Guitarist Marcus Rezak has teamed up with members of Trey Anastasio Band for his latest EP, Truth in Sound. Approaching the album with a songwriter and story-telling mindset, Rezak wrote, recorded, and produced Truth in Sound over the course of 2020, in the hopes of creating an album that has the power to heal through both music and lyric, hence, Truth in Sound.
After a Shred is Dead show at Nectar’s in November 2019, Rezak discovered a newfound musical chemistry with Russ Lawton that needed to escalate beyond the one-off performance. Rezak invited Lawton and his TAB colleagues to record new material that he had been writing, and they enthusiastically obliged.
I first met the Trey Band guys at a Shred is Dead show I played in Burlington and was thrilled that they enthusiastically obliged my invitation to be a part of this record. It was a very natural feeling coming together and playing in the studio, almost as if we had been playing together for years. All the guys are unique in their style when together which creates a one-of-a-kind synergy, plus they are super warm and kind humans.
Marcus Rezak
Truth in Sound was recorded at Tank Recording Studio in Burlington, VT and engineered by studio owner/operator Ben Collette, who has served as an audio engineer for Trey Anastasio and Phish since 2004. The band took the energy sparked by the initial Shred is Dead performance and transferred it into four tracks with Rezak’s preparation and eloquent compositions. All of the guitar tracks and mixing were done by Joe Hettinga of Third Coast Recording Company.
While the album displays the same fierce jams and guitar shredding that his debut Gateway to the Galaxy emitted into the universe, Rezak’s focus on Truth in Sound is showcasing heartfelt lyrics and musical healing to mirror his experiences since his initial release. During the challenges of COVID-19, he felt compelled to uplift and fill in where depression and confusion had become a part of so many people’s everyday lives. In those initial lockdown months, renegade-style drive-up concerts were some of the only ways to keep music present for both musicians and music lovers alike. He saw a new purpose while observing his music keep those isolated in good company and helping release some endorphins.
The final outcome of this record truly encapsulates a time in my life, through a sound, that I hope brings healing, joy, and excitement to those with open ears.
Marcus Rezak
Truth in Sound features Russ Lawton, Tony Markellis, and Ray Paczkowski from the Trey Anastasio Band, plus Kalyan Pathak on world percussion and tabla. The album’s first single “Light of the Moon” is a true story about people of the night connecting through their love of music, celebrating cathartically in the light of the moon reveling in dance, joy, and memories. The late Tony Markellis lays down a one-of-a-kind strut on the bass and Pathak’s percussion work adds an element of global music flavors with his tabla work during the solo section and expressive nuance on chimes, congas, shekere.
“Borderline” is another true story about modern love and the primal connection humans can have with one another, drawing inspiration from the compassion humans uncontrollably have to want to heal the unfortunate trauma of others. “Leaving” details traveling musicians’ life on the road, with a psychedelic jam accompanying the journey. The instrumental track “Glitter Pillow” is a magnum opus of progressive rock, funk, and jazz, with a ’70s harmonic vibe propelling into a mystical minor improv section that builds and compounds into fierce energy from the entire band. Visit Rezak’s Bandcamp to pick up the album.
For Volume 16 of GarciaLive, the archival series looks back at the debut of Jerry Garcia Band at Madison Square Garden (MSG) on November 15, 1991.
GarciaLive Volume 16 finds the world’s most recorded musician in the world’s most famous arena at the midway point in one of his longest and most celebrated solo tours. While Garcia was no stranger to MSG, November 15th marked the Jerry Garcia Band debut in the vaunted venue. Though just two months removed from the Grateful Dead’s sold-out 9-night residency at the Garden, the crowd’s eruption as the houselights dimmed revealed the immense excitement for Garcia’s return.
Poster by Mike DuBois
The buoyant set-opening “How Sweet It Is (To Be Loved By You)” signaled the feeling was indeed mutual. Love remained a central theme throughout the evening with stunning versions of Smokey Robinson’s “The Way You Do The Things You Do,” Van Morrison’s “He Ain’t Give You None” and “Bright Side of the Road,” and Dylan’s “Simple Twist of Fate,” among others.
A near-automatic highlight of any latter era Jerry Garcia Band set, this performance of The Manhattan’s “Shining Star” is so poignant it became the centerpiece for the 2001 compilation of the same name. The extended takes on “Ain’t No Bread in the Breadbox” and “Don’t Let Go” which followed offered the band plenty of room to stretch out with the latter yielding the deepest improvisations of the evening. Not one to treat encores as de rigueur, Garcia finds the perfect sentiment to close the night with the timeless “(What A) Wonderful World” sending everyone home walking on air.
Included in the physical copy are detailed liner notes written by Relix editor-in-chief andJambands.com founder Dean Budnick, which includes reflections from Melvin Seals, Jacklyn LaBranch, Dennis McNally and John Popper. Popper’s band, Blues Traveler, was the opening act for the 1991 show. GarciaLive Vol. 16 is set for a June 25 release.
