A new project chronicling the Grateful Dead has found its Jerry Garcia in Academy Award nominee Jonah Hill. Earlier this week, Hill shared the good news via Instagram, captioning a post with prayer hands and skull emojis.
The still-untitled biopic, directed and produced by Martin Scorsese and distributed by Apple, remains somewhat a mystery. Sources have yet to confirm what exactly will be covered in the film. However, Apple has reportedly acquired the rights to use Grateful Dead music in the project, But the project has recruited an A-list team, with Dead members Bob Weir, Phil Lesh, Mickey Hart, and Bill Kreutzmann all signed on as executive producers. Jerry’s daughter, Trixie Garcia, will also executive produce.
Jerry Garcia
The new film won’t be Scorsese’s first rodeo with the Dead’s iconic story, after directing the 2017 documentary Long Strange Trip. Furthermore, Scorsese and Hill have a history of working together. Scorsese directed Hill in the critically lauded 2014 film The Wolf of Wall Street, which earned Hill enormous praise and his first Oscar nomination.
Currently, Scorsese and Hill are both at work on other projects. Scorcese is developing his newest film Killers of the Flower Moon, a Western crime drama featuring Leonardo DiCaprio and Robert DeNiro. Jonah Hill will next appear in Adam McKay’s all-star comedy Don’t Look Up, alongside Jennifer Lawrence, Meryl Streep, Timothee Chalamet, and more.
Veteran writing duo Scott Alexander and Larry Karaszsewski have signed on to pen the script. Previously, they received rave reviews for scripting the acclaimed Fox drama American Crime Story: The People vs. OJ Simpson. Though this film will be Scorsese’s first musical biopic, with Alexander and Karaszsewski at his side, a triumph seems possible.
On social media, fans have already begun compiling their dream choices for the rest of the cast. With Hill the only confirmed cast member, imaginations have run wild as to who will portray the rest of the band.
All in all, however, fans seemed excited and interested by the news of the biopic. With many of the living members signed on as executive producers, fans expressed hope the Dead’s story would be done justice.
A Scorsese take on the Grateful Dead? This is all a dream we dreamed one afternoon, long ago https://t.co/a0UfCCL3NK
Phil Lesh wrapped up his second three-show run at The Capitol Theatre on Wednesday, October 20, 2021. The evening featured Stuart Bogie and Amy Helm joining Phil, along with Eric D. Johnson, Josh Kaufman, Elliot Peck and Grahame Lesh from Midnight North, Joe Russo and Heartbreaker’s keyboardist Benmont Tench.
Phil Lesh has one more run of shows at The Cap this month, with Phil-O-Ween weekend, from Oct. 29-31, including Nicki Bluhm, Larry Campbell, Griffin Goldsmith, Taylor Goldsmith, Grahame Lesh, Trevor Menear, Lee Pardini, M.C. Taylor and Teresa Williams.
Phil Lesh and Friends – The Capitol Theatre, Port Chester, NY – Wednesday, October 20, 2021
Set 1: Jack Straw, When I Paint My Masterpiece, Ship of Fools, Peggy-O, Tennessee Jed, Touch of Grey
Set 2: Truckin’, So Many Roads, Caledonia Mission, Bird Song, Let It Grow, Stella Blue, Rag Mama Rag, Not Fade Away, Morning Dew
Its not every day an 80 year old bassist stops in Albany to play a club show. Its not every 80 year old bassist who happens to be Phil Lesh, who, while in between shows at The Capitol Theatre, made some stops with his son Grahame’s band, Midnight North as they played in Burlington and Albany this past weekend.
photo by Frankie Cavone
Phil has been no stranger to Midnight North shows recently, having sat in for shows in Washington, D.C., Fairfield, CT and Woodstock, as noted by Jambands.com. Phil joined Midnight North at Nectar’s on Friday night for “I Know You Rider” and “Ripple,” with Twiddle members Mihali and Ryan Dempsey joining in.
