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Phil is on the road, playing with an exciting variety of other musicians. We are interested in your impressions on any of the shows you attend including setlists, venue and audience observations, noteworthy events, and opinions on the music. (Posted 10/30/99)

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We missed the opening jam->cr&s due to a GWB traffic jam, but arrived in time for the second jam into crazy fingers. They had the intro down, with Phil playing triplets like the old days, a nice reggae version. Rob Barraco did the fine vocals, and his playing was excellent. The post song jam took the familiar course through the spanish theme, into a jam (of course). New Speedway was done in Phil's vocal key and it sounded a little odd, almost like Way to Go Home, but they were funky. Then came a jam, I think. The jams were a little disjointed, the guitars just kind of follow, not lead. Where's the one? Is that it? Nah, how about that? Nah. How about that, ahh, close enough…New Potato(e) Caboose followed. The one song I always regretted never seeing the Dead play live. It was very well done, but a shadow of the intensity of the Dead versions. They bailed on the jam at the end, a shame as that is what I really wanted to hear, oh well. The jam meandered until they hit Bertha. The intro was way too long and contained unnecessary noodling. Just get to it boys. Phil and Rob patiently waited for the guitar players to cool it, then Phil belted out the words. The closest thing to Phil Bombs occurred during the jam. Then they ended. Yup. Group hugs all around then the set break. This is what I was looking forward to. Being able to relax for ½ hour and spy the crowd and get ready for set 2. Something I missed with the last run of 1 set shows. The backstage door was right next to us and the guitar players came out to hang out with the crowd. It was entertaining to watch the stream of people going in and out.

Many a train wreck was saved by the grace of Rob Barraco. He held the show together completely and still had time to really lock in with Molo and rock. He stuck to the piano most of the night, except for the organ on NFA. Molo gets the most improved award. He must've spent some time on the phone with Billy K, as his playing was much freer, and flowed with the music, he's learning the dance. Molo's cultural influence was evident as many folks have adopted his backward baseball hat look, either that or a lot of Dave Matthews fans were in attendance. Pevar was conducting the solos during the songs all night, with each taking a turn. That got kind of contrived after awhile. Pevar has the chops of an LA studio player along with the stage presence of Johnny Bravo (Greg Brady). Jimmy Herring has great chops and little stage presence and provided nice contrast to the mix. The band is hard to look at as they play, they sound much better with your eyes closed. I can see how people would say Pevar is showing off and intimidating Herring, but it's not like that, it's all just relative stage presence. Phil was the center of energy for sure, exuding a warm glow that contrasted with the lighting of the rest of the band, who at times looked like 2D cardboard cutouts (no drugs).

The guitar players spent way too much time doing aimless melodic noodling that clashed with Phil's melodic noodling. After all he is the king of melodic noodling (now). God forbid one of these friends would turn around and coax some feedback, or dissonance out of their instruments. The harmonized arpeggios get boring after a while. I found myself really getting into a jam, then just losing interest when nothing would happen. They should not be afraid to end more often. I miss the between song conversation brakes. The aimless noodling of the band while Phil attempts to conduct the intro for the next song gets old. The noodling in the intros often throws Phil off when he's trying to start the vocals. Intros should be short, like the dead used to do, oh yeah, I forgot about those 8 minute intros to Eyes, but hey, that was Jerry, 'nuf said.

Set 2 started with an excellent keyboard led jazz piece that rocked. That led into Scarlet Begonias, which had a real cool beat to it. Again, the key change made it sound very odd. There is a certain comfort to hearing it in Jerry's key that calms one's soul. Phil's key, on the other hand, kinda makes you nervous. The Scarlet jam was very nice and went some interesting places. Somewhere in the set was a nicely developed space piece (finally), with Phil leading the way into some truly uncharted territory using MIDI and feedback. We must be in space, there go some cool planets on the light show. Dire Wolf was played at a brisk tempo in fine form. Rob Barraco played the hell out of this one. As his solo rocked I had visions of him as a demented Uncle Floyd, all he needed was the plaid hat, as he barreled through it (again no drugs). I bet the rest of the Zen Tricksters are jealous. Another ending! No hugs though. Then they almost played Bird Song. Phil has a little conducting motion he does with his right hand too get the band to follow him, or maybe it is the Planet Phil Zone greeting. Molo needs to know that this song is all about cymbals. The vocals were way to tentative, should have let Rob sing it. Snow and Rain….wait, where's the one? is that it, nah, how about that, nah….oh well screw it…who needs it, and they are off, into a jam. Wait what song are they playing, I keep forgetting, is this the Allman Brothers? Wasn't that Jessica in there.

Then they played an "In Concert" version of Saint Stephen, complete with cool psychedelic Don Kirschner light show. I felt like I was watching it on tv in the 70's Wow. Phil even forgot the words! Again, too much noodling. The solos were too long, they always went just past the point where the verses should naturally come in. "Been so long he's got to callin' it home", followed by a rifle shot intro from Molo to wake up everybody so they don't screw up the timing for the "fortune comes a calling" line. I'll bet Phil paid him extra to do that. What is this now, Beatlemania? Phil looks like McCartney up there and it sounds like they may go into Sgt Pepper…. Nah, it's the Eleven. Cool, but where's Herb Alpert and the Tiajuana Brass when you need them?? The Eleven vocals were nicely handled by Rob and company. A very perfunctory NFA followed. Rob switched to the Hammond and paid Brent a tribute by playing his trademark riffs with passion. His left hand still held the band together, as it had all night. He had that band smoking, while he danced at the organ. After the Big Ending, Phil reminded us why we are all there and how lucky he (and we) are that he and other organ recipients are still with us.

The Attics encore was strange. The vocals were very tentative, but the music was perfect. Jimmy Herring played a beautiful accompaniment. But this is a chick song I think, let Mariah or Mahaila sing it next time. The harmonies tortured the PA, which distorted painfully with all the midrange. A very mellow note to end the evening on.

Maybe Phil should ditch the guitar players altogether, they are just like mosquitoes buzzing around. Just swat em. A drum, bass, piano trio would be fine, maybe a horn player or violinist. Rob's influences are very well channeled and non-derivative, his playing drove the band rhythmically and melodically. He seems to have the most original musical personality there, he combines his jazz influences with honky tonk and dead inspired exploration for a driving, infectious sound. His vocals are fine too. I think he could sing some Jerry tunes. He has the right to, as his background is one of long appreciation, and his career has been dedicated to it. Phil can belt out some tunes well, as long as he stays away from vocal improv. When he delivers a lyric straight they are ok, such as St Stephen. But, Bird Song could have been handled by Rob. Phils playing btw was excellent.

The difference between the effect of these shows and dead shows is huge. During P&F my mind is racing, all these thoughts swirling around. A dead show would calm the brain waves and thoughts would fade…serenity arrives. Just proves there is nothing like a grateful dead concert and there never will be.

Afterworde

Well, I got a great audience recording of the 4/22/00 show with Branford Marsalas and have given it multiple close listenings. My attitude has changed a bit about this music. Close listening reveals some of the most complex and beautiful improvisational music I've ever heard. However, I think It is impossible to appreciate this music on a first listen or even in a live environment, there are too many distractions. Including the thoughs in your head! This is heavy music, and overwhelming to the brain, especially when the show starts with it. With the Dead, there were always the Bobby polkas and the Jerry ballads to temper the cerebral stuff. And the Dead really weened us off the heavy stuff over the years. Phil can pull it out at a moments notice, and do it for hours. Everyone has their complaints about the dead members solo efforts, well, each one is exploring what they brought to the band to make it what it was. So quit complaining and take it at face value.