By: David Schultz

Former Grateful Dead bassist Phil Lesh participated in one of the election season’s hipper Democratic fundraisers when he rejoined Bob Weir and the other surviving members of his old band to support Barack Obama’s Presidential bid. Given Lesh’s staunch support of Obama, it’s slightly ironic that the Deadheads that populate Phil & Friends shows might have strongly identified with the subtext of the propaganda spouted by Sarah Palin with respect to the so-called elitist liberal media. For the brief period of time that the Republican Vice Presidential candidate was allowed to speak freely, Palin tried to curry favor by identifying with a segment of the population she perceived as unrepresented by the press and tired of being talked down to by a news force that acted like they knew more about the country’s core ideals than those who live in America’s heartland. Little did Palin know that the Deadheads of the world understood her rhetoric probably better than she did.

For decades, Deadheads have endured the backhanded praise extended by most critics towards their beloved band: acknowledgement of the Dead’s longevity paired with bewildered observations as to why their music would attract such loyalty; a plaudit to the fans’ devotion coupled with a gibe as to their cleanliness and the customary dig that in order to truly enjoy the Dead’s music, you would need to repudiate a drug-free status. Such oratory has never bothered the Dead faithful: in fact, their thoughts on the elite musical press that have disrespected and mocked the Grateful Dead eerily echo those of Palin for “rags” like the New York Times and Washington Post.

The disdain reserved for the Dead is odd given the reverence those same pundits have for the musical genres featured prominently in their music. Journalists rarely have anything bad to say about Americana musical styles like folk, blues and country, among the more populist forms of music, yet, they never seem to take to it when it’s being performed by Jerry Garcia or Bob Weir. Doing his part to flip the proverbial finger at those who can’t see the forest for the trees, Phil Lesh and his exemplary band comprised of Larry Campbell, Jackie Greene, Steve Molitz and John Molo, returned to the New York City’s Nokia Theater in Times Square, the site of their wildly successful 2007 residency, for a fourteen night run, affectionately dubbed the Phil-A-Thon.

Lesh does more than get by with a little help from his Friends. Even though Jackie Greene joined Lesh, Larry Campbell, Steve Molitz and John Molo just a little more than a year ago, this incarnation of Phil & Friends plays as if they’ve been together for decades. During last year’s residency, this lineup was just starting to gel: Greene having just come into the fold and Molitz just starting to find his niche. For this year’s run, Phil & Friends are a supremely confident unit, taking fine advantage of Greene’s versatile ability to handle vocals so intimately associated with both Garcia and Weir to give new life to songs like “Jack Straw,” “Samson & Delilah” and “New Speedway Boogie.”

Lesh remains one of the finest bassists to ever pick up the instrument and it’s possible to get lost in just watching what he’s doing with each song. Very rarely will you catch Lesh picking a simple bass line; more often, he’s crafting an intricate pattern that weaves gingerly between the rejoinder of Campbell and Greene’s guitar work. For many of this year’s shows, former Friend Barry Sless sat in, bringing a third experienced guitar to the mix as well as the fine twang of the pedal steel. With Sless there to handle the second guitar role, Campbell had many opportunities to show why he’s called the “Master of Strings,” expertly playing a variety of instruments to add different textures and a sense of Americana authenticity. Whether soloing on a variety of instruments or engaging in a challenging give-and-take across the stage with Greene, Campbell remains a wonder on stage. Ageless, he provides sweet harmony with his mandolin and bouzouki but can also coax ferocious solos from the traditionally peaceful instruments. It’s a role he fills not just with Lesh but with Levon Helm as part of The Band drummer’s Midnight Rambles.

Physical resemblance to Dylan notwithstanding, Greene shies away from playing up the easy comparisons to the storied singer. He’s doesn’t shy away from them though: much of his wardrobe, with the exception of a wool Rasta-styled hat, looks like it came straight out of the transcendent folk-singer section of the vintage clothing catalog. Along with Molitz, Greene brings a youthful energy to the band as well as some solid songs from his own catalog. On an early show of the residency, Greene’s “About Cell Block #9” and “Like A Ball & Chain” not only fit in nicely with the classic rock based set, they were definite highlights.

A master of jamtronica, Particle’s Molitz has found his niche within the band, vaulting into the breach with confidence and bringing his technical wizardry to some of the more traditional Dead songs. He’s even lending vocals. Anyone thinking that Lesh & Friends aren’t able to keep up with the young guns only need listen to their rendition of Particle’s “The Elevator.” Molo, who deftly handles all the various tempos Lesh guides the band through, rips through the high-paced beat and Campbell adds a slight bolero feel to the song’s techno beat.

For the last night of the Phil-A-Thon, Lesh seemed in high spirits, an extra bounce in his step. After a wildly upbeat first set that included an opening version of “Terrapin Station,” a wild version of “The Elevator” and a wonderfully moving “Morning Dew,” the second set was a decidedly subdued affair. Lesh handled an exceedingly substantial part of the vocals during a stretch that included “Dark Star,” “Mountains Of The Moon” and “Unbroken Chain.” In contrast, Teresa Williams, who along with Sless earned “sixth Friend” status during the residency, wowed the crowd with an astounding take on “Gimme Shelter.” Normally providing the higher notes on sweet harmonies with Greene or Lesh, Williams stepped to the front with a rock star turn on the Stones’ classic, enlivening the crowd and earning the wildly appreciative reaction she received when she quietly walked off behind the stage.

Other than The New York Times favorable take on the Phil & Friends residency, most of the major media pretty much ignored the festive goings-on at the Nokia, probably spending quality time over at Terminal 5 to lavish praise on The Hold Steady and Conor Oberst. Regardless of whether the “elite” music press wishes to acknowledge the resurgence of the Phil & Friends lineup or take note of strong sense of community that still brings people to multiple shows, the Deadheads probably won’t take notice, or care for that matter. They will be on high alert though when word of the 2009 residency gets out.

Labels: Jackie Greene, Larry Campbell, Particle, Phil Lesh