Grateful Dead: “Road Trips Vol. 2 No. 1: MSG September ‘90” (2008/2021) CD Review

In September of 1990, I was eighteen years old and starting my first and only term at Skidmore College in Saratoga Springs, New York. I got my schedule, found my dorm room, met my roommate (he was a jerk), and then immediately took off, because the Grateful Dead were playing six shows down at Madison Square Garden in New York City. I wasn’t sure what to expect from these shows, since this would be my first time seeing the band without Brent Mydland, who had died right after the summer tour. The new keyboardist, Vince Welnick, was known for his work in The Tubes, but that band and the Dead, well, were quite different. And would Vince have had enough time to absorb the Dead’s large catalogue of music, to acclimate himself to the rather particular ways the band goes about its business? I wasn’t sure. There were two stops on that tour before New York – Richfield and Philadelphia – so that gave him a little time to warm up. And Bruce Hornsby was going to be playing with the band, so perhaps things would be fine. I had seen him sit in with the Dead that July in Raleigh, and Jerry definitely enjoyed his presence. So we went into the Garden hopefully, and were treated to some truly excellent shows. Road Trips Vol. 2 No. 1: MSG September ’90 is a two-disc set that focuses on the final two nights of that run, September 19th and 20th, with one song from the 18th as well. All of the music is from the second sets, which, as you know, is generally where the magic happens.

Disc 1

The first disc opens with the first few songs from the second set of the September 20th show, beginning with “Truckin’” to set everything in motion. The energy is extremely high, and of course mention of “New York” in the lyrics gets a cheer, even if the line doesn’t paint the city in the brightest of shades. And the line “What a long, strange trip it’s been” gets a huge cheer, we in the audience considering the changes, and how the band was continuing the trip. Man, the band is on fire here, moving at a great clip, and bursting with energy, as if daring mortality to catch them. It’s not a long jam. Pretty short, in fact, but that’s all right, for the band next goes into “China Cat Sunflower,” a song that never fails to please folks. And there is a good deal of cheer to the song’s rhythm, and to the band’s playing. The jam has a nice flow to it, the instruments themselves seeming to be dancing at times. And this jam too gathers more energy. You can feel the electricity in the room. It relaxes a bit as the band moves into “I Know You Rider,” but it isn’t too far into that song before it rises again. This song is so hopeful, and the audience latches onto it, then embodies it. And Bruce Hornsby is rocking the keys. Being there, you felt like nothing could stop them. If someone had said then that in five years it would be over, I would have said he or she were mad. But we weren’t thinking as far forward as five years then, just enjoying the moment, with perhaps one hopeful eye aimed a bit down the road.

The disc then goes to the beginning of the second set from September 19th, the band kicking off the set with “Playing In The Band,” often a vehicle for exploration, and so one that gets folks excited as soon as it starts. And it’s not long before we’re into the jam. The jam is solid, keeping things hopping, with some delicious work from Jerry Garcia on guitar, ribbons of space threaded through the music. But not going too far out yet. Our feet are still somewhat near the ground. And then, in a way so natural we might not even be aware at first, the band begins to voyage to farther reaches of our known world, and then beyond that, until some gentle winds from a celestial creature blow us into “Ship Of Fools.” This features a passionate vocal delivery from Jerry. “It was later than I thought,” indeed! As it finishes, we hear that “Playing” theme again, just hints, to remind us all where we are, what we’re doing, before diving right back into the more interesting territory. And suddenly they go into “Uncle John’s Band.” But not to worry, they finish “Playing” the next night (which is on the second disc). “Uncle John’s Band” has such a pleasant vibe, seemingly designed to make us feel good. You don’t find too many people frowning while this song is on. “Come on along or go alone.” And the band provides the vehicle to come along. We’ll figure it out together, the music seems to suggest. And what a smooth transition to “Let It Grow.” This is a really good rendition, having a great power within it, particularly as the jam begins, but not really abating until the very end. This band drives forward with its own force. There is then a gentle conclusion to this song, and that leads, not to “Drums” as you’d expect, but to a new jam that became a feature during those shows. My memory is that on tapes and set lists it was labeled “Keys,” or, as some wrote it, “Keyz.” It was wonderful how the band was still surprising us at this point. A sort of pre-“Drums” “Space” to extend the trippiest section of the show. This jam has a prettier sound at moments, and is never dull. This segment is proof the band still had a lot of life left in it, and that was part of the reason it thrilled us so much. As the drummers return and start to go into the “Drums” section of the show, the music fades out.

