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GRAB launched into an arena-rock jam, full of bombastic energy and wailing leads emanating from the Languadoc,
and then "Mud City" was balls-out rock to the core, with Gordon and Russo locking in and chugging it along like a
Mack truck. Joe Russo is an animated player, and under these circumstances, he was no different. You can clearly
see him enjoying himself during the charging "Host on the Potomac," "Dragonfly," and definitely "Mr. Completely,"
which at Holmdel was delivered with a confidence and freedom Trey has lacked in recent endeavors. As Trey led the
band into his solo 'anthem,' the extremely generic and woefully inept "Shine," complete with plodding, Def Leppard-
esque outro jam, one had to wonder what Russo must have been thinking - the eclectic, cutting edge, avant-garde
player/listener that he is. Pin Me. Pay Me!!?? Just a thought...
Marco Benevento ::
06.30.06 |
Marco Benevento, on the other hand, is certainly stoked. His virtuoso keyboard prowess and inventive jazz/rock
styles have awoken a sleeping giant. Marco has pushed Trey back towards the fire and is challenging him each and
every night in front of thousands. Marco isn't in awe of this man, nor is he employed by him. Trey is playing with
the Duo because the Duo is that good. It is evidenced each time they take the stage.
A raging rock cover was added to the repertoire for Holmdel, a ferocious take on the Beatles' "Get Back." The jam
that followed this vigorous song was pure rock & roll swagger, a la Phish's "Loving Cup" or the GD's "Baba O'Reilly."
The four musicians seemed to check their agendas at the door for this one and united in a collaborative tribute to
another of the great rock songbooks. Quite conversely, Trey made the sad attempt at covering one of Russo's
demigods, Elliot Smith. The resulting flubbing of "Coming Up Roses" was sincerely embarrassing. A good intention
was evident, but Trey really should have better familiarized himself with the composition before attempting to
deliver it to thousands of paying fans. Sound familiar?
G.R.A.B :: 06.30.06 |
Just to right the ship in regards to cover songs, the Phuo attempted another in the bag of Duo tricks, a Zeppelin
cover. Those in Duo-land know what Marco and Joe are capable of when it comes to 'Getting the Led Out.' Phish
themselves have a storied history of Zeppelin covers as well, so it was fairly disappointing when the "Communication
Breakdown" encore lacked the punch that any of their previous Zeppelin tributes had displayed. Sure, one can't
expect Bustle in Your Hedgerow; however, this limp-wristed version of a classic fuzz-box riff was just flat. Many
would have preferred a Duo or Mike original to help balance out the plethora of Trey solo material that has plagued
this project, especially early in this tour. One must assume some were quite thrilled with the early Zep chestnut, as
it received a raucous ovation from the still-strong Holmdel massive as the show drew to a close. Trey fired up the
Languadoc for one final time while Joe Russo was a flailing, whirling dervish behind the kit, emulating John Bonham
in a flurry of bass/tom fills and rollicking bottom end. Mike Gordon, he of the Modulus bass bombs and bobbing
hair helmet, was left to rumble beneath the cacophony that surrounded him. His creativity and general personality
are somewhat muted in this collaboration, and that is certainly unfortunate, as it was indeed his charisma and
energy that first piqued the Duo's curiosities.
Trey Anastasio ::
06.30.06 |
And so it ended, this first pair of shows - the second and third of this short tour. The music sounds different to
each set of ears, and I am only one voice, one opinion. In regards to these performances, my thoughts and emotions
were all over the place, akin to the playing itself throughout the weekend. Needless to say, the phenomenal second
Phil set in Camden is already the stuff of legend, and a precursor to a tour filled with Trey's magnificent Garcia lines.
But that brings us to the question, and uncertainty, that surrounds Anastasio. After a career spent running from
beneath the shadow of Garcia, the irony lies within. Searching for his own voice after silencing his most revered,
celebrated, and recognizable band, Trey is most comfortable, distinguished, and triumphant playing the music of
Jerry Garcia, the label he so desperately sought to shed.
The project with Gordon and the Duo is looking and sounding more like merely a different Trey solo outfit, as
opposed to a collaborative band of equal company. Fans may have to wait until Mike regroups with the Duo, sans
Trey, for a return to the experimental, liberating vigor that defined that "Trio." Either that, or hope that Trey begins
to trust his instincts and allows Mike and the Duo to contribute their talents and creativity equally to this project,
and leaves the "Shine," "Sweet Dreams Melinda," and other pop-slop to his other endeavors. I for one hope that
Trey, Mike, and the Duo hunker down and write a couple dozen songs and learn a couple dozen more. Then take
this project on the road in smaller, indoor venues, where the acoustics and claustrophobic atmosphere would far
better serve the dynamic talents of these musicians.
Phil Lesh & Friends ::
06.30.06 |
As for Mr. Phil Lesh and his fantastic Friends, things are only getting better. Fans should hope that this lineup stays
together for some time; their classy and humble playing lends itself mightily to the concept of communal playing.
The depth and breadth of the GD's oceanic songbook, myriad of styles, and timeless repertoire allow for endless
wading though sonic psychedelia. Driven by the bruising pairing of John Molo and Phil Lesh, this conglomerate will
only serve the magic in greater doses in the months and years to come. Thank You Phil.
Till the Morning Comes...
JamBase | Philadelphia
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