Monday, February 8, 2010
Set Two: Scarlet > Jack Straw > Eyes of the World, Man Smart Women Smarter, Cumberland Blues, Cassidy, Mountains of the Moon, Death Don't Have No Mercy, Fire on the Mountain
Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K>Sound Devices 722 (24/48)
FOB/DFC/KFC/ZFC/AARP 32' From Stage, 9' High
DSP: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16)
Recorded By: Z-Man
This show was a benefit for the Kristine Anastasio Manning Memorial Fund. The date marks what would have been the 47th birthday of Trey’s sister, Kristine, an esteemed environmentalist and author who died of neuroendocrine cancer last April.
Setlist provided by YEMblog.com
Set One: Shine, Cayman Review, Tuesday, Liquid Time*, Drifting, Let Me Lie, All That Almost Was* , Alaska, Mozambique, A Case of Ice and Snow, Last Tube
Set Two: Curlew's Call, Sand, Valentine, Goodbye Head, Mr. Completely, Windora Bug, Night Speaks to a Women, Push On Til The Day
E1: Small Axe, Birdwatcher*, Show of Life*
E2: At the Gazebo, First Tube
Dowload via bt.etree.org
We've received all sorts of predictions about what Trey Anastasio and Classic TAB will play this tour, so we wanted to make things a little interesting. Before each show we'll ask you to pick three songs that you think the band will play at that show. If Trey plays the three songs you picked that night then you will receive an entry into the final drawing. At the end of the tour we'll pick one of these entries at random to win a Big Red bobblehead.
You can enter two times per show, once on Facebook and once on Twitter. If you enter via Twitter make sure your tweet includes the name of the show, the three songs and @YEMblog. You can choose different songs on Twitter than you choose on Facebook and vice versa. All entries must be in by 7PM local time on the day of the show.
So, without further ado, what three songs do you think Trey and Classic TAB will play tonight in Charlottesville? #phish #trey
By Randy Ray
Jambands.com sits down with trumpet player, vocalist and solo artist, Jennifer Hartswick, longtime band member in the Trey Anastasio Band, 70 Volt Parade, and now, the Classic TAB formation, which begins its tour today in Charlottesville. The talented Hartswick has been a prominent fixture in Anastasio’s solo work since her teenage years in the late 1990s, and we catch up with her for a brief history of Classic TAB, her origins as a musician in Vermont, her solo career, including 2003’s funk-fueled Fuse, 2007’s jazz standard collection True, and a recently completely album, to be released later in 2010, followed up by solo dates with her own crack band of veteran musicians. Hartswick is a warm and friendly individual, and while that comes across in her engaging brass and vocal work, it certainly shows up when one is speaking with her. Hartwick’s words are often laced with laughter, which is quite contagious. Indeed, one can see another reason why Anastasio has valued her input and company over the years.
RR: How have rehearsals been for the tour?
JH: We’ve been pretty much rehearsing for the entire month of January.
RR: How unusual is that for Trey?
JH: That’s very unusual. That’s a huge blessing. Things are much more organized. We want to make sure we go out being the best that we can, and it’s fantastic. Our last rehearsal was a few days ago, and we’ve had a week to hang out and let things stew, work on whatever we need to work on. We all fly out tomorrow [Saturday, February 6].
RR: Obviously, there will be new songs mixed in with more familiar material.
JH: There will be, absolutely. We had a week of rehearsals for the horns. Trey has been working with Don Hart [his orchestral arranger and collaborator on “Time Turns Elastic,” as well. See Site Editor Dean Budnick’s feature with Don Hart. He worked with him on all the string and orchestral stuff. He’s really just a brilliant guy, and an incredible guy to have in the mix. He came out the whole first week the horns were there. A lot of those horn charts are written for five horns, and now we have three so we have to revisit every single thing, and make it appropriate for three horns. We can’t just play our old parts because there will be something missing. We had to revisit every single old song, and really make it perfect, make it sound really great. Don was there the whole time to make sure that that happened, which is awesome.Don also took a lot of the new songs that Trey had brought to him months and months and months ago, and he had written really beautiful and elaborate and involved horn parts that essentially was written like an orchestra, like a string section would be. The difference is that during the entire song, the horns are playing the entire time, and not just sounds at the end of the jam. It is a really, really beautiful thing, and exciting, and he writes such incredible parts that every time we got new thing, we’d open it up and read through it, and just melt. “Don, you’re AMAZING!” The new songs are really orchestrated and together and beautiful. The old stuff is just as killin’ as it always was, and a little more rehearsed. I think it’s going to be the best by a mile.
RR: What older songs are you really looking forward to playing again?
JH: Ummm…(laughs)…I don’t know…(laughter)
RR: O.K. What songs are you going to hate playing again?
JH: (laughter) “Stop making me play C sharp.” No. No. No. All the old really good Russ and Tony ones that only they can play because they wrote those grooves. It just sinks in, and makes your heart melt. Those guys are just so good, and the pocket is so deep. To hear Tony start “Burlap Sack and Pumps” we all cheer. (laughter) It’s unbelievable. Anything that starts out with Tony, or Russ and Tony, is my dream.
RR: Jeff Cressman, who has played with Trey before, could not play with the band on this tour because of commitments with Santana. His daughter, Natalie Cressman joins TAB on trombone and vocals. How did rehearsals go with Natalie? Ironically, she is almost at the same age you were when you began playing with Trey.