Disc 2

The second disc then gives us the post-“Drums” section of the second set from September 20, 1990, along with the encore from September 18th. This is what I remember most vividly from these shows. I’m sure that’s in part because it was the last of them, chronologically. But mainly it’s because the playing was spectacular. The band was heading to Europe after this set, and we had the sense they wanted to give us something fantastic before leaving. The disc opens with “Space” (here labeled “Jam”), and we are deep into the darkness right away, far from home, far from others, at first adrift. But soon we find a new power and are able to direct ourselves, as small lights spark near us, friendly bits of fairy dust to gently guide us in from the edge. And whatever exchange we engage in, it is done mentally, telepathically, for no words can be spoken out here. Language is an old joke here, far out of fashion. But others are gathering, and certain forms are now recognizable. There an eye, there an arm. And as the rains come down, our final notions are washed aside, and we stand brand new, partial, incomplete but ready. The band then launches into “Dark Star.” You can hear the audience explode as the song begins. From “Space” to “Dark Star,” so just as we were feeling the possibility of more solid footing, the band decides to take us even farther out. Which is where we all wish to be. It has a loose vibe, everything possible, everything probable, particularly as we are operating as light at this point, dancing across a dark canvas.  Jerry then delivers the first verse. If memory serves, this was my second time seeing the band play “Dark Star” (the first was in Washington D.C. a couple of months earlier), and it was the standout song of the night. It is what we were all talking about after the show. The band makes a home for itself in the outer realms of space, announcing its presence, and rearranging the place as they see fit. And then we begin to catch bits of “Playing In The Band,” and the band steers things in that direction. Then, pow, we are there, the band finishing the song begun the previous night, and the energy is high. It is not long before we push out in another direction and for further adventure, and are back in “Dark Star.” It is all working so well, this whole sequence is fantastic. Jerry delivers the second verse, and it’s after that that things really get strange. Our structure begins to melt and fracture, and the ground bubbles at our feet. Where even the air itself is considering donning a Halloween costume. But then things turn frantic, all the machines going on the fritz, even the ones with two legs, running into each other. It’s as wild as I remembered it, my memories riding by on a bright red seahorse with wings, nodding at me, meteors and geometric patterns in outlined form spinning past, a smiling mouth opening to allow planets to act like gobstoppers. And then we step through a curtain into another room, a place that is more intimate and manageable. Or it is just chaos on a smaller scale, a more intimate madness?

“Throwing Stones” emerges, and we are back on Earth. Or are we? Perhaps we are looking at it from space, as an early line mentions, looking at it fondly. But then as the dance begins in earnest, the thumping beat demanding it, we are drawn back to the planet, “down here.” But of course things are as wild down here, and the drama is more immediate. And we are on our own, on our own, on our own. But Bob Weir makes it sound like we can survive anyway. That piano work also encourages us. But it’s a serious dance we are engaged in down here. For a moment, it seems that they’ll go into “Not Fade Away,” as they often did, but instead they play “Touch Of Grey” to wrap up the second set, offering a promise of sorts, that the band would continue, that the music would continue, and uniting the crowd in this mighty endeavor. There is so much power. How could this ever end? The encore is “Turn On Your Lovelight,” to keep the energy high, to keep everyone feeling united and positive, to keep the festivities going out into the night. The disc then concludes with the encore from the show on the 18th, “Knocking On Heaven’s Door.” This is a moving rendition, with some beautiful guitar work, like strands of rain falling gently to the earth. Jerry’s earnest vocal performance is the focus of this beautiful version. While I wish this release contained the complete shows, I am happy to have this fantastic music on CD, to be able to revisit those moments whenever I wish.

CD Track List

Disc 1

1. Truckin’ >
2. China Cat Sunflower >
3. I Know You Rider
4. Playing In The Band >
5. Ship of Fools >
6. Playing In The Band >
7. Uncle John’s Band >
8. Let It Grow >
9. Jam

Disc 2

1. Jam >
2. Dark Star >
3. Playing In The Band >
4. Dark Star >
5. Throwing Stones >
6. Touch Of Grey
7. Turn On Your Lovelight
8. Knockin’ On Heaven’s Door

This re-issue of Road Trips Vol. 2 No. 1: MSG September ’90 was released on September 10, 2021 through Real Gone Music.

Signal Quartet: “Second Exploration: The Music Of Ben Wolkins” (2023) CD Review

Signal Quartet is a relatively new ensemble, having formed during the summer of 2020, when everything was shut down due to the pandemic, a time when people were looking for different ways of connecting, of communicating, a time when both musicians and music lovers had to come up with alternate ways of getting their music fix. Based in Michigan, the band is made up of Ben Wolkins on trumpet and flugelhorn, Ian Blunden on guