April 17, 1983 was the first time I saw the Grateful Dead play their magnificent trilogy of songs from what I consider their best studio album (from a band not known for their studio efforts), BLUES FOR ALLAH. Kicking off the second set with HELP ON THE WAY and moving seamlessly into the instrumental bridge SLIPKNOT! and eventually culminating –after a long, strange trip– with the ever-danceable and always-joyous FRANKLIN’S TOWER, the Grateful Dead, as they had done many times before, blew my mind. The band had just reintroduced this beloved combo of songs only a month before (after a period of many years where two of the three songs were simply not performed at all) and audiences were MUCHOS excited to catch this powerful musical triptych. This night was the fifth time they’d played these tunes together since reintroducing them.
Not only was this my first time seeing the trilogy live, but it was easily the best version I ever caught. While it’s true that by the spring of ’83 Jerry Garcia and the Grateful Dead were already showing signs of wear and tear, they also managed to maintain a vital energy that is fiercely evident in this audience recording from the Brendan Byrne Arena in NJ. They performed 2 back-to-back nights on this particular run and both nights featured appearances by Stephen Stills (though not playing on the above songs. Sorry). They were rockin’, magical nights and still talked about in the annals of Grateful Dead history. And rightfully so. There was a dynamic drive to both these shows that was palpable. And it still is as you’ll see when you listen to this tasty tidbit. I hope you enjoy it as much as I.
This stream is temporary so if you find it no longer works you can hear these songs, as well as the rest of the show, at the Internet Archive HERE.
I first saw this post-Grateful Dead musical incarnation last year at the Greek Theater in Los Angeles. They were here for one night only, but it was enough to convince me that this band had something going on that no other post-Jerry Garcia line-up had even come close to. Having already been a fan of lead guitarist John Kadlecik’s playing from his 12 years with Dark Star Orchestra, I was curious how he would mix with another band, no less one containing two of the Grateful Dead’s original members! Well, suffice it to say, he fit like a glove and the show I was treated to blew my mind. Songs I never dared imagine I’d hear live were suddenly pouring through the PA loud and clear and TIGHT! Something the Grateful Dead rarely managed in their final decade.
I’ve spent the last year since that show listening to a lot of Furthur on Archive.org and following their shows online with a somewhat religious fervor. I’ve also watched numerous homemade Youtube vids of their live performances to get an even deeper sense of their live venue-to-venue vibe. One of the standout realizations is that this past year has allowed Kadlecik to step up in a way he hadn’t been before; there had been a sense of “holding back,” whether real or imagined, that made me root for Kadlecik to find his new place in this band and embrace it. And it, him. And so, at last, he seems to have done just that.
This year, Furthur delighted us with a two-night run that was simply incredible. The first night was my personal favorite. There was something magical in the air and the band seemed to ride that wave. A wonderful convergence of events came together to make the night extra special. I had been lucky enough to get front row center seats. Now this is a bit misleading as there is a standing-room-only pit in front of the stage and we were right behind that; the first row of actual seats. Sadly, the pit isn’t actually a pit, so it’s not sunken, which means there were many a head (Head?) to peer over to see the band clearly. But we were close and deeply absorbed in the space.
I was also lucky enough to be treated to a VIP pass which allowed my friend and I to indulge in some nice munchies before, during (intermission) and after the show. Free drinks, warm coffee, and a chance to say howdy to the band and other Furthur family members, both new and old.
Outside, it was a somewhat brisk Southern California evening. It had been pouring rain all day and most folks I know were more than a little worried that we’d be drenched and wind-swept as the band played. After all, the tickets did say Rain Or Shine. But just hours before show time, the skies cleared as if the storm had purposefully moved through in order to clean the smoggy L.A. air for our welcomed visitors. The sun went down, the moon and stars came out, and the band took the stage for a first set that turned out to be wonderfully Europe ’72-centric. Perhaps, as this is the home of Rhino (keepers of the Grateful Dead musical archive), the band were honoring the recent release of a very successful and grandiose box-set of the entire Europe 1972 tour. Or maybe it was just in the clean air. Whatever it was, the music was soaring and heartfelt. One song after another with nary a stray tune to break the spell. MUSIC NEVER STOPPED was a nice opener, but the boys were still warming up. BERTHA got the momentum going, but it was CUMBERLAND BLUES that finally kicked into gear. This band was on fire and the temperature never dropped. The NEW SPEEDWAY BOOGIE set-closer left me immediately hungry for more.
That’s me on the left, Andy on the right.
My friend Andy, who accompanied me, had never had the privilege of seeing Furthur before (nor had he ever seen the Dead, but I’d dragged him to a couple of DSO shows which he really dug). He seemed to genuinely respond to the music and I was glad he was getting to see the band on one of its better nights (given my disappointment with a recent DSO show we had attended).