Disc One // Set One: 1. How Sweet It Is (To Be Loved By You) 2. Struggling Man 3. He Ain’t Give You None 4. Simple Twist of Fate 5. Lay Down Sally
Disc Two: 1. The Night They Drove Old Dixie Down 2. My Sisters and Brothers 3. Deal
Set Two: 4. The Way You Do The Things You Do 5. Waiting For A Miracle 6. Shining Star 7. Ain’t No Bread in the Breadbox
Disc Three: 1. Don’t Let Go 2. That Lucky Old Sun > 3. Bright Side of the Road
Live music returns to Saratoga Springs this June, and the concert announcements just keep getting bigger. Trey Anastasio will perform solo at Saratoga Performing Arts Center (SPAC) for three nights, June 18-20, with tickets pre-sale starting May 5 at noon. Read our review of the weekend of shows here.
Anastasio was originally supposed to play at Tanglewood on June 18 with the Boston Pops, but cancelled the show in March.
Aside from the Beacon Jams this past fall, these shows mark the first live performances for Anastasio since January 2020 at The Capitol Theatre in Port Chester. Trey last performed solo shows in the Fall of 2019, closing out the run at Carnegie Hall.
The timing of the shows follows the recent passing of longtime Trey Anastasio Band bassist Tony Markellis, a Saratoga Springs resident for more than 40 years, who passed away last week.
Saratoga Performing Arts Center (SPAC) has announced the following guidelines for the three Trey Anastasio shows:
Social Distancing For our upcoming Trey Anastasio events June 18-20, capacity will adhere to state guidance. Currently, all seating will be sold in “pods” and each group of seats must be purchased together.
COVID-19 Testing Or Vaccination Requirements Guests have three options to demonstrate they are eligible to attend an event. Please note the required timeframes associated with each option so you can plan ahead accordingly:
1. Proof of a negative antigen COVID-19 test taken within six hours of the event start time OR 2. Proof of a negative PCR COVID-19 test taken within 72 hours of the day of the event OR 3. Proof of vaccination. To ensure you fully vaccinated, the day of the event must be at least 14 days after your second dose of the Pfizer-BioNtech or Moderna COVID-19 vaccine or at least 14 days after your single dose of the Johnson & Johnson’s Janssen COVID-19 vaccine.
On your way to SPAC, don’t forget that Stewart’s Shops is your ice cream shop! With over 345 shops in 31 counties across New York and southern Vermont, the convenience store chain is known for their fresh &local dairy products. With dozens of choices at the cone counter, you’re bound to find something you love! Try a shake, sundae, or cone today, What’s Your Flavor?
Music is being served up bistro-style at Rochester’s Lilac Festival this year. While it’s not feasible to host the large open-air concerts the festival has become known for, organizers have found a way to reintroduce music while maintaining safety guidelines.
Over the course of three weekends in May, they are dishing up sets from Big Blue House, Claudia Hoyser, JUMBOshrimp, acoustic-style Big Eyed Phish, and Mikaela Davis & Southern Star. A Lilac Blues & Soul review closes out the series, featuring Steve Grills and the Roadmasters alongside special guests Joe Beard, Cinnamon Jones, Debbie Kendrick, and Mike D’Aurizio.
The events take place under an open air tent, where patrons can purchase tables that seat four to six guests. Relax and nosh in a supper-club fashion – tickets include an appetizer to share. Pair it with a wine or bucket of beer, and additional nibbles from a range of local restaurants. The shows on Mother’s Day, May 9, are all ages, however the remainder are reserved for guests 21 and over (ID required). Tickets are for each event are available now.
Sunday: May 9, 2021: Mother’s Day
Big Blue House – Session: 11:30am
Big Blue House is a raucous trio of seasoned musicians with experience in a variety of genres, merging styles into a unique gumbo of folk, rock, blues, jazz and reggae. Offering a blend of voices, acoustic rhythm and lead guitar, stand-up bass, and occasional mandolin, banjo and resonator guitar. We often add percussion and a random horn or harmonica to fill up the house. Our songs run a broad scope of time and genres but keep a consistency of musicality, lyricism, imagery and tastefulness.
Sunday: May 9, 2021: Mother’s Day
Claudia Hoyser – Sessions: 2:45pm
American Country music artist, social media influencer, and hometown favorite Claudia Hoyser is bringing it back to her roots at the 2021 Rochester Lilac Festival. Claudia has blended her neo-traditional sound with social grace; her musical palette evokes
feelings through the gift of modern story or can bring on some dusty edge with barnburner flair. Just Announced: Claudia will be opening for Toby Keith and Clay Walker at The California Rodeo in Salinas, CA in 2021.
On the heels of the success of her 4 chart singles, Claudia will be releasing her full-length record this summer 2021. Be sure to tune in for her weekly video series “Hoyser Country Monday” every Monday at 6 pm EST on Facebook. The series has rallied up over 120 million views! Claudia also has her own coffee, “Hoyser Country Blend,” which can be found chain-wide in Tops Markets, Hegedorn’s, Herrema’s, Breen’s and in many local establishments.
