machine
I Forget You Everyday
Home Is Where You Get Across
Wild Country
Scrapyard LullabyeI first saw Chris Whitley when he opened for Bob Weir at a Buffalo Restoration benefit in a club in Richmond, Virginia back in 1992. I remember that he kept tapping his foot on this piece of wood that would move a little further away from him with every kick. He continually had to reach down and grab the wood and drag it back to where it should have been. He delivered a strong set even though his frustration was more than visible from our front row seat. He has ironed out this problem over the years, and he has turned into a gritty, fearless performer. He still performs solo, with his foot providing the only accompaniment. He slams that foot down with gusto as he tears through each song.
We were in the front row of the balcony tonight, and it was interesting watching the crowd react to the grinding rhythm of Whitley's set-opening "Long Way Around." Some almost ran off the floor to get away, while even more were lured from their conversations at the back of the room to better stage view spots. Whitley is not for the faint of heart, as he rips the crap out of songs, sponging the anguish from them and tossing it toward the crowd, leaving them to deal with it as they choose. I think he's an ideal opener for the Mule in this way, as he is blues-based and has the potential to be refreshingly course. His aggressive guitarwork complemented the lyrics of the song brilliantly. Whitley doesn't play traditional blues guitar solos, he prefers to offer creative, sharp-edged strumming. He often accents the spaces between the notes rather than the notes and chords he is playing. The deep red lighting fit the soulful lyrics of the introspective, "Living With The Law." This song actually received some radio airplay a few years back, so he gained the attention of a few more people. By the time he laid down a brilliant version of the John Lee Hookerish "Clear Blue Sky," it seemed like he had most of the crowd, as the din of chatting subsided. Each verse of this song seemed to build on the last thematically and energetically, providing those who were listening with a nice lil' aural journey.
He delivered "Phone Call From Leavenworth" with considerable passion. His vocals were strong, and he was able to deliver them while playing a killer choppy rhythm at the same time. Those of us who are not musicians need to be reminded that this is very difficult to do. Eric Clapton has said that he can't even play the famous "Layla" riff and sings at the same time anymore. Whitley has outstanding acumen as a performer, and the bluesy dissonance of the "Attitude" that followed is certain proof of this. Sadly, he seemed to start to lose the crowd here. Even my music-loving travel partner was distracted, as he started making phone calls on his cell phone during this song. I thought Whitley had a very wild guitar sound on "New Machine," and somebody pointed out to me that for this song he was running his guitar through the Leslie that was set up for the Mule's set. The pleasant growl of his lead vocal was perfect for the seemingly in denial character that is the heart of "I Forget You Everyday." He won most of the crowd back with a lively version of, "Home Is Where You Get Across" which he performed with Les Claypool and Rob Wasserman's on Wasserman's amazing "Trios" release. Whitley slammed an exclamation point on this song with a funky rhythmic jam that elicited some hoots and howls from the Athens patrons. "Wild Country" reminded me of some of Mike Ness' recent work. It seemed to somehow gain edge from a comparatively relaxed vocal approach. He closed his set with "Scrapyard Lullabye," which found Whitley quipping about it being a jug band style song, "although we just need a jug."
Gov't Mule's setlist:
Thorazine Shuffle
Bad Little Doggie
Lay Your Burden Down
Low Spark of High Heeled Boys
Soulshine
Lonely Place (or "Falling Down")
Freeway Jam
Hottentott
Kind Of A Bird
Pass The Peas
Tom Thumb
Spanish Moon
Devil Likes It Slow
Afro BlueIn an era where many bands make an effort to ignore what fans have to say to them while onstage, it is refreshing that Alan Woody, the bassist for one of the hottest bands in the country, responded to a fan by saying, "I feel pretty good man, how 'bout you?" The band's tuning started to wind down, Matt Abts' loosening up on the drums settled into a familiar beat.....could it be.....Woody lays down that heavy bass line.....it is...."Thorazine Shuffle." This wasn't the most balls to the wall version you can find of this song, but lead guitarist Warren Haynes sticking in some catchy little Garcia-esque chordal riffs under Abts frantic drumming at one point was a nice twist. It was, to me, also a reminder that he was about to head out to rehearse with Phil Lesh for this November's highly anticipated tour, which will hopefully find Warren guesting with Phil's co-headliner and new Dharma and Greg star, Bob Dylan. Anyway, Matt Abts made this version of "Thorazine" with his powerful lead drum work on the last instrumental break, as Haynes and Woody backed him up with a low end gentle grind.
"Bad Little Doggie" from Gov't Mule's forthcoming disc ensued. I feel this number will garner The Mule more FM airplay than they have ever enjoyed in the past. It is like a cross between Joe Walsh and the 461 Ocean Boulevard era Eric Clapton sound. The opening riff is perfect for radio, and if your hips don't start moving when they launch into this one, then you better start taking your pills again! Haynes seemed much more fired up to perform this one than "Thorazine," as he attacked the first short guitar break with Warren-style vengeance. They're keeping this one short for now, and when they wrapped it up, Woody guided the band into "Lay Your Burden Down." The band performs these two together so much, I can't help but think they are companion pieces. Perhaps when Warren sings of the "devil in your eyes" in "Little Doggie," this is the burden that should be laid down in "Lay Your Burden Down." "Burden" sounds like it could have been written a long time ago, but hard core Mule fans assure me it is a new composition. Apparently another example of the timeless quality of The Mule's original material. One thing is for sure, it too will be on the Mule's next disc. This version found Woody adding a little more bounce to it than he did in the two versions I caught last summer. It also exemplified one of the beauties of this band. Although Abts and Woody are each amazing at their instruments, they are also able to lay down a simple backbeat while Haynes unleashes his unbridled guitar alchemy on the attentive audience (similar to Haynes and Woody providing backdrop for Abts muscle at the end of "Thorazine"). The jams in this song could be longer, but like "Bad Little Doggie," it's new, and they each will probably blossom in time.
Warren then introduced the first of three guests that would augment The Mule on this special evening. Dan Matrazzo, who is known as "Dr. Dan" (rumor has it he was given this nickname by Colonel Bruce Hampton) to many, lent his keyboard mastery to the proceedings. I had seen him a few times with the Fiji Mariners, and even once as a guest with one of Atlanta's bands on the rise, Ancient Harmony. I was wondering how he would blend with The Mule, and after he offered a somewhat soft-pedaled approach to "Low Spark Of High-Heeled Boys" (possibly even a first-timer for The Mule) I was even concerned. These concerns were dashed as he played a sweet introduction to what became one of the strongest versions of "Soulshine" that I've ever seen. Dr. Dan brought new life to this Haynes composition that is as familiar to Allman Brothers fans as it is to Mulers. Another Mule newbie followed, the somewhat Bad Company-inspired "Lonely Place" (or "Falling Down"). Dan's sweet electric piano was the backbone of this tune, and he had clearly settled into the band at this point. Then Haynes brought out Jimmy Herring and Herring wasted no time playing off of Dr. Dan's creative electric piano as the band eased into Jeff Beck's "Freeway Jam." Herring and Haynes displayed that they complement each other's styles perfectly, each exchanging flourishes or painfully held notes with frightful ease. Dr. Dan was all over this, and it was the first of what would be a few times where his playing reminded me of the great Chick Corea. The band explored the song beautifully, at one point Herring seemed to be tributing Scofield in his playing, appropriate to the musical madness that lay ahead. The guitarist led them into a deep space jam toward the end that elegantly meandered away from the structure of the song and into the stratosphere. The band even flirted with The Grateful Dead's "The Other One" for a few riffs. Just when the crowd thought the song was going to end, Herring and Haynes began exchanging flurries of notes that built to wild zones in a way that would have made Ornette Coleman smile. This was a considerably more exploratory version of the song than could've been expected from Mr. Beck himself.