On Saturday, as Midnight North made their way to Albany, Phil Lesh was along for the ride, and sat in with Midnight North for their original “Wine and Roses,” followed by the Grateful Dead classic, “New Speedway Boogie” with Elliot Peck taking lead on vocals. Watch the two songs below, with Video courtesy of Mirth Films
Phil Lesh returns to the Capitol Theatre this week, October 18 – 20 with Stuart Bogie and Amy Helm join Phil on the first and last night of the run, with Eric D. Johnson, Josh Kaufman, Elliot Peck and Phil’s son Grahame set to play on the 19th. This run will also feature Joe Russo on drums and Benmont Tench on keys.
Grateful Dead bassist Phil Lesh is making up for lost time from last year with an essential October residency at the legendary Capitol Theatre in Port Chester, NY. Three different Phil & Friends lineups will perform over three different three-day spans throughout the month, with the nine-night run coming to a close on Halloween. Each lineup brings a little something different to the table, with friends both old and new joining the fray.
The first three-night run is slated for October 11-13 and is set to play host to The Phil Lesh Quintet, aka The Q, the longest running version of Phil & Friends to date. It features longtime friends John Molo on drums and Rob Barraco on keys as well as the guitar stylings of Warren Haynes and Jimmy Herring.
The second run is scheduled for the following week, October 18 – 20. This one will see Stuart Bogie and Amy Helm join Phil on the first and last night of the run, with Eric D. Johnson, Josh Kaufman, Elliot Peck and Phil’s son Grahame set to play on the 19th. This run will also feature Joe Russo on drums and Benmont Tench on keys.
Lastly, a three-night run leading up to Halloween is set to play host to a plethora of musical stars. This includes Nicki Bluhm, Larry Campbell, Grahame Lesh, M.C. Taylor of Hiss Messenger Service, Teresa Williams and various members of Dawes.
Start making those October plans now. Tickets can be purchased here. All patrons 12 and over must show proof of either full vaccination or a negative COVID-19 test taken within 48 hours of entry.
Check out all setlists from the run so far below.
Friday, October 11
Set 1: Mason’s Children, Doin’ That Rag, The Low Spark of High Heeled Boys > So What > The Low Spark of High Heeled Boys, She Said She Said, Night of 1000 Stars
Set 2: Shakedown Street, Viola Lee Blues, New Speedway Boogie, Broken Arrow, Cryptical Envelopment > Wharf Rat > The Other One, I Know You Rider
Encore: The Real Thing
Saturday, October 12
Set 1: St. Stephen > The Eleven > Eyes of the World > Mountains of the Moon, Acadian Driftwood, The Wayfaring Stranger > Angel Band
Set 2: Uncle John’s Band > No More Do I, Bird Song, The Wheel > Terrapin Station > Morning Dew, Donor Rap
Encore: Sunshine of Your Love
Sunday, October 13
Set 1: Celebration, Not Fade Away, China Cat Sunflower, New Potato Caboose, Help on the Way > Slipknot! > Lucy in the Sky With Diamonds
Set 2: Scarlet Begonias > Fire on the Mountain > Scarlet Begonias, Unbroken Chain, Dark Star > So What, The Low Spark of High Heeled Boys, Dark Star > I Am the Walrus > Dark Star, Wharf Rat, Stella Blue > Franklin’s Tower, Donor Rap
With four multi-night runs at the Fillmore East already in the books for 1970, the Grateful Dead returned to their New York City headquarters for a fifth one in September. And, once again, they would be joined by their friends in New Riders of the Purple Sage for the festivities. This would be their third run of the year here in this “Evening with the Grateful Dead” format that featured music from both bands, with the Dead playing one acoustic and one electric set of music. This show also marks the first time David Grisman played along side Jerry Garcia in a live setting for the first time. September 20 was the final night of this particular run and features, arguably, one of the better acoustic sets known to Deadheads.
The opening set is accordingly introduced as “Acoustic Dead” and the band immediately launches into “Uncle John’s Band.” It’s a delightfully casual take on a Dead classic that’s harmonized nicely and sets the tone for the set. They even get some assistance from the Fillmore crowd which is gladly clapping along in time by song’s end. Jerry Garcia continues to man lead vocals on the “Deep Elem Blues” that follows, a song that would follow him around in live settings for the rest of his life. Grisman’s mandolin play blends in perfectly with the acoustic guitars, giving this one a unique feel. And with the added strings and acoustic influence provided by Grisman, a first set “Friend Of The Devil” sounds so crisp that one would think they were playing American Beauty over the PA.
“Big Railroad Blues” features David Nelson on yet another mandolin in a fun, fast-paced version that’s like no other. It was only the third performance ever of a song the Dead would go on to play for the remainder of their playing career. This is backed up by a splendid “Dark Hollow” with Bob Weir jumping in on lead vocals. There is so much acoustic firepower on stage, Garcia actually jumps on the piano for “To Lay Me Down,” quite a rare occurrence.
“Rosalie McFall” joins the fray afterwards, a Charlie Monroe cover and another acoustic song that would go on to be a mainstay for future Garcia acoustic performances. The remainder of the opening set has a decidedly classic Dead feel to it, beginning with “Cumberland Blues,” continuing with a riveting “New Speedway Boogie” that has a lovely little acoustic jam tied to it, and ending with the always emotional “Brokedown Palace.”
The second set then brings along the electricity, both literally and figuratively. “Casey Jones” comes rolling down the tracks to open things before the iconic opening licks of “China Cat Sunflower” ring out loud and true. While not particularly stretched out or extended, a perfectly seamless transition into “I Know You Rider” follows, and with each verse the Grateful Dead delighting the Fillmore crowd even further. It’s cut off a bit on the recording below, but “Candyman” then cools things down a bit, courtesy of the delicate singing and customary harrowing guitar play from Garcia.
This Fillmore show also features a few Dead rarities. “Big Boy Pete” is played for the only sixth time ever and the last one ever with Pigpen who finally gets some lead vocal action. It’s a quick. bluesy number that the band would dust off twice more in the future, with random unshelvings in 1978 and 1985. Perhaps inspired by the last number, or just turned up in the mix, Pigpen shines on the “Me And My Uncle” that comes next, supplying some inspired fills. Seizing the momentum, he then takes center stage and belts out one of his signature songs, “Easy Wind,” that also ably serves as one of the more extended jams of the evening.
A still raw “Sugar Magnolia” follows, but has a fun little vocal breakdown and shows all the signs of being a Grateful Dead staple for years to come. After a quick run through of the Weir-led “Mama Tried,” the Dead go big for this particular Fillmore closing sequence, starting with a massive “Not Fade Away.” This may as well have been the “Drums” portion of the evening as drummers Bill Kreutzmann and Mickey Hart lead the charge on this one, trading percussive punches back and forth that fuel a mesmerizing sequence of improv.
This sets the table for “Caution (Do Not Step On Tracks)” which, it could be argued, serves as the “Space” portion tonight. It’s the Dead at their finest: frenetic and psychedelic blues, powered by probing bass lines from Phil Lesh, and adorned with Pigpen riffing on vocals while feedback and other audio wizardry abound. The jam eventually devolves to only drums, bass and Pig on harmonica for a spell. Garcia then reemerges on lead guitar and the band begins to tie a bow on the second set the only way they know how – with a six-minute feedback jam. From this, the a capella “We Bid You Goodnight” emerges, serving as the de facto encore and officially closing out another memorable Grateful Dead run at the Fillmore East.
Grateful Dead Fillmore East – New York City, NY 9/20/70
Set 1: Uncle John’s Band, Deep Elem Blues, Friend Of The Devil, Big Railroad Blues, Dark Hallow, Ripple, To Lay Me Down, Truckin’, Rosalie McFall, Cumberland Blues, New Speedway Boogie, Brokedown Palace
Set 2: Casey Jones, China Cat Sunflower -> I Know You Rider, Candyman, Sittin’ On Top Of The World, Big Boy Pete, Me And My Uncle, Easy Wind, Sugar Magnolia, Attics Of My Life, Mama Tried, Not Fade Away > Caution (Do Not Step On The Tracks) > Feedback Jam > And We Bid You Goodnight
To celebrate the 4th of July in 1989, the Grateful Dead decided to heed the advice of their song “Truckin’” and return to Buffalo. By now, it was near tradition for the band to celebrate our nation’s independence with summer tour shows in the Northeast. Starting with a show at the same venue, Rich Stadium, for a 4th of July gig in 1986, the Dead followed this up with another one in 1987 in Foxboro, MA.
In classic Grateful Dead style, for 1989, they mixed it back up, with a summer run of shows that began at Foxboro two days prior and landed back in Buffalo on the 4th. It’s a well-crafted and enjoyable show that sees the band in fine form, all fully engaged, cohesive, and perhaps most importantly, healthy. In 2005, it was officially released on DVD, with an accompanying CD soundtrack, appropriately titled Truckin’ Up To Buffalo. Although, oddly, the title track never makes an appearance tonight.
For an opener, the Dead bring out an old faithful in “Bertha” that sparks the ignition at Rich Stadium this evening. Jerry Garcia adding a little extra “4th of July” mustard to the lyrics and the band easily toying with the reentry at one point only enliven the crowd further. This is succeeded by “Greatest Story Ever Told,” with fellow guitarist Bob Weir taking over the controls, admirably backed up, as usual, by Brent Mydland both vocally and instrumentally on electric piano. In the pivotal three-spot tonight, the band reverts back to another old standby, their signature take on the folk classic “Cold Rain And Snow.”
Weir then tags back in for another cover tune. This time it’s the band’s take on “Walkin’ Blues,” an old blues standard that was reintroduced to their live shows a few years prior. A lively Hammond organ solo from Mydland that’s supplanted by slick work from Weir on guitar along with his signature vocal stylings highlight this one. Garcia seems to take great delight in playing the “Row Jimmy” that follows, as made evident by the smiles that accompany two poignant guitar solos and a flawless vocal delivery. It’s a beautiful rendition from an era of the band’s history that produced a lot of them.
The Dead then go back to their vaunted bag of “covers,” this time going with a choice version of the Bob Dylan-penned “When I Paint My Masterpiece.”
The Dead go back even further for the next song, “Stagger Lee,” their electricized cover of another folk song that dates back to the early 20th century. To close out the rest of the first, they return to their immense catalog of original material, starting with “Looks Like Rain.” Weir tackles the emotional vocals with ease while Garcia tacks on some more transcendent guitar fills for good measure. A rowdy “Deal,” accentuated by more frenetic work from Garcia on the fret board, then caps off the first set, with the Rich Stadium crowd vociferously making their appreciation known.
To ring in the second set for Buffalo’s 4th of July celebration in 1989, the Grateful Dead rip into an immaculate “Touch Of Grey.” The pulsating bass line deployed by Phil Lesh that doesn’t quit and more nimble guitar play from Garcia gets the communal engine revved backed up again in a big way.
After a quick pause, “Man Smart (Woman Smarter)” keeps the line moving. Brent Mydland steals the show on this one, lending both his signature raspy singing tone and some dazzling work on the organ that flavor the song perfectly. The Dead then go back into the earlier pages of the songbook again and slow things down a touch with “Ship Of Fools.” Some exquisite rhythm guitar play from Weir and fully engaged vocals on Garcia’s end seem to give this “Ship” a little extra edge to it.
But instead of a full stop afterwards, the Dead effortlessly slink into an instrumental section of “Playin’ In The Band” before taking it out for one verse, merely serving as a reprise. Perhaps remembering they opened the previous show with PITB two days ago at the Foxboro show, the proverbial ripcord is deployed and the band effortlessly shifts gear into a different classic, “Terrapin Station.”