Friday: May 14, 2021
Jumbo Shrimp – Sessions: 4pm | 6:45pm
Founded in 2006, just two guys, ALL LIVE! Tom on Vocals & Guitar. Ian on the Clamsteamer (a.k.a. Cocktail Drum Kit of his own creation)
A Rochester favorite, playing local bars, backyards and festivals for the past 15 years strong. JUMBOshrimp is working hard to be the BIGGEST little band IN THE WORLD (or Rochester, whichever comes first). While that’s a pretty serious goal, you should also know that they’re very serious about not taking themselves very serious.
JUMBOshrimp plays mostly current music but also mashes in favorite classics, always committed to engaging their audience, having FUN, making music & friends!
Saturday: May 22, 2021
Big Eyed Phish’s: Dave and Tim Acoustic Show Sessions: 2:45pm | 6:00pm
Ben and Jon are the “Dave and Tim” of Big Eyed Phish – The Dave Matthews Tribute Band. Together they perform acoustic versions of DMB songs that everyone knows and loves. Dave and Tim have played together in many venues and put out the infamous “live at Luther College” CD set! Ben and Jon do the acoustic duo justice just as they do for the full band when playing with Big Eyed Phish! Don’t miss this awesome intimate acoustic show!
Friday: May 21, 2021
Mikaela Davis & Southern Star – Sessions: 4:00pm | 6:45pm
Back this year is Lilac favorite, Mikaela Davis with a new sound! Mikaela Davis & Southern Star are bringing a taste of the Grateful Dead to the Lilac Bistro. Recently, Mikaela has not only been playing Grateful Dead tunes with Southern Star but with Bob Weir himself! Mikaela will be playing a set of Dead inspired Americana Folk with her own original tunes.
Sunday: May 23, 2021
Lilac Blues & Soul Review – Sessions: 3:15pm | 6:30pm
On Sunday May 23, the Lilac Festival will conclude with a Blues and Soul extravaganza featuring Steve Grills and the Roadmasters along with special guests blues artist Joe Beard, singers Cinnamon Jones and Debbie Kendrick and singer and harmonica player Big Mike D’Aurizio. Singer guitarist Steve Grills is well know as Rochester’s formost Purveyor of the Blues. Steve has played at the top blues venues and festivals across the country including the Chicago Blues Festival. His CD release After Hours received tremendous airplay leading it to chart at # 39 on the Top 100 Blues Albums of the year.
Bluesman Joe Beard is truly a Rochester legend. His music has taken him all across the US and he has also performed at some of Europe’s most prestigious music festivals. He has released numerous albums to great acclaim. Joe was inducted to the Rochester Music Hall of Fame in 2017. He continues to thrill audiences with his powerful singing and intense and fiery guitar work after more than 50 years.
Singer Cinnamon Jones has built a tremendous reputation over the last few years through her many spirited and soulful live performances. Once you see and here Cinnamon, you will never forget her. Cinnamon toured extensively with the Campbell Brothers and has since toured the US and internationally on her own. She began singing gospel in NYC where she was born. Cinnamon later moved to the SF Bay area where her performing career grew, leading her to be awarded Best Female Vocalist for consecutive years.
Singer Debbie Kendrick has a personality that warms her audiences like the sun breaking through the clouds. She has led her own group in Rochester for well over 10 years and has built a great reputation with her blend of soul and blues music.
Big Mike D’Aurizio is a singer and harp player who possesses a great command and respect for traditional blues. Mike’s powerful electric harp playing and singing is sure to blow your blues away.
Now in it’s 123rd year, the internationally-known festival held at historic Highland Park features lilacs and gardens, runs, beer and wine tasting, and a kid zone. For more information visit the Rochester Events website.
To whet your appetite for the Lilac Fest bistro experience, here’s a clip of Mikaela Davis playing with Bob Weir on NPR Music’s Tiny Desk Concert series:
Live music is making its way back into our weekend plans. The Oteil Burbridge band featuring Pete Lavezzoli on drums, Tom Guarna on Guitar, and special guest Jason Crosby on keyboards performed for two nights at the North Beach Bandshell in Miami Beach, FL on April 24 and 25. Over two days the quartet had a Grateful Dead heavy setlist, nicely blended with Oteil’s originals and covers of his favorite artists.
The breeze kicked in to start the two night run. They open with a cover by The Weather Report that brought all of the “Elegant People” from the beach. It got the whole crowd immediately grooving. A first set dead classic “Sugaree” start the psychedelic blues for the sun soaked masses. A cover of Jerry Garcia Band “Cats Down Under the Stars” keeps it flowing with Melvin Seals drummer Lavezolli and Oteil locked in ” Cats on the bandstand, give em each a big hand, Anyone who sweats like that must be all right.”