Set 2 opened with SAILOR->SAINT and I knew from the tightness of playing that we were in for a great ride. And what a ride it was. Any night that gives us the full TERRAPIN SUITE is a night worth remembering. And this one was beautiful, powerful and engrossing. I was worried for a moment when they slipped into DAYS BETWEEN, but Bobby delivered it with an ease and sensitivity I’d not heard him bring to this tune previously. Bobby’s singing has been a mixed bag for me with Furthur. He’s taken to speaking many of the words instead of singing them and his newfound “style” doesn’t always seem to be in sync with the lyrical nature of some of the tunes. Particularly the Jerry tunes. I don’t know if Bobby’s approach is due to age and a voice finally failing, or whether it’s just a creative choice. Or both. But Bobby’s vocal contributions are rather inconsistent. But on this particular night, he was exactly where he needed to be. More melodic and articulate than he’s been of late. Phil’s singing, on the other hand, has grown in leaps and bounds to be, oddly enough for a man in his early 70′s, better than it’s ever been. Phil’s EYES OF THE WORLD was spectacular. He’s really overcome what for many years had seemed like an impossible task: singing in tune and with style and purpose. Mr. Lesh has overcome any obstacles between himself and his voice and it is now a treat to hear him sing and own these songs. And to watch this man smile all night long… What a joy.
It occurred to me on that first night as I watched Phil and Bobby, that I’d been seeing these two men play live music for 32 years. They were young men when I first saw them. Now they are in their final decades. But there they are, all smiles and confidence and making truly incredible music. There is a genuine love and pride I feel watching these two old “friends” do what they love and do it so well. And I feel extremely lucky to be still participating in those events and moments. We are on borrowed time here and we all know it. And I think many are realizing that Furthur is a VERY special band; the combination of the right musicians coming together to create something incredibly unique and powerful. As if lightning has struck twice. No, this band has no Jerry Garcia (who in my mind ranks up there with Coltrane and Davis and Parker), but they do have something rare that has taken Phil and Bobby a long time to find again, something many of us believed would never happen. Thank the universe it has.
And this is all possible in no small part thanks to the mind-blowing contributions of Jeff Chimenti on keyboards, Joe Russo on drums and Sunshine Becker and Jeff Pehrson on backup vocals. Chimenti’s craftsmanship, technique and style is incredibly moving. He is, without question, my favorite keyboardist ever to share a stage with Phil and Bobby. And that includes Keith Godcheaux, who was my favorite keyboard player to share the stage with the Grateful Dead. Chimenti’s heart and soul is in his playing. I can’t get enough of it.
Joe Russo on drums is not only a powerhouse of a drummer, but his musical instincts and skill make this band. Without him, there would be no Furthur, plain and simple. His pulse and momentum, his singular rhythmic voice, infuse every moment. And Sunshine B and Jeff P add that much-needed layer of beauty to the songs. Songs which cry out for -songs which demand– the lilting, melodic tones of their combined harmonies and their profound and passionate interpretations.
And even though I’ve already sang his praises, Kadlecik has overcome any doubts Dead Heads may have had by proving that he is not a Jerry-clone, but an inspired, supremely talented guitar player who has taken the influence of Garcia’s style and turned it into his own rich voice with unique phrasings and a sincere emotional resonance that is pure John K. His ability to live in the music is staggering. We are all very lucky that the path he is on has led him here.
Due to a strict curfew, the first night’s show was cut short and set two ended with an abrupt climax to GOIN’ DOWN THE ROAD FEELING BAD (throwing John K for a moment). NOT FADE AWAY had been the prearranged set closer, but the band never got there. A quick donor rap by Phil was followed by an energetic, but highly truncated JOHNNY B. GOODE (which also threw John K for a moment. Maybe Phil and Bobby need to communicate with him a tad better. Under the circumstances, I thought John adapted with surprising grace and creativity. You had to really pay attention to realize something was off at all). And no customary stage bow. But this was all good and done with an immense sense of humor, which just adds to the vibe of a celebration more than a “show.”
The second night was dedicated to the late Steve Jobs. This was not revealed, however, until the end of the first set. I’m glad it was as I had been feeling a lack of cohesion to the set list. The first night felt like a very particular vision, there was almost a story being told. This first set on night two lacked that. Until Phil announced its inspiration and then it all made sense; it all fell into place. Pink Floyd’s TIME was the first set highlight for me, as I imagine it was for many. Ethereal and energized, the set really kicked in for me at this point and the follower, DEATH DON’T HAVE NO MERCY (one of my all-time faves), cinched it. I had chills and Bobby, again, brought a rare level of perfection to his vocal approach. This was followed by RIPPLE which is seen by many as the quintessential Grateful Dead song. It can’t be sung without conjuring up Jerry and all things lost to us. All the while filling us with a serene warmth that is known for instigating those irrepressible smiles that so often go hand-in-hand with the music of the Grateful Dead.
