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

George W. Bush always used to call himself a uniter but it was Democratic nominee Barack Obama that served as the catalyst for The Allman Brothers Band and The Dead to join together for the Change Rocks fundraiser this past Monday at Penn State University. Although crossover potential was huge, the two jamband icons stayed on their respective sides of a reference-filled videotaped address from Obama (once elected, he reportedly "ain't wasting time no more") with the exception of Warren Haynes, who played full sets with both bands.

On a less political note, Bob Weir & Ratdog will team up with Phil Lesh & Friends at the Bill Graham Civic Auditorium in San Francisco, CA for a pair of shows on December 30 and December 31. Fellow San Franciscan and current Friend Jackie Greene will open both shows with his solo band. With a 2009 Phish reunion tour becoming more of a reality, hopes are also high for The Dead to truck around the country once more.

Labels: Allman Brothers Band, Bob Weir, Grateful Dead, Jackie Greene, Phil Lesh, Ratdog

San Francisco's Warfield Theater has played host to many storied moments in Grateful Dead history and Phil Lesh's recent five night run at the storied venue only added to the historic link between the venue and the band. For the first four nights, Lesh & Friends - Larry Campbell, Jackie Greene, Steve Molitz and John Molo - recreated the Grateful Dead's self-titled debut, Anthem Of The Sun, Aoxomoxoa, Live Dead, Workingman's Dead, American Beauty, Grateful Dead (Skullf**k) and Dead Set. As if the (practically) full-album sets weren't enough to whet the appetites of Deadheads everywhere, Bob Weir sat in for a healthy portion of the Dead/Anthem night and David Nelson joined the band for the Workingman's Dead/American Beauty evening.

Just when Lesh had everyone guessing which albums would be featured during the final night of the run, the bassist went off the board, abandoning the framework in favor of a 6 hour, 5 set marathon gig that featured a return appearance by Weir as well as Jeff Chimienti, Mark Karan and Steve Bluhm. If this doesn't get people excited about Lesh & Friends' upcoming summer tour then nothing will.

Labels: Grateful Dead, Phil Lesh

By: David Schultz

In their glory days, a multiple night run of Grateful Dead shows at Madison Square Garden used to change the landscape of New York City. Deadheads from all over would flock to the City in droves and throw a tie-dyed gloss over the entire area. The days of the Dead may be a thing of the past but the spirit lives on with Phil Lesh & Friends, who are currently in the middle of a ten night residency at Times Square’s Nokia Theater.

Hardly content to rest on his laurels as the Dead’s bassist, Lesh has become a classic rock Godfather of sorts, keeping the Dead’s sizable catalog vital by assembling first rate musicians to serve as his Friends. If fans come for a nostalgic trip with Uncle Phil through “Sugar Magnolia” and “Uncle John’s Band,” they are leaving with a new found awareness of the musicians guiding their way. In bringing Larry Campbell, Jackie Greene, Steve Molitz and John Molo together for this current tour, Lesh has put together a band that is the perfect mix of veteran musicianship and young blood.

The two week long residency has just passed its midway point. As Phil & Friends hit the homestretch of the New York run that will close out their seven week long U.S. tour, some short and possibly scattered thoughts and observations.

Larry Campbell has become a true caretaker of classic rock. In playing with Bob Dylan, Levon Helm as well as Lesh, the smooth-playing guitarist has been entrusted with a sizable share of treasured riffs and leads. He is also just as capable with the violin, pedal steel, mandolin and practically anything else with strings.

“Jackie Greene is just like a young Bob Dylan,” says Maggie Campbell with confidence. Larry’s mother knows her stuff; plus, she once accompanied Dylan to the Grammy Awards, so I’m going to give her opinion quite a bit of weight. Wearing a fedora style hat and playing with his guitar slightly askew, the 26-year-old consistently justified Mrs. Campbell’s belief in his unlimited potential. On Monday night, Greene simply made “Sugaree” his own, offering a staggeringly powerful first set closing version that left people awestruck at the young guitarist’s maturity.

The success of keeping Ryan Adams’ guest appearances a secret arose from the fact that hardly anyone knew he was coming until he arrived at the theater. Since jamming with Lesh on “Wharf Rat” at the 2005 Jammys, Lesh and Adams have formed a bit of mutual admiration society with Adams keeping “Wharf Rat” in his repertoire and Lesh often inserting an Adams song or two into his setlists. His inclusion provided some wonderfully improvised moments as well as a couple confused ones. To Adams’ credit, he ran through “Eyes Of The World” with Greene backstage only minutes before taking the stage and handling the song like he’d known it all his life.

On Friday night, Molitz was an iron man. After nearly four hours on stage at the Nokia, Molitz hustled a few blocks south to meet up with Particle for an after-hours gig at the Highline Ballroom. None the worse for wear, Molitz shifted gears and entered into full bore jamtronica mode and helped guide Josh Clark from Tea Leaf Green through his first full gig with Particle as they played well into the night. Originally believed to be a one-off gig, Particle announced that Clark would be joining them for the majority of their month long winter tour. Particle’s show also featured an appearance from Marty Ylitalo, New Monsoon’s former drummer. Fresh off his first appearance with the Blue Man Group, the newly bald drummer came onstage for a cover of Pink Floyd’s “Young Lust” and remained onstage sharing the drums with Darren Pujalet for the lengthy jam that ensued.

One thing that makes Phil & Friends shows so much fun is that Lesh doesn’t limit the set lists to Dead songs. Although Lesh cobbles his set lists primarily from the Grateful Dead catalog, he is quite expansive with them. Friday night included an electric version of “Midnight Rider,” an acoustic run through “Dead Flowers” and with Teresa Williams and Amy Helm providing the proper disembodied vocals, Pink Floyd’s “Eclipse.” On Monday, with Molitz and Greene providing a double keyboard assault, Campbell belted out a fantastic version of The Band’s “Chest Fever,” establishing that someone other than Richard Manuel and Robbie Robertson actually knows the words to the song.

For a bunch of thoughts on the first half of the Phil & Friends residency, Phil Lesh’s name seems undermentioned (as is John Molo’s, who deserves more than the casual mention I’ve given him). It’s emblematic of the fact that Lesh has surrounded himself with musicians who are every bit equal to the task of keeping up with one of the forefathers of improvisational rock and roll. Even though his name is above the ampersand, Lesh exhibits not one shred of ego, graciously allowing his star to provide light for his Friends to shine.

Labels: Jackie Greene, Larry Campbell, Live Reviews, Particle, Phil Lesh, Ryan Adams

Even Timothy Leary came to realize that his infamous catch phrase from the sixties might have been sending the wrong message. Leary later explained that "drop out" was not meant for people to "Get stoned and abandon all constructive activity." Today, some key love generation veterans are putting Leary's clarification into action.

HeadCount, a volunteer-run voter registration organization, is getting major help from the Grateful Dead's Bob Weir and this week had a presence at fellow Dead alum Phil Lesh's shows in NYC. The group registered nearly 50,000 voters in 2004 through alliances with Dave Matthews Band and other artists, and intends to register another 200,000 voters by staging voter registration drives at more than 500 concerts over the next year. Beyond the DMB, Weir and Lesh, the Allman Brothers Band, members of Phish and newer artists like O.A.R. are aligned with the movement.

“If we don’t protect democracy today, there won’t be a democracy to protect in a few years,” said former Grateful Dead guitarist Bob Weir, a member of HeadCount’s board of directors. “I think for the younger folks this is particularly important, because the decisions we make will largely affect the rest of their lives.”

Marc Brownstein, bass player for The Disco Biscuits, serves as HeadCount’s co-chair. “This was something we started as a dream, just a crazy idea that we believed we could pull off,” said Brownstein. “Now it’s almost four years later, and we are in it for the long-term. We hope HeadCount leaves a permanent imprint on the live music community, forever getting fans more engaged in the political system and democracy itself.” Timothy would be proud.

Labels: Allman Brothers Band, Bob Weir, Dave Matthews Band, Disco Biscuits, Phil Lesh

By: David Schultz

Trey Anastasio, Mike Gordon, Marco Benevento and Joe Russo Join Lesh For A Jamming Night On Long Island

While Deadheads worldwide prepare to honor the memory of Jerry Garcia on the 11th anniversary of his passing, Phil Lesh & Friends, the eponymously named band led by the Dead's bassist, and Ratdog, guitarist Bob Weir's longtime band, are doing more than simply keeping the Grateful Dead's legacy alive; they are adding a satisfying afterword to the band's storied career. Despite the lack of any significant new material since Garcia's death, both Lesh and Weir have proven to be consistently successful touring attractions by using the same simple, battle tested formula: play Grateful Dead songs for Grateful Dead fans. The old fans still turn out in droves but it's the new fans, most too young to have experienced the Dead in their prime, if at all, that are keeping this franchise afloat. This past week, both Lesh and Weir brought their respective "second acts" to New York: Phil & Friends playing an outdoor show on the Long Island Sound at the Nikon at Jones Beach Theater in Wantagh, New York; Weir bringing Ratdog to New York City's world-famous Radio City Music Hall.

Since gathering his friends around him, Lesh's Friends have included musicians of All-Star proportion, including such notable names as Steve Kimock, Warren Haynes, Derek Trucks, Trey Anastasio, Mike Gordon, Al Schnier and current Lesh fave Ryan Adams. His current group of Friends is comprised of musician's musicians: singer Joan Osborne, guitarist Larry Campbell, keyboardist Rob Barraco, pedal steel guitarist Barry Sless, drummer John Molo and saxophonist Greg Osby. Osborne may be Phil's most recognizable Friend, having had a moderately successful solo career highlighted by the 1995 radio success of "One Of Us." The versatile and multi-talented Campbell handles lead guitar duties, coming to the Dead bassist's side after spending much of the past decade touring with Bob Dylan. Campbell, one of the newer members of the band, joins longtime Friends Barraco, Sless and Molo. Veteran saxophonist Greg Osby rounds out Phil's latest batch of acquaintances, braving the often troublesome brass-unfriendly winds of Jones Beach. As Phish's Trey Anastasio and Mike Gordon and the Benevento/Russo Duo (unofficially referred to as G.R.A.B.) have been opening a good number of Phil & Friends' summer shows, Anastasio, a former Friend himself, has been regularly joining in the fun, usually replacing Sless during the second set. For their Jones Beach show, Anastasio did not disappoint: without fanfare, he returned for the second set to the unabashed delight of the crowd.

Even though his name is on the marquee, Lesh hardly conveys a sense of superiority or entitlement because the songs on the setlist are primarily Grateful Dead chestnuts. Instead, he disperses the leads of the various songs, smartly matching each Friend to the proper song: Barraco's voice perfectly suited the evening-opening "Playing In the Band" and the encore of "U.S. Blues;" Larry Campbell handled vocals and fronted the band on an extended run through "Big River" and Osby replaces the distinctive guitar runs of "China Cat Sunflower" with weighty saxophone licks. When not dancing sultrily along with the music, Osborne delivered bluesy vocals, standing out on a lengthy trip through "Stella Blue." Even Anastasio got into the act, his voice and guitar a perfect match for second set's opening couplet of "Scarlet Begonias" and "Fire On The Mountain."

In 2005, when Lesh co-hosted the Jammy Awards, he joined temperamental guitarist Ryan Adams for a sterling performance of "Wharf Rat" and "Bird Song." Since then, whether present or not, Lesh has incorporated an Adams song into most of his shows. On this temperate evening at Jones Beach, he included Adams' Cold Roses track "Let It Ride." In contrast to the crisp first set, Lesh & Friends' second set consisted of spacey, drawn-out instrumentals. The effect may not have been entirely intentional: too often, Lesh seemed to be singing without realizing that his voice wasn't making it to the audience. When Lesh's microphone did work, he struggled with the words to "Dark Star" and "The Other One," replacing the ones he forgot with a sheepish grin that brought laughter from the crowd.

Admirably, Lesh and Weir are doing more than just fostering interest in the continually thriving Deadhead scene: having inspired numerous other bands with their psychedelic improvisational live performances, the two are exposing their fans to bands and musicians that are carrying on the Grateful Dead tradition. While Lesh pairs up with Anastasio, Gordon and The Duo, String Cheese Incident, fronted by the bluegrass loving Bill Nershi, will receive equal billing with Weir's Ratdog. The cross-pollination of the Dead's older fans with Phish's and String Cheese's younger fans has resulted in exceptionally full and wide-ranging evenings of music. In contrast to String Cheese, G.R.A.B. comes with a more complex subplot. Similar to how Lesh and Weir have moved forward in the post-Dead universe, G.R.A.B. have been drawing interest as an intriguing chapter in the ever-developing post-Phish saga. This episode: how will the Phish duo interact with the Duo?

Their lengthy opening set at Jones Beach encompassed the balmy early evening, consisting of a nice mix of Anastasio's solo material, a couple Gordon compositions, a Benevento/Russo Duo tune (the gorgeous "Something For Rockets") and a pair of wonderfully eclectic covers. The sharing endemic to the jamband scene spread comprehensively throughout the foursome: Anastasio and Gordon's fame, experience and recognition providing the rub to the Duo; Benevento and Russo's freshness, youth and innovative energy spreading to the veteran musicians. At 5:00, while most of the audience obliviously tailgated or remained stuck in the Friday evening morass known as the Long Island Expressway, The Duo performed an all-too-brief opening set focusing primarily on material from their new album Play, Pause, Stop. Those who made it into the amphitheatre early quickly learned why Benevento, an inventive keyboard player, and Russo, a masterful drummer, have drawn the raves they have received, including the 2005 Jammy Award for New Groove Of The Year. Strutting their estimable stuff much earlier in the afternoon freed the Duo to fill less prominent but still significant supporting roles for Anastasio and Gordon.

Even though G.R.A.B. had a couple weeks together under their belt, they were still finding their comfort zone with each other. Benevento and Russo are adept at predicting what directions each will go in; obviously, so are Anastasio and Gordon. As a foursome, they seem to be in the final stages of finding a true comfort zone, resulting in some wandering instrumental interludes. On the opener, "Plasma," they engaged in some traditional jamming; offering more distinctly Phishy jamming later in the set on "Suskind Hotel" and "Dragonfly." The shrewdness of the group's decision to cover Wings' "Uncle Albert/Admiral Halsey," which segued nicely into Stealers Wheel's "Stuck In The Middle With You," wasn't matched by the actual performance; a trait shared by a number of Phish's covers (e.g. "Tubthumping," "Gettin' Jiggy Wit' It"). The reaction of the audience to the familiar tunes, especially Gerry Rafferty's Reservoir Dogs classic, indicated that they appreciated the effort. In closing with Anastasio's "Shine," G.R.A.B. finished on the highest of notes, even if the bespectacled singer's voice seemed to give out during the set closer.

Lesh & Friends, along with Ratdog, are continuing a legacy that began in the sixties, extending their reach to a newer generation of fans. Towards the end of Lesh's show, he guided the band into an old Dead set-closing standard, a percussion-heavy, thumping version of "Not Fade Away." The classic Buddy Holly song seemed sharply poignant: anyone boating on the Sound that night surely heard the honest and heartfelt exhortation of Deadheads, both young and old, joyously proclaiming a truth that has become self-evident over these many years: "No, our love will not fade away."

Labels: Benevento/Russo Duo, Bill Nershi, Bob Weir, Grateful Dead, Jerry Garcia, Joe Russo, Marco Benevento, Mike Gordon, Phil Lesh, Ratdog, Trey Anastasio

Phil Lesh's return to New York saw the appearance of Friends old and new and an apparent homage to a Friend who never showed. At the Beacon Theater leg of his New York stint, Warren Haynes and Trey Anastasio replaced Barry Sless on separate nights, joining Lesh, Rob Baracco, Larry Campbell, Jeff Sipe and Joan Osbourne to jam on Grateful Dead classics and assorted classic rock staples. Though rumored to sit in with Lesh, Ryan Adams only appeared in spirt with Lesh playing numerous Adams songs on his opening night.

After a night off, Lesh and Friends move down the road for a weekend run at the Hammerstein Ballroom.

Labels: Phil Lesh, Warren Haynes

Healing all hurt feelings after scheduling quirks resulted in New York being left off the late 2005 tour schedule, Phil Lesh & Friends have scheduled a mid-February eight show run in the Big Apple. Dubbing the New York mini-residency "Hell, I Still Love You, New York" Lesh will play five shows at the Beacon Theater (February 10-12, 14-15) before moving down the road for three shows at the Hammerstein Ballroom (February 17-19).

Although Friends may vary, Lesh has most recently been accompanied by singer Joan Osbourne and the ephemeral Ryan Adams. If eight nights of Dead-influenced rock and roll isn't enough for you, former band mate Bob Weir and Ratdog will be making their own stop in New York, taking over the Beacon Theater for a three night run of their own, April 6-8).

Tickets for the Lesh &; Friends shows go on sale Friday morning at 10:00 a.m.

Labels: Phil Lesh