Believe it or not the band follows with another Grateful Dead classic that was played under the Miami Beach haze during soundcheck for “Here Comes Sunshine.” “Hard to find” an end of a first set, the quartet close with “King Solomon’s Marbles” to send everyone looking for their own after they cleared the stage.
The second set started with a beautiful Jerry solo classic “Rubin and Cherise.” The words on the Florida shore singing “the breeze would pause to listen in before going on its way again, Masquerade began when the nightfall finally woke.” Another Jerry tune up next for “Gomorrah” helped “Blow the City off the Map, left nothing there but fire”
Oteil brings you back to Brooklyn Bowl for a “Butter Biscuit” next, then a transition to a Grateful Dead S.O.S. on the beach. “Help on the Way” into “Slipknot” gets another Oteil original weaved in with “Too Many Times” before crescendoing into “Franklins Tower.” It was a funky roll in the dew to close the first set.
Keeping the crowd in a Grateful Dead like glow the band starts the encore so quiet you can hear the ocean. Oteil’s voice on “Stella Blue” reminds you the wave is crashing “In the end there’s still a song, comes crying like the wind, down every lonely street, that’s ever been.” As expected after a Dead heavy show like this you would assume this was the end.
Nope, during the encore the band paid tribute to Sugarloaf with their cover of “Green Eyed Lady.” Its lyrics perhaps another nod to a day on the beach. “Green Eyed Lady windswept lady , moves the night the waves the sand, Green eyed lady…ocean lady.” Out of nowhere, Oteil’s ensemble threw everyone for a loop on their way back to the Miami scene.
After an hour long soundcheck in Miami Beach, Oteil Burbridge took some time to talk with NYS Music
Matthew Romano: I am so glad I got to see the show last night before speaking today. Do you remember the Buddy Miles record that had a cover of Allman Brothers Band tunes “Dont’ Keep Me Wondering” and “Midnight Rider”? I can’t help but hear your same soulful interpretation of these Dead songs.
Oteil Burbridge: Yes I do! I kind of just do it. You can’t do anything to suppress your roots. Not really trying, it just comes out like that. But there was something that really gave me confidence to lean in more on my approach. I don’t know if you’ve heard George Porter sing “Eyes of World”? It’s my favorite “Eyes of the World.” The way he sings it, holy crap, just blew me away seeing that. So I was like yea man do it like you feel it. You know just let it come, let it be what it is.
MR: Well being here in Miami where you just recorded with Page McConnell and Vida Blue for a record we didn’t know what to expect out of your catalog this weekend for a set.
OB: I don’t with Vida Blue material because they are still on the road and we still play. Allman’s aren’t playing, I mean Dead and Company is playing, ya know as slow as we are doing everything. If you notice we do a lot of different versions with this band. We do the the old funkier, sluttier “Loose Lucy” and the faster funky kind of “They Love Each Other,” the long “Eyes” the “Terrapin.” What else? The funky “Bertha.”
OB: So we can just lean in the funk.
MR: I was able to speak with John Mayer on Tales From the Golden Road on Sirius XM and got his angle on bringing his own texture to the Dead and Co. sound. You are in the same boat bringing a whole new edge and vibe to this music that gives it a new form of life.
OB: I mean it just comes out that way. It’s really about being given permission by yourself, the original members, the crowd, and especially the old crew.
OB: Ya know it mattered to me, what AJ thinks, what Jarukie thought. It matters what Derek Featherstone thinks. Ya know all the original crew that’s been here much longer than me. So even to have them and friends approval means the world.
MR: Well how about big Steve Parish who has come Upstate New York to go on his own tour speaking about all his years behind the amps of the Dead for every show?
OB: When you get Parish’s seal of approval, wow. All those guys, Dennis McNally, Bill Walton. When Bill Walton says you’re good, you quit worrying. But John and I have been very lucky to be graced by all those people, the crowd, the original members. I count them as family.
MR: Well being at the first Dead and Company show on October 29, 2015 at Times Union Center (The Old Knickerbocker Arena), it was only appropriate for you and John to open with “Playing in the Band.”
OB: (Laughter) For sure. That was a harrowing night. That was a trip, that beginning time.
MR: Well, I love that 6 years later your able to lead the pack with some funk on this repertoire for two nights on the beach in Spring 2021.
OB: Well i mean there is so much funk in the Grateful Dead’s music. The Jerry Bands’ music. Its just like there for the picking. So i just lean in to it
OB: Thats where I come from, ya know? I come from James Brown and Parliament Funkadelic. Earth Wind and Fire, Stevie, Larry Graham, J.V Collier and James Jamerson.
MR: How about Larry Graham creating the slap bass technique to fill for the drummers spot that was absent
OB: Yeah the drummer didn’t come so he had to bass the drum with his thumb and the snare and hi hat with his slap and the plucking part yeah. Tonight we’re gonna do a tribute to Paul Jackson in Head Hunters that just passed. It was the last tune we did during soundcheck today was “God made me Funky.”