Then Jimmy departed the stage and Warren said, "startime" a couple of times, and as expected, he then introduced the legendary John Scofield. Scofield hugged both Herring and Haynes as he took his position between Haynes and Woody. The band was visibly pumped about playing with John, an outstanding player who has played with Chet Baker, Miles Davis, and many others widely considered to be in the jazz elite. Haynes revealed to the crowd that it was Scofield's first time in Athens, and he encouraged them to, "show him what the Bulldogs mean!" The band leapt into Scofield's "Hottentot" from the instant classic 1997 Scofield/MMW release "A Go-Go." Dr. Dan wasted no time letting people know he fit in as he dashed off a stellar electric piano solo in wizard-like fashion which was followed by a long Scofield solo. John's solo swayed from quirky blasts of notes to wild explorations of various sounds and many stunning flurries. Herring could be seen watching from the wings with a broad grin that refused to leave his face. Haynes stepped up with a powerful solo that veered liberally toward jazzy spaces in honor of Scofield's presence. "Kind of Bird" followed, and it has come a long way since it was part of the Allman Brothers Band's repertoir in the early 90s. While Scofield was ripping another inspiring solo, the band even hinted at "Elizabeth Reed" behind him, and the jam erupted into Coltrane-like insanity. Scofield seemed to click with Warren particularly hard on this one, and the band comfortably improvised their way to a Santana style stop/start section. Warren led them out of dead stops with robust, but measured notes coercing the band to musical washes that pummeled the crowd with waves of energy before twice settling back to stops only to swirl into mystical reaches again.
Scofield regaled the crowd with some incisive guitarwork on "Tom Thumb" a Wayne Shorter composition that Scofield covered on his 1974 "Best of John Scofield" release. The song closed with Warren and John courting each other musically and then coming together in strong fashion playing a section of the melody in unison. The set closed with an absolutely amazing version of Little Feat's "Spanish Moon." Warren's playing on this was simply breathtaking, and they explored this song to its fullest extent. Scofield revealed his rocker roots displaying that not only was he familiar with this song, but he had some musical tricks up his sleeve that fit in as well. Finally, Alan Woody was given a chance get in front of the blissful mania as he delivered a punchy bass solo. The crowd roared such thunderous approval, I thought in the back of my mind that the ol' Theater would come tumbling down.
It was well past two and time for some encores. Ever since Gov't Mule released "With A Little Help From Our Friends" I have thought that Jimmy Herring's guitar playing as a guest on "Devil Likes It Slow" was reminiscent of John Scofield. So, it was only fitting that when Herring returned to the stage for the encore, he was given the opportunity to play "Devil Likes It Slow" with Scofield himself. Although Herring and Scofield have jammed together before, their mutual awe was enough to tickle me pink. The result was a extraordinary display of guitar prowess as these three guitarist each unloaded some absolutely stunning leads that had many in the audience transfixed on the stage. Unruffled by the guitar overload, Dr. Dan found a sound that was downright dreamy and he psychedelicized the song with a luscious, flowing solo. By the end of his solo, the band was easing into a bit of a "Good Mornin' Little Schoolgirl" feel. This set the stage for a guitar solo that was exemplary of why Warren Haynes is one of the most compelling performers in music today. He tickled his guitar with such finesse that even Scofield himself seemed overwhelmed. Scofield's jaw dropped over some of Mr. Herring's guitar technique during this encore as well. After they wrapped this one up, Abts and Woody gently began a prelude that oh so gradually built to John Coltrane's "Afro Blue." This was an epic end to a memorable evening as the air became thick with rapture, and many eyes grew wide with delight. The exploration on this number was so stunning, it was clearly one of the best twenty plus minutes of my year. Scofield seemed genuinely overjoyed, and even though the club turned on the house lights before they even returned to the melody for the last time nothing seemed rushed at all.....perhaps to the dismay of the powers that be at Georgia Theater. After the band had slammed down the last chord, the crowd obliged with the club's pleas for a quick exit, as most understood that the band had been given a bunch of extra time. This was an absolutely spectacular show that words can't quite describe, but you must capture this one on tape if you are a fan of any of these musicians. Warren Haynes should be saluted for his ability to deliver the aggressiveness that his fans expect, and his ability to show John Scofield the proper respect he deserves. This was one simply amazing, unforgettable show!
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