JH: With all due respect to Jeff, Jeff just lost his job. (laughs) I love Jeff. (laughs) Natalie is absolutely incredible. She is really a gifted young woman, and she fits right in. From day one, she just popped right in, and was so comfortable, and so smart, and such an incredible player. She also sings her butt off. We’ve been having a blast creating vocal parts and horn parts together. She’s really an incredible young lady.
RR: Had you known her at all before she joined the band?
JH: No. Trey called me and told me the situation—I happened to be in New York for a gig—and he hadn’t met her, either. I said, “Why don’t I just call her, and have her come down?” So, I called her, and she came down after class. She’s a freshman at the Manhattan School of Music. She’s 18. She came down with her horn, and we instantly hit it off. She sat in, played a couple tunes, and we hung out for a couple of hours. I called Trey the second she left, and said, “She’s exactly what we need.”
RR: It also helps that you aren’t part of the all-boys club. In 2005 and 2006, you had Christina Durfee, on vocals and keyboards, with you, as well.
JH: Yeah. At that time, when she was around, I couldn’t imagine doing it without her. (laughs)
RR: Obviously, everything was new to Natalie Cressman. How much new material did you have to learn for this tour?
JH: There’s a total of about 55 songs that are really well-rehearsed. I’d say a good 8 or 10 tunes are brand new.
RR: Are there plans for more TAB dates later on in the year?
JH: Can I plead the 5th? No, just kidding. (laughs) There’s some talk of, certainly, some stuff later on in the year, for sure. We’re all so excited about how the band sounds that there is no way that we’re going to do one tour and stop. RR: Yes, I hope TAB comes out to the West Coast, too.JH: Yeah, we definitely will by the end of the year. We’ll certainly be out there. Read more at Jambands.com
For Grateful Dead fans too young to see Jerry Garcia in person, and long-time Deadheads might be a bit dismayed to realize that’s almost anyone under 30, Furthur’s done the unthinkable by channeling Jerry in an uncanny way.
For the rest of the folks, who followed the Dead and have unsuccessfully tried to fill that small void in their life for the last 15 years, the party ain’t over yet.
No one will ever replace Jerry, but by bringing John Kadlecik to the mix, Phil Lesh and Bob Weir have added the missing link – the man who sounds so much like Jerry in every way.
Furthur, the new incarnation of the Dead starts with Phil and Bobby, but it’s Kadlecik that could make this the best post-Jerry experience.
Think of Kadlecik like the guy from the movie Rock Star, who spends his life in the cover band of his favorite group, only to get called up to the big leagues.
After 12 years fronting Dark Star Orchestra, a fantastic group that covers Dead shows to a T, Kadleick gives Lesh and Weir a 40-year-old in his prime that bring a burst of youth to Furthur.
Lesh is just a month away from his 70th birthday and Weir — once the Dead’s youth — is 62.
Kadleick, at 40, is the same age Garcia was in 1982.
But Friday’s show at Miami’s Bayfront Park Ampitheater showed that Furthur isn’t just trying to bring Jerry back in a Dark Star sort of way — they’re moving further, and in this case, that meant going back.
Yes, the under-30 crowd will revel at the opportunity to experience a Dead show, but for the earlier Deadheads, Furthur is busting out tunes long stored in the vault.
On a rainy night in downtown Miami, the band opened with “Born Cross-Eyed”, a song the Dead played nine times in 1968, and none after that.
It’s a wonder why the Dead played “The Golden Road To Unlimited Devotion” throughout 1967, and then dropped it from its repertiore. It’s a fun sing-a-long that Furthur busted out after a lively “Ramble on Rose”.
And how about the “Throwin’ Stones/Viola Lee Blues/Mason’s Children/Viola” jam? Talk about taking it back. “Viola” was a staple in the earliest of Dead shows, and a great blues classic to bring back to the mix.
“Mason’s Children”, played 15 times between 1969-70, resurfaced for an energetic Miami crowd that didn’t seem to mind intermintent rain.
Phil had high praise for the Miami crowd, acknowledging that the boys don’t make it down enough, but might have to start performing regular South Florida gigs.
There were still plenty of empty seats in the 10,000-capacity amphitheater, and you have to wonder if some of the traveling fans were sitting out this tour opener and waiting to join Furthur in Orlando? It would make sense since hotel rooms were impossible to come by on Super Bowl weekend.
With Phil’s announcement that there’s more Miami left in him, it’s a sign that he’s not winding down, an amazing feat not only because he underwent a liver transplant a decade ago, but because he’s turning 70.
As we enter the ’10s, many of the ’60s rockers are hitting 70.
Lesh’s inspired performance at Bayfront Park, complete with his funky bass illuminated by blue lights, shows that these artists will continue to awe us long after we expected them to hang it up.
It didn’t hurt to add some youth to the band. With 33-year-old Joe Russo (of the Benevento/Russo Duo) and 45-year-old Jay Lane (of Primus) on drums, and 41-year-old Jeff Chimenti (Ratdog) on keyboard, it’s old meets new.
Phil Lesh and Bob Weir might be the only Grateful Dead members in Furthur, but if they want to continue spreading the Dead’s word throughout the 2010s, Furthur is the perfect outlet.
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