The second set was just a stellar set list. I still preferred the energy of the first night more (it’s a very personal thing, quite subjective), but no one could complain about the choice of songs or how they were played on this night. THE WHEEL and UNCLE JOHN’S BAND, THE OTHER ONE into ST. STEPHEN… So much fierce energy, so much joy… I had a distracted moment during the second set where I chose to head down to the pit during MOUNTAIN SONG to meet a friend (and grab another VIP pass). I usually like to keep all distractions to a minimum and allow the music to take me away. As much as I tried to stay focused and involved, this little excursion took me out of the music for a short time. I got to watch I KNOW YOU RIDER from the pit, then traveled back to my section B seats and the dear friends who I had the honor of sharing this show with. Being close to the stage is never a substitute for being with good folk.
There were a few songs that were on the pre-arranged set list for this night that got cut at the last minute. SUNSHINE DAYDREAM was initially planned to follow RIPPLE, but Phil seemed to recognize the perfection of ending the set right there and made it so. Set two was supposed to open with CRYPTICAL ENVELOPMENT (one of my favorite pieces ever!), but that was cut. Why? Who knows. Perhaps awareness of curfew time-constraints, or maybe being too nail-on-the-head for a Steve Jobs-dedicated show (“You know he had to die…”). No matter. The band more than made up for what we didn’t get with what we did get! The band left us with the melodic and harmonious intonations of ATTICS OF MY LIFE buoyant in our hearts and minds.
October 5 & 6, 2011 at the Greek Theater in Los Angeles were two nights of bliss I will keep with me forever. Much of my life has been happily consumed with the music of the Grateful Dead and I am ecstatic to be able to continue to experience this music in a live setting, re-imagined, rediscovered by the men who originally created it, taken to new heights. Furthur is not the Grateful Dead. And they don’t seem to be attempting to recreate that. They are their own band, with a unique sound. A jazzier outgrowth of the Jerry Garcia variety of Grateful Dead-influenced experiences. And that is exactly what was needed to allow these musicians to be their own band, and not some fancy cover band that could never live up to their glory days. Furthur is currently immersed in and embracing their own glory days. And I am thrilled to be alive to share it.
Here is the entire TERRAPIN STATION SUITE from the first night for your listening and viewing pleasure:
This has nothing to do with the talent or skill of Dark Star Orchestra. I have never seen them not play well. But I am learning something about myself that I must face: I’m simply not fond of the Grateful Dead’s set lists or sound post 1984. In fact, I would go as far as to say that, where DSO is concerned, I don’t need to see them recreate any shows post 1979. But Dark Star Orchestra doesn’t play for me and me alone, they do what they do. Which is recreate Grateful Dead concerts from the band’s many eras.
And this is where I have to be honest with myself. The Grateful Dead were never the same band for me after keyboardist Keith Godchaux left and Brent Mydland stepped in to take his place. Brent was a supremely talented musician. No one who knows anything about music could deny this. However, his style of playing, singing and songwriting was so vastly different from the Grateful Dead I fell in love with that I was never fully able to embrace his contribution. Ironically, I never had the opportunity to see Keith perform with the Grateful Dead. My first show was in September of 1979 shortly after Brent joined the band. But I had been listening to the Grateful Dead for many, many years before I had the opportunity to see them live. And in those early days of Brent, he was a bit more subdued. But within a couple of years, his playing became busy and forceful to the point where almost all the quiet spaces within the music were filled. For me, it was a sound deluge that diminished the delicacy I had come to love and expect from the Grateful Dead. The jazz-influence that Keith advanced in the band –his sense of when to step up and when to step back– was lost with Brent’s enthusiastic contribution. It wasn’t wrong, just different. And, for my personal taste, less preferable.
Now understand, ever since the beginning of the Grateful Dead, they were a band capable of vast depths of sound; they could be as quiet as a single soft breath or as loud and complex as a city under siege. But it was the contrast between these two spaces that made the adventure of seeing and listening to the Grateful Dead a genuine journey. Brent diluted this contrast for me. The cacophony became more consistent, more the norm. And, as will happen with the addition of any new sound, any new influence, it effected how the other band members approached the music.
Then there were the songs that Brent wrote. Simply put, Brent’s skills as a songwriter were not in sync with what attracted me so intensely to the Grateful Dead. I know that Brent was profoundly disheartened to see so many people choosing his songs as their bathroom break or an opportunity to visit concessions, but he never seemed to consider that his style of songwriting was not the kind of music that attracted many Dead Heads to the Dead; Brent’s songs were more direct in their storytelling, less ethereal and poetic. They were also seeped in a pop-ballad style that seemed to defy the Grateful Dead’s deeper exploratory nature. Yes, the Grateful Dead were a reflection of all types of American music, but I suppose the part of Americana that influenced Brent never appealed to me and, as talented as he was, I never found a way into his music. It simply did not move me. In fact, it did quite the opposite. For me, it stopped the show in its tracks.
Later audiences seemed to embrace Brent’s songwriting. In many ways, it was more in sync with what drew these later crowds to the Grateful Dead. Pop songs like TOUCH OF GREY and WHEN PUSH COMES TO SHOVE or FOOLISH HEART, all Garcia/Hunter originals, were appealing to a generation that preferred “ditties” over depth. I rarely enjoyed these songs and, like Brent’s musical preferences, they stopped the show for me.
Last night’s Dark Star Orchestra show at the El Rey in Los Angeles was filled with these show-stoppers. And, as if pre-planned, the audience seemed to be made up of far more frat-boys (of varying ages) as well as men who clearly spend an inordinate amount of time at the gym pumping iron. This evening would find them with their trendy-clad girlfriends by their sides. It was like DSO were playing 24-Hour Fitness.
In effect, the show recreated was from May 9, 1987 and the audience matched the era. Eek. This was a time when the Grateful Dead were slowly being pushed out of their favorite venues due to uncontrollable crowds. The scene was turning, and not for the better. TOUCH OF GREY ushered in a whole new audience that changed the vibe forever.
Now, one good thing about DSO recreating these later shows is that DSO is, invariably, a far tighter band than the Grateful Dead were at this point in their development (or devolution, as many would refer to it). So the playing last night was solid. Tight.
But I’ve discovered (or more aptly, am ready to admit) that the allure of DSO for me is in seeing those earlier shows. Opening with SUGAR MAGNOLIA-> SUGAREE was very welcome. And even ME AND MY UNCLE-> MEXICALI BLUES was fun and well-played and still in keeping with the oldies but goodies theme I so love. But then suddenly, I’m plunged into WHEN PUSH COMES TO SHOVE, a song I never understood the appeal of. For me, it was not reflective of Garcia’s musical strengths. If this were the music of the Grateful Dead from the get-go, I never would have been attracted to them. This was followed by the (IMHO) dreadful Brent tune TONS OF STEEL. Try as I did, I was not able to shed the sinking feeling building in my gut. I was no longer “in” the music as I had been for those first two songs. Then BROTHER ESAU followed. While a far better song than the two previous, it’s still something I have a hard time getting excited about. This trifecta left me feeling disappointed and “outside” the show.
Luckily, the TENNESSEE JED and LET IT GROW brought me back up, though never to the level where I had started. There was something in my gut, expectations foiled, that I could not shake. Truth be told, as soon as I walked into the El Rey and saw that the guitars and drums were set up for a show most-likely from the 80′s or 90′s, my heart sank a bit. But there was an extra mic set up which gave me hope that this would possibly be an original setlist and not a show from my least favorite era (as it suggested the inclusion of the fabulous Lisa Mackey in the Donna Godchaux role). Alas, the extra mic was removed and my hopes dashed.
The second set started off with more dismay. TOUCH OF GREY. I could live a long, happy life and never hear this song again. It’s a fun little ditty (there’s that word again), but it’s a sad replacement for the possibilities of second set openers the Grateful Dead were accustomed to treating us to. This was followed by LOOKS LIKE RAIN. Never one of my favorites, it was at least an older tune, but one usually reserved for first sets, not second. Again, given what second sets often had to offer, this felt distressing. I was, at this point, thoroughly removed from the show and could have actually walked out and called it a night.
Now I don’t want anyone to misunderstand my statements here. Dark Star Orchestra played these songs, each and every one of them, with energy and conviction. As I said before, in many ways better than the Grateful Dead themselves had in 1987. The disappointment I was feeling began and ended with me. No one else. It’s my personal taste and desire. It’s what I want to get out of the experience of seeing DSO that was unfulfilled. DSO was just doing what DSO does. And, try as I might to counter it, so was I.
The HE’S GONE-> JAM was very well played, particularly the long OTHER ONE TEASE JAM which started to lure me back in. DRUMS->SPACE were customary and enjoyable, but the sinking feeling in my gut had already settled too deeply. The rest of the show was filled with songs I truly love. All of them soared with energy. And at times I was moderately transported, but that feeling in my gut that had settled there never left. It remained like a shroud over even the best moments. I was aware of trying to get rid of it, to let it go and enjoy being there, listening to live music again. But my attempt ultimately failed. I could not transcend the moment.
All of this is made even worse by the fact that I’ve been reliving the Grateful Dead’s Europe ’72 tour in its entirety thanks to the recent release of the entire tour on CD. This is widely considered the Grateful Dead’s best tour ever. And I wouldn’t argue that. So much so that the set list from ’87 just seems downright lazy by comparison. A friend of mine also in attendance pointed out that DSO could have played any show from ’65 through the first half of ’79 and you wouldn’t hear a single song that would disappoint. The same can’t be said for any show post.
The only criticism I have of DSO as a band is that, now with the inclusion of Jeff Mattson -who I must say is an amazing guitarist and about the best replacement for former lead-guitarist John Kadlecik that one could imagine– this incarnation of the band seems intent on bringing every song to its highest peak. And they’re damn good at doing it. But there’s something almost “manufactured” in their doing so. As if subtlety and nuance were not quite as important as blowing minds. It happened so much that it ceased to be special and started to feel too easy. It didn’t feel organic. It wasn’t the music playing the band. This felt pre-planned in some way. Now that may not be accurate to what was actually taking place for the musicians, but it was my experience. Sometimes making a song “explode” is not the best thing for the soul of the music. But I’m just an audience member and probably one of the few who didn’t walk out of the El Rey last night satisfied. It is my personal cross to bear, I suppose. Again, it’s what I want that is not always in sync with what DSO is offering. That is no fault of theirs. That’s all on me and I take full responsibility for it.
I wish in the future I could know whether DSO were going to play a show from an era I want to travel back in time and experience, or whether they’re recreating an era I need not revisit. That would help me decide whether or not I need attend, to avoid disappointment or embrace that which I love and yearn for. But such things are not the way of the world. So I must take my chances, make my decisions. Perhaps I’ll just see DSO every other year and hope for the best.
Jeff Mattson made his Los Angeles debut as the lead guitarist/singer for Dark Star Orchestra Friday December 3rd, 2010 at the El Rey Theatre. My favorite venue to see this incredible band was the perfect setting for Mattson’s introduction to Angeleno Dead Heads and DSO Heads alike. I’ve been listening to Mattson’s work within this incarnation of the band and have been wildly impressed. But nothing I heard came close to seeing these folks work their magic in a live setting. No recording can do it justice.
I’ve said it before and I’ll repeat it here: Dark Star Orchestra is the closest thing to the real Grateful Dead experience I have ever come across. At times DSO even one-ups the boys, particularly when recreating shows from the late-80′s and 90′s when the Dead themselves had clearly moved beyond their prime. Luckily for me, however, DSO recreated a GD show from the Shrine Auditorium in Los Angeles originally performed on January 10th, 1978, one of my favorite years out of the 30 they played. The set list was as follows:
Set One: Bertha > Good Lovin’ ; Brown Eyed Women ; Mexicali Blues > Me And My Uncle ; Friend Of The Devil ; Cassidy ; Candyman ; Passenger ; Sunrise ; Deal > The Music Never Stopped
Set Two: Jack Straw ; It Must Have Been The Roses ; Estimated Prophet > He’s Gone > Drums > The Other One > Wharf Rat > Franklin’s Tower > Around And Around
Encore: U.S. Blues
DSO added one more song as filler, something they do quite often. On this night, we got keyboardist Rob Baracco recreating Pigpen’s “Mr. Charlie.” The perfect topper to a perfect evening.
Mattson’s an interesting fellow to watch. His seemingly expressionless features can quite suddenly transform into a wide, buck-toothed grin as he –and us– are caught in a moment of uncontrolled ecstasy. Simply put, Mattson is a joy to watch and the music that rolls effortlessly off his fingertips lifts the very floor beneath your feet. And the rest of the band grin right alongside him as the music crescendos again and again, spreading irrepressible smiles through the audience until the whole joint is dancing wild, screams of joy bursting into the air, hairs standing on end. It is one of the great moments in life that remind you just what an amazing experience we are capable of achieving here on this earth.
It is truly a gift. And just in time for Chanukah. :)
I recorded most (though sadly not all) of the second set on my iPhone. It’s far from great quality and I’ll be replacing it with better as soon as something shows up on Archive.org or elsewhere. But in the meantime, this will have to do. And I apologize for the loud woman who appears periodically throughout the recording. She was a sweetheart, but she must have been feeling A.D.D. this night as she rarely stopped talking or moving. She loved the music, but being able to concentrate on it for more than a few seconds at a time was not her strong suit. That said, she had a good time and couldn’t have been nicer. The recording, however, picks her up like another member of the band. And a less talented one, I’m afraid. But that’s the live concert-going experience, warts and all, as it were. Nonetheless, it felt like family in there and, though I arrived alone, I never for a moment felt it. And this woman helped make that possible for me and for that I am grateful.
If you’d like to listen to the second set from Estimated Prophet on, you can get an mp3 HERE.
In addition, here are some vids I also took with my iPhone. Excuse the jerky nature of the image. I was dancing, dontcha know. Make sure you check out THE MUSIC NEVER STOPPED. One of the best I’ve seen. Ever.
Continuing their newly discovered ability to dip into the 1960′s, DSO has once again recreated a 1969 Dead show. This one from 04/22/69 at The Ark in Boston, MA. This is the oldest set of Grateful Dead music DSO has ever performed in their 13 years together. Very cool, if you ask me. And we have lead guitarist/vocalist Jeff Mattson to thank in large part for these stellar, ageless journeys.
This show also dipped into Jerry Garcia’s August 1st Birthday just before the encores. Performing at the Town Ballroom in Buffalo, NY, on the night of July 31st of this year, DSO wished Jerry a very happy birthday before plunging into a staggering Viola Lee Blues> Alligator> Viola Lee Blues.
Those of us following the trials and tribulations of Dark Star Orchestra know that, since the sudden exit of lead guitarist and founder John Kadlecik, DSO members have played with two different guitarists with the intent of making a final decision as to who would become their next permanent member. And while I personally loved seeing them with Stu Allen, I also loved hearing them with Jeff Mattson. Both brought something to the band that would have been a welcome addition. There really was no wrong choice. However, I think most of us knew that Mattson was looking like their guy for quite some time so this announcement just verifies what most of us already assumed. The official announcement from DSO:
Jeff Mattson Gets the Gig
After months of touring and playing with Jeff, we have decided to offer him the full time gig, which he has gratefully accepted. Jeff has blown us away with his energy, licks, and presence on stage. He is a great guy, an inspiring musician and so much fun to perform with, we cannot wait to get back out there and mix it up with him once again. We are having more fun than ever and are looking forward to seeing you all at the upcoming shows.
Congrats Jeff. Looking forward to seeing you live!
What an interesting opportunity to be able to compare three different interpretations of Jerry Garcia’s influence on lead singer/guitarists all within the same band. Since founding member John Kadlecik made his exit to play lead in Bob Weir and Phil Lesh’s Further, Dark Star Orchestra has been playing with two different replacements. The first, and again current, is Jeff Mattson of The Donna Jean Godchaux Band. The second was Stu Allen of JGB fame. Both are heavily Garcia-influenced guitarists, but both bring an original vibe and approach that is distinct.
Stu Allen
Having listened to both of them (and seen Allen live), my immediate sense is that each is an exciting replacement for Kadlecik. Stu Allen, after years with JGB, has a more relaxed approach. Meaning, he takes his time and lets the music build slowly until you find yourself in the midst of a crescendo you didn’t necessarily see coming. Not that it feels out of place. Quite the contrary. Allen’s playing is so mesmerizing and natural that it’s easy to drift into an almost meditative state while immersed. It’s downright hypnotizing.
By contrast, Mattson moves toward the peak quicker, though he’s hardly rushed. His playing is energized and intense. Yet he still maintains that fine balance of exploring the music while pushing the sounds toward a natural crescendo. But there’s a rock-n-roll edge to Mattson that separates him stylistically from Allen.
The differences don’t stop there. According to DSO keyboardist Rob Barraco:
“The one thing that Jeff has above everybody else is that he really understands the earlier bend on the Dead. The late ’60s, early ’70s. He does it so well and that’s something that we really haven’t concentrated on in this band until now. Jeff brings just a little more grease, that psychedelic greasy element that was missing in John’s playing. Not to demean John’s playing, because he’s brilliant. That’s just what Jeff brings that is different.”
“[Mattson] comes at it from a place of its inception almost. He understands where it started and how it started and what it felt like when it started. He brings to the table a really deep understanding of what Jerry meant to this music in a pretty profound way that I didn’t realize until I started playing with him.”
Jeff Mattson
Allen, it seems, favors the 80′s. That makes Mattson a great choice simply based on the fact that we stand to get recreations of more early Dead shows and that’s my personal preference. On the other hand, Allen kicked ass when I saw him with DSO and his extraordinary vocabulary and lilting late-Jerry voice was a real plus. I would go back to see him again in a heartbeat. So it’s hard to choose. They both have different strengths that make them truly captivating and alluring.
Both players seem to have stepped into Kadlecik’s shoes (and, by extension, Jerry’s) with relative ease. And DSO band members seem to have embraced both with equal vigor. They appear (and sound) like they are having a blast. No matter who’s standing in the lead guitar role. That means, no matter who you see them with, you’re in for a treat.
Here’s a bit of both to give you a taste. This first link is to DSO’s recent show in Hampton Beach, N.H. second night. Some Deadhead friends of mine were there and, thankfully, the original setlist could not have been a better one for them. The first set is quite good, building from an ambiguous place into being a great lead-in to what turned out to be a killer second set. And Mattson rocks it out with style.
The second is from Petaluma, CA. last April with Stu Allen standing in. There’s some truly amazing musicianship taking place here.
Both are original set lists and fascinating to take in for their diversity of style, as well as their similarities.
Enjoy. And I’d love to hear your feedback on which guitarist you lean toward. If any.
It seemed no sooner had I discovered Dark Star Orchestra than lead guitarist John Kadlecik announced he’d be leaving the band to tour with Grateful Dead founding members Bob Weir and Phil Lesh. Quite a coup for the man who founded the single best Grateful Dead “cover” band ever with DSO. But, for anyone who knows them, “cover band” seems too slight a term. It’s almost insulting. What DSO does is so much more than “cover” Grateful Dead songs. They use the Dead’s influence of improvisation to take those Grateful Dead songs and set lists and transport them to places they’d never been before. As far as energy, musicianship and inspiration goes, this is a band lacking in none of the above.
So, suffice it to say, I was seriously depressed to hear that Kadlecik was moving on. Selfish, I know, but I had truly missed the Grateful Dead musical experience and DSO brought it back to life with new breath in a way I never dreamed possible. But without Kadlecik, I thought to myself, the experience and joy would once again disappear from my life so far as the live experience was concerned.
I was wrong.
I didn’t manage to catch DSO touring with temporary guitarist Jeff Mattson. The recordings I’ve heard, however, sounded pretty damn good, I must confess, and I was surprised to say the least. But for this tour, they brought on the post-Jerry Garcia version of JGB’s (Jerry Garcia Band’s) lead singer and guitarist, Stu Allen. Skeptical with good reason, I almost had an “I dare you to knock me over,” attitude toward Stu. And I’m sure I wasn’t alone in this as attendance at Wednesday night’s DSO show at the El Rey Theater in Los Angeles confirmed; the place was 3/4 full compared to last year’s packed house. “No Kadlecik? Why bother?” must have been on several lips of the unattended.
But I’ll tell you why.
Stu Allen.
And the rest of the incredible musicians we already know, love and admire.
They are a match made in heaven.
After years of playing in Garcia’s JGB shoes, Allen not only mastered many of Garcia’s signature licks, but he also learned how to take his time; to avoid the quick kill, the instant peak, to let the music find its feet and climb higher and higher until you’re standing atop Everest looking out over the world. Allen helped the already tight musicianship of DSO soar. And while very Garcia-like in his instrumentation, Allen still manages to find his own voice. And now that he’s playing in a Grateful Dead/DSO environment, he’s challenging himself even further and the beneficiaries of such an exercise are the audience who decide to show up and see what’s what.
If I had any personal disappointment with last Wednesday’s show, it would be that the original set list played was not strong on my favorites. Though I saw the bulk of my Dead shows in the 80′s, I’m more a fan of anything and everything pre-1979. Some great stuff came out of the 80′s, no doubt. But there are some songs that just never did it for me. And part of that may be that by the time the Dead wrote them/performed them, the band had lost its edge (IMHO) and the songs never grew to full maturity. I suppose that’s one of the glories of DSO. For the first time ever, some of the latter Dead songs are given a new lease on life. For me, it felt like I was hearing many of them for the first time. Garcia’s FOOLISH HEART, never a fave, grew to ecstatic peaks in the hands of DSO and Allen until the band appeared as if they were floating a solid foot above the stage! And we, the audience, were right there with them!
Part of the DSO experience I most love is the possibility that I will be transported to a time and place BEFORE I got to see the Dead myself (my first show was September 1979). While I can’t always be granted such a wish, I am thrilled to be standing in a theater seeing one of the best jam bands in existence playing ANYTHING. The fact that it might be a Dead show from the 80′s or 90′s is about as horrible as winning $10 million instead of $20 million. Either way, I won’t complain and I’ll happily show up to accept what’s being offered.