MR: That had me dancing outside and threw me for a loop before I came in to talk to ya. I walked in the room feeling like Cleo McDowell in Coming to America…”I’m not sure what to do…I feel like break dancing.”
OB: (Laughter) For Sure. I’ve seen it at Dead shows, people start popping and locking! This weekend has been the biggest amount of people this band has played for. It was great to see that many bodies in motion again.
Later that night Oteil and Friends played one more Saturday night for an audience on Miami Beach.
The crowd immediately responded to the Oteil instrumental “The Happy Dance” to start the evening. Another highlight of Oteil’s solo catalog came next with “Rooster.” His words nailed it over the old Peacemakers groove, “There’s not much time to get your house in order, you can watch as the darkness grows, keep on trying to disguise yourself, but the ugliness still shows, you better clean it up before the rooster crows…”
Then a Dead heavy first set that included the funked up “Bertha” and “Loose Lucy.” The Dead vibes unfolded at the end of the first set with “China Cat Sunflower” > “China Doll” > “I Know Your Rider.” A set ending fake out with “No More Doubt,” another Oteil and the Peacemakers original. With even deeper lyrics “Call out to the grave, I am a mirror to the clouds, you can rest assure there will be no more worry,” to officially end the set.
After a short break the band opened with two covers, Jaco Pastorius’ “Opus Pocus‘ and Donny Hathaway’s “Magnificent Sanctuary.” These tunes are certainly hand picked by Oteil as they are a major influence on his sound.
Oteil Burbridge in Jaco Pastorius Park, FL
The band then closes the rest of the set with The Grateful Dead catalog where ocean breezes flow. After a funky “They Love Each Other” they launched into “Estimated Prophet” > “Terrapin” > “Morning Dew.” Oteil was quoted on his first vocal take on Dew, “I feel like I’ve been through enough in life to do it justice, I hope you enjoyed it.”
Oteil Burbridge Band Setlist April 24 25
The encore for the two night beach run was a tribute to Paul Jackson of the Head Hunters for “God Made me Funky.” Let’s be glad he is out touring this kind of music in 2021. Oteil helps carry the torch for new comers to the scene. It was Miami Beach resident Chris Collins first show who celebrated his father Bobs birthday Friday night. Bob toured for four years with the Dead.
In between shows you can listen to Oteil’s podcast with great artists. The crew heads to B Chord brewing Company in Virginia on June 4 and 5 for their next two night run. Dead and Company 2021 tour will be kicking off August 16th in Raleigh, North Carolina, and running through Halloween, with a three-night stand at the iconic Hollywood Bowl on October 29th, 30th, & 31st.
The Grateful Dead played their one and only show in Alfred, New York, 51 years ago today. After gigs at their usual stomping grounds like the Fillmore West and the Family Dog in San Francisco the previous month, May 1970 kicked off with the Dead going to school, playing this evening at Alfred College and the following night at Harpur College in Binghamton. These legendary performances serve as the first known “An Evening With The Grateful Dead” shows, where the band would be joined by others and play interlocking sets.
Their friends in New Riders of the Purple Sage would join the Grateful Dead at Alfred College this evening, and the following night, playing a joint opening acoustic set, before a set of their own music, with a set of electric Dead wrapping things up. It can be argued that this helped lay the groundwork of the formation of a traditional Grateful Dead show: an opening set with more acoustic, straightforward tunes before a set of heavy improvisational numbers.
The show starts off with an acoustic “Deep Elem Blues” with guitarist Jerry Garcia on lead vocals. The harmonies are certainly a little richer on this one, thanks to the additional backing support from their friends in New Riders. In an interview later this year, Garcia would explain this brand new format and the kind of live show it created.
What we’ve been doing in the States lately is having like ‘an evening with the Grateful Dead.’ We start off with acoustic music with Bobby and I playing guitars, light drums and very quiet electric bass. Pigpen plays the organ. Then we have a band we’ve been travelling with, The New Riders of the Purple Sage, where I play pedal steel, not guitar, Mickey plays drums, and three of our friends from the coast, musicians that we’ve known for a long time, are fronting the band. So we start off with acoustic music and then The New Riders of the Purple Sage — it’s like very snappy electric country-rock; it’s kinda hard to describe — and then we come on with the electric Dead, so it keeps us all really interesting, and it’s six hours of this whole development thing. By the end of the night it’s very high.
Jerry Garcia, 5/24/70
After “Elem,” a traditional blues cover the band recently re-adopted after playing once in 1966, the opening set carries on with a unique version of “I Know You Rider.” This one is played at a super slow, folksy tempo compared to the traditional Dead version of later years and features an additional verse with the lyrics: I’d rather drink muddy water / Than sleep in a hollow log.” Definitely not your customary “Rider.” Following this, fellow guitarist Bob Weir promises the rapt Alfred College crowd a song about “simian creatures behind the wheel” and the band delivers a quick take of “Monkey And The Engineer.” At its conclusion, Garcia does not cease strumming and quickly leads the group into a flawlessly acoustic “Candyman.”