Like it’s done so many times before, the percussive heavy outro of “Terrapin” slowly gets consumed by drummers Bill Kreutzmann and Mickey Hart and the “Drums” portion of the evening ensues. They leave no stone unturned, unleashing an impressive arsenal of percussive agents from around the world, including an electronic-sounding steel drum and an African talking drum.
Some heavy duty kaleidoscopic imagery accompanies their playing on the video, as the rest of the band begins to reenter the fray for the “Space” portion. Eventually, a familiar tone breaks through, a quasi-trumpet sound, courtesy of one of Garcia’s many guitar filters. This paves the way for the delicate “I Will Take You Home,” sung passionately as always by Mydland, that’s juxtaposed wonderfully with the scorching take of “All Along The Watchtower” that follows.
The end of the second set wraps with another couple of tried and true Grateful Dead live staples. “Morning Dew” allows Garcia to drop a few more staggering guitar solos, which he does with ease in conjunction with some truly inspired and emotional singing. “Not Fade Away” then gets the rest of the band, and the Buffalo faithful, singing together one last time to close out the set.
The crowd continues to serenade the band through the encore break which ends once “U.S. Blues” emerges, a fitting closure to this 4th of July show, and just like they had done three years ago as well.
Both full audio and video of this vintage Dead show can be found below. Happy birthday, America!
Grateful Dead Rich Stadium – Buffalo, NY July 4th, 1989
Set 1: Bertha > Greatest Story Ever Told, Cold Rain And Snow, Walkin’ Blues, Row Jimmy, When I Paint My Masterpiece, Stagger Lee, Looks Like Rain > Deal
Set 2: Touch Of Grey, Man Smart (Woman Smarter), Ship Of Fools > Playin’ In The Band Reprise > Terrapin Station > Drums > Space > I Will Take You Home > All Along The Watchtower > Morning Dew, Not Fade Away
NYS Music would like to wish a healthy and happy birthday to guitarist Al Schnier who turns 53 years old today. Al, a husband and father of two, first sat in with a band named moe. in 1991 and hasn’t looked back since.
A true New Yorker, Schnier was born in Utica, NY and attended New Hartford Central High School. One of his first musical endeavors was an eighth grade Rush/Neil Young tribute band called Cuttin’ Loose. High school and college at SUNY-Oneonta brought along with it various cover bands. In 1990, while playing in a band called Unclaimed Freight, Al came across a tape from some band from Buffalo called moe. and his life would be forever altered.
I heard that tape and I thought, ‘This is the kind of band I want to play in.’ … Of course, I never thought I’d be playing with moe., but six months later I ended up moving to Buffalo, and my next introduction to the band was actually sitting in with them.
Al Schnier
In 1991, Schnier first sat in with the band for a gig at Chicklets House in Buffalo, playing guitar and congas. The following year, after more sit ins and collaborations, Al became a fulltime member of moe. and has been a permanent fixture on his “side” of the stage ever since.
What’s transpired since is a remarkable recording and touring career that’s still going strong and has seen the band travel the world and play some of the biggest stages and festivals out there. Like any musician, Schnier has also had his fair share of side projects over the years. In 1999, he formed the folk rock band Al and the Transamericans that featured the late Gordon Stone on pedal steel guitar and Strangefolk’s Erik Glockler on bass.
Al has also self-produced and engineered a solo electronica album titled al.one that came out in 2001. A self-avowed Dead head, he’s also spent some time as one of bassist Phil Lesh’s “friends” for an incarnation of Phil & Friends in 2005. There’s been plenty of other collaborations since as well.
Schnier was also an original member of the “newgrass” band Floodwood, but has since departed. And he’s also a founding member of the voter registration group Headcount.
So let’s all raise a glass and cheers to Al Schnier, the birthday boy. Here’s to another trip around the sun and much more music to come.