As far as Stu Allen goes, I don’t know what the other DSO band members are thinking, but Stu gets my more-than-enthusiastic vote. If you close your eyes, his singing sounds a hell of a lot like the later, heartfelt Garcia, while his guitar playing is celebratory and youthful. His sense of timing and his “hey, there’s no hurry” onstage nature elicited complete confidence and ease. It set the stage and I was ready to journey to whatever magical lands rhythm guitarist Rob Eaton had mapped out for the night. And while maybe not quite as polished as they had once been, with Allen in Kadlecik’s shoes, DSO still rocks as well as rolls. And this with only a handful of shows under their collective belts! Imagine where it might go once they get more familiar with one another. Let’s hope we get the chance to find out.
For a nice taste, check out this transcendent version of SHAKEDOWN STREET (split into two video parts) from the El Rey Theatre the other night.
Enjoy!
And if you liked that, check out this rockin’ version of DEAL from that same show:
Regarding questions on Dark Star Orchestra’s revolving lead guitarists, rhythm guitarist and singer Rob Eaton hopped on one of the forums to let everyone know the status:
We are going through MAJOR changes and decisions, patience on the fans’ part would be a great help to us. Here’s what I can tell you at this point: Jeff [Mattson] will be on the next tour. He knows how we feel about him but he has things he needs to deal with and work out outside DSO. He was not able to commit to the April [tour] back in Nov when we asked him and thus we decided to see what Stu [Allen] has to offer. Stu is scheduled to perform the April tour and the April tour only. We will then be in a better position on who would be the best fit for the permanent guitar spot going forward. When we know what the future will be we will let everyone know but I would ask everyone to PLEASE let us work this out….. One thing I do know for certain is JK [John Kadlecik] will not be back playing with DSO so we have to make the right move for all of us going into the future.
I’ve listened to Jeff online and thought he was amazing. I’ll be seeing Stu in April here in L.A. and will hope that he is equally amazing and unique. Only time will tell. I’m looking forward to seeing Jeff on the following tour. I’ve yet to see him in person. Just keep playing, boys.
It’s always a bit scary to watch a band you love lose its lead guitarist and move through several new ones as it tries and find its new footing. And so it currently goes with Dark Star Orchestra. With the loss of lead guitarist and founding member John Kadlecik to Further (Bob Weir and Phil Lesh’s new band), DSO snatched up Donna Jean and the Zen Tricksters‘ Jeff Mattson. I was concerned as John’s shoes were gonna be hard, nay near impossible, to fill (hell, the shoes John was filling were as tough as any and he did them justice). To my surprise and ecstatic delight, Mattson slipped right in with DSO as if he had been there all along. Perhaps not quite as nuanced as John had been, but damn impressive nonetheless.
Stu Allen
So no sooner had I bought tix to see DSO‘s new incarnation, than the band announced yet another lead guitarist for the spring tour to take over Mattson’s short-lived slot. What? This was not good news, to say the least. I mean, how many times can you fill these very large shoes and hope that they fit somewhat snugly and don’t just fall off mid-stride?
I don’t yet have that answer.
DSO‘s new guitarist, Stu Allen, has certainly filled big shoes before. In fact, the same shoes John Kadlecik filled. Only in a different incarnation. Allen has been the lead guitarist for Jerry Garcia’s namesake band JGB with keyboardist Melvin Seals. And having listened to some of their work, I have to say, I’m pretty impressed. Allen also heads another Grateful Dead tribute band called Front Street.
Less impressed.
While not a bad band by any stretch, they do not capture the energy that DSO has conjured up. So what will happen when these two forces meet to create something entirely new? We’ll just have to wait and see. There’s enough to suggest it might just be the perfect match. Or it may fall short of the mark. The bar has been set quite high, after all.
So I will listen and post here as DSO‘s spring tour starts. And I will keep my fingers crossed and my heart and mind open. And hope this new phase of the journey doesn’t wear out those old shoes anytime soon.
Here’s a bit of Stu Allen with JGB:
And with Front Street (with the Grateful Dead’s Bill Kreutzman sitting in as the second drummer):
April 17, 1983 was the first time I saw the Grateful Dead play their magnificent trilogy of songs from what I consider their best studio album (from a band not known for their studio efforts), BLUES FOR ALLAH. Kicking off the second set with HELP ON THE WAY and moving seamlessly into the instrumental bridge SLIPKNOT! and eventually culminating –after a long, strange trip– with the ever-danceable and always-joyous FRANKLIN’S TOWER, the Grateful Dead, as they had done many times before, blew my mind. The band had just reintroduced this beloved combo of songs only a month before (after a period of many years where two of the three songs were simply not performed at all) and audiences were MUCHOS excited to catch this powerful musical triptych. This night was the fifth time they’d played these tunes together since reintroducing them.