At its conclusion, Garcia beckons their friends David Nelson and John “Marmaduke” Dawson from NRPS to join them on stage. They make their collective presence immediately felt with a super-harmonized take on “Me And My Uncle.” This alt-country tune about gambling and betrayal sits square in the Riders’ musical wheelhouse and their presence make this one a truly pleasant version. The same can be said of the “Mama Tried” that comes next.
“Cumberland Blues,” a Dead tune that lends itself perfectly to vocal harmonies, goes off without a hitch next, with all guitars (and voices) on stage very much in synch. Nelson and “Marmaduke” stay on stage for the rest of the opening acoustic set and later contribute to a cover of The Everly Brothers’ “Wake Up Little Susie” which is succeeded by “New Speedway Boogie.” It’s only the tenth ever version of this Dead original penned by Garcia and famed lyricist Robert Hunter and the first ever on the East Coast. It’s a version so tight that it has Garcia and a least one other audibly “whooing” in delight mid-song.
The incredible musicianship and harmonies that serve as this opening act comes to a close with “Cold Jordan,” another traditional cover with hymnal-like lyrics that the Dead and NRPS would play together this year. And then a pristine take of “Uncle John’s Band,” replete with three-part harmonies. While it may not have all the accolades of the following night’s acoustic set at Harpur College in Binghamton, it’s beautiful in its own right and certainly merits a listen.
At its conclusion, Garcia states they’ll be back later with their “electric” stuff and preps the crowd for an incoming Pigpen performance. To start this last portion of the evening, “Not Fade Away” is the selection, done in traditional Grateful Dead-style. Garcia fires off a bevy of emotional guitar riffs and the double drumming tandem of Hart and Bill Kreutzmann only add to the power this one generates. Then, as promised, Pigpen takes center stage and lends his signature vocal prowess and swagger on a cover of Otis Redding’s “Hard To Handle.”
For a listen to this classic acoustic set and the opening two “electric” numbers check out the video below or go here.
The Grateful Dead close out the Alfred College gig with an absolutely ferocious “The Other One,” that’s sandwiched by “Cryptical Envelopment” on both sides, quite commonplace during this era. Bassist Phil Lesh finally gets a chance to let loose and explore the fret board, leading the band through this high octane, psychedelic sequence. The latter half of “Envelopment” gets particularly spacy and intricate at parts.
“High Time” gives Garcia one last chance to sing lead, justifiably slowing things down significantly from the improvisational madness that preceded it. Pigpen then sends the crowd home on a high note, ripping through another R&B-infused cover, this time Bobby Bland’s “Turn On Your Lovelight.” It serves as a more than fitting final number for a show that may have subconsciously helped shape the way live Grateful Dead shows are formatted for years to come.
Grateful Dead – Alfred College, Alfred, NY – May 1, 1970
Set 1: Deep Elem Blues, I Know You Rider, Monkey and the Engineer -> Candyman, Me And My Uncle, Mama Tried, Cumberland Blues, The Race Is On, Wake Up Little Susie, New Speedway Boogie, Cold Jordan Uncle John’s Band
Set 2: Not Fade Away, Hard To Handle, Cryptical Envelopment ->Drums -> The Other One ->Cryptical Envelopment, High Time, Turn On Your Lovelight
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Joshua West, Jade Relics and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Songwriter and brilliant musician Joshua West will share his tune “Feel That Pulse” off his forthcoming release, Let Your Voice Be Heard which is planned for release over the summer.
“Feel That Pulse” was written back in 2016 in response to the Pulse Nightclub tragedy in Orlando. The song’s message is one of love, equality and acceptance – urging us to let everyone “Sing the song they were born to sing.” It features Mihali Savoulidis of Twiddle on lead guitar, along with a great list of Vermont and upstate NY musicians.
Vermont independent group, Jade Relics, comprised of IamE, RicoJames, and Elder Orange latest single, “ISLAND” is a mind blowing tune that takes a serious groove adjustment mid-way through, as if it is the sonic equivalent of grabbing someone by the arm to pull them away from getting hit by a speeding train. The feel switch pulls the aritist in and figuratively forces their attention on where the song is taking them.
Athena Burke give us a powerful and positive anthem to remind us to stand strong in these off centered times. In her own words, “I will not fall “ is an emotional power anthem I wrote to help heal a past filled with trauma. A call to our inner strength in times of challenge. My sister, Lori had a life mantra. It came from our childhood. She had these dolls called Weebles. The slogan was ‘Weebles wobble but they don’t fall down.’ This song is dedicated to all of us who won’t fall down. And my sister Lori, who didn’t make it but inspired everyone around her. I hope this song will bring you love and power and strength on those days when you need it.” Produced by Devon Seegers of Bathrobe Robots.
Buffalo based four-piece rock group, Grosh, is locked and loaded for their release of Not Down for Long. The group, consisting of Grace Lougen (guitar), Josh English (drums), Megan Brown (vocals), and Dylan Hund (bass) are some of the area’s most talented musicians.
Grosh is a high energy rock band that regularly sells out shows in Buffalo, showcasing their heavy-hitting style of hard rock. Recorded and mastered at GCR studio in Buffalo, Not Down for Long is Grosh’s second full-length album. The album offers tunes reminiscent of bands like Led Zeppelin and Pearl Jam. But overall, it has a clear Grosh stamp on it.
The band never abandons their fast-paced energy throughout the album, with hard hitters like “The Fight” offering a great idea of what Grosh brings to the table. The band isn’t afraid to break out of the hard rock element, and sprinkle in some dirty funk in the second track, “Not Down for Long”. Lougen’s guitar riffage is absolutely spot on, chugging the song along and breaking into face-melting solos that soar over Hund’s thick bass line and the ever-climaxing drum beat.
Relentless, this album grabs the listener and holds them throughout the long jams, and even pop melodies in songs like “Mr. Rogers.” Brown’s vocals hold their place among a luscious instrumentation, with the lyrics featuring a trade-off between her vocals and male vocals. The conversation-like feeling of the song yields a nice story as well. The horn section shows an alternate side of the band’s heavier sound earlier in the album.
The band has a soft side too, as they show their ability to create a beautiful dynamic arc in “Don’t Forget Me.” The acoustic track feels like a musical number, with yearning vocals and a wonderful transition to the final song, “Tread the Wave.” Here, the band rounds out the release by offering another harder song with some prog-rock influence. English’s work on the hi-hat is stuff of gold, and a master-class in how drums, when played this well, can give a song rhythmic layering.
Lucky for listeners and supporters, Not Down for Long is set to be released on May 1. You can find the album streaming on Spotify and Apple Music. You can keep up with the band on Facebook, Twitter, and Instagram. The group also has a YouTube page with official videos and quarantine recordings. Keep a look out for the group to be playing live as things continue to clear up and venues open at some capacity.
Key Tracks: Mr. Rogers, The Fight, Don’t Forget Me
The State Theatre of Ithaca announced its 10th annual “Benefit My State” free virtual concert which will take place on May 8, 2021. The benefit concert will feature tribute band Pink Talking Fish who will also be playing some Grateful Dead tunes in honor of the Cornell ’77 performance.
The performance is dubbed “PINK TALKING FISH play DEAD”, and is being performed and streamed live from the historic State Theatre of Ithaca. The tribute jam band will perform the music of Pink Floyd, The Talking Head, Phish, and Grateful Dead tunes inspired by the treasured concert on Cornell’s campus, exactly 44 years to the day of the original show.
Pink Talking Fish formed back in 2013 and has performed over 500 shows including headlining numerous historic music venues throughout the country. Additionally, Pink Talking Fish has appeared at many prominent festivals including The Peach Music Festival, Jerry Jam, StrangeCreek Campout and The Buffalove Music Festival. They are known for creating a fusion of some of the most beloved and well known bands in the jamband scene.
On Mothers’ Day back in 1977, The Grateful Dead performed one of the most significant concerts of their extensive career at Barton Hall in Ithaca, New York. The Grateful Dead are known for playing more than 2,000 concerts in their time but the performance at Cornell University’s Barton Hall on May 8, 1977 has continued to spark interest and provoke discussion quite like any of the other of the bands performances. A lot of the Deadheads know it as simply “5/8/77” and this performance is one of the most collected, circulated, and debated concerts by any band ever, and has topped numerous fan polls through the years.
The annual “Benefit My State” concert is the State Theatre of Ithaca’s biggest fundraiser of the year. This event will also feature an online silent auction with over 25 unique, one-of-a-kind items offered to all viewers and is particularly needed this year in the face of the ongoing COVID-19 pandemic.
Doug Levine, the Executive Director of The State Theatre, spoke on this benefit saying, “We are still in need of additional support to help us get through this very challenging year. The lack of shows due to COVID resulted in huge hurdles to overcome and we are not out of the clear yet. We hope that the folks that are able to tune in and enjoy this show will consider making a donation to help sustain us until we are allowed to safely reopen.”
Although the concert is free, donations will be accepted with all proceeds for the 10th Annual “Benefit My State” concert directly supporting The State Theatre of Ithaca. The Pink Talking Fish Play Dead benefit will be streamed LIVE from The State Theatre of Ithaca for free at The Relix Twich Channelon Saturday, May 8th at 7PM EST.
For more information of the benefit concert visit the State Theatre Of Ithaca’s website.
By 1971, The Grateful Dead had firmly established the Fillmore East as their New York City base of operations. But as the saying goes, all good things must come to an end. The Fillmore East would be shuttered by the end of the summer, but not before one last run of Dead shows, which began 50 years ago today. The five-night run would serve as the band’s last hurrah at Bill Graham’s legendary East Village venue. It’s also the source of material for one of their essential live albums, Ladies and Gentlemen….The Grateful Dead. Tonight’s show features some iconic Dead tunes that were still in the early roll out stages combined with some short-lived classics.
The band wastes no time and dives right into a roaring “Truckin’” to open the show. It’s a crisp, early version of this Dead classic to-be that was barely a year old at the time. It would also serve as the opener for three other shows during this Fillmore run. After requesting some “cranking up” of the monitors, Jerry Garcia then leads the group through “Loser,” carrying over the alt-country psychedelic vibes established earlier by the New Riders. A short, but hauntingly beautiful guitar solo from Garcia highlights this one. The collective mood then gets lifted in a major way with “Hard To Handle.” The charismatic Pigpen, who has several shining moments this evening, takes the lead on vocals in his signature, blues-riddled style. Garcia and drummer Bill Kreutzmann seem to take turn raising the fervor and intensity which yields a hearty early jam.
After a vintage extended tuning session, the show resumes with “Me And Bobby McGee,” this time with Bob Weir leading the way on vocals for a cover song. Afterwards, Weir shouts out some more friendly advice to the monitor guy before “Cold Rain And Snow” lifts off. Garcia’s aggressive guitar tone and thunderous bass notes from Phil Lesh give this always emotional number a little something extra tonight. This sets the stage for Pigpen to take charge once more, this time with harmonica in tow for “The Rub.” This Lightnin’ Hopkins cover, also known as “Ain’t It Crazy,” would only be played 13 times by the Dead, properly shelved for good after Pigpen’s passing.
Weir then gets back on the mic for “Playin’ In The Band,” another soon-to-be Dead classic that was debuted only months earlier at the Capitol Theater in Port Chester, NY. It’s essentially just a run through of the composed portion, with no jam to speak of with the song still in its nascent stage. Garcia then notes that “we used to do this song acoustically” before an uptempo rendition of “Friend Of The Devil” takes place.
The first set then wraps up with a few already established staples of the Grateful Dead’s live catalog. The instrumental segue between “China Cat Sunflower” and “I Know You Rider” is near-seamless, with Garcia delivering a flurry of emotional guitar fills on the latter. “Casey Jones” then drives the Fillmore crowd off to intermission, capping off a whirlwind first set. Garcia and Weir both take it upon themselves to advise everyone they’ll return shortly.
The Dead kick off the second set at the Fillmore in grand fashion with a supercharged “Morning Dew.” Steadily progressive rhythms supplied by Lesh and Kreutzmann secure the framework for another Garcia guitar solo that drips with emotion, much to the crowd’s delight. After a quick run through “Beat It On Down The Line,” it’s Pigpen’s turn again as he and his harp rip through a cover of the bluesy “Next Time You See Me.”
Pig then gets back behind the organ for “Bertha,” another fresh tune at the time, debuted only months ago. Afterwards Garcia seems to make note of Mickey Hart, who had recently begun his hiatus from the band, “not being with us tonight” but that his grandmother was in attendance. This clears the deck for “Sugar Magnolia.” Garcia has the wah effect on full blast for this one, almost overpowering everything else. After some more griping about the in-house monitors, the Dead’s cover of Smokey Robinson and The Miracles’ “Second That Emotion” smooths everything over. It would the fourth performance of this song that the band only ever played five times – all in April of 1971.
But this would not be the cover selection that blows the doors off the second set. That honor belongs to the “Good Lovin’” that follows, sung in Pigpen’s signature style and immediately supplemented with a majestic drum solo from Kreutzmann. As the wave of “Drums” begins to recede, a loose form of “Good Lovin’” reemerges, spurred on by Pigpen and his improvisational crooning. With the rest of the band fully locked in behind him, this sequence sees the Dead at their full powers and steals the show.
Things would slow down considerably after this, with “Sing Me Back Home,” another Dead tune with a short shelf life. Although it would be played the following two nights as well. One of the last inter-song tuning sessions is memorable as this one has a distinct “Spanish Jam” element to it. Finally, the opening shuffle beat of “Not Fade Away” takes shape, initiating the final sequence of the evening. In following tradition, another silky smooth transition follows into “Goin’ Down The Road Feeling Bad” before turning back into NFA. The Grateful Dead then treat the ravenous crowd to an “Uncle John’s Band” encore, wrapping up the first night of this last ever run at the Fillmore East.
Grateful Dead – Fillmore East – New York, NY 4/25/71
Set 1: Truckin’, Loser, Hard To Handle, Me And Bobby McGee, Cold Rain & Snow, The Rub, Playin’ In The Band, Friend Of The Devil, China Cat Sunflower-> I Know You Rider, Casey Jones
Set 2: Morning Dew, Beat It On Down The Line, Next Time You See Me, Bertha, Sugar Magnolia, Second That Emotion, Good Lovin’-> Drums-> Good Lovin’, Sing Me Back Home, Not Fade Away-> Goin’ Down The Road Feelin’ Bad-> Not Fade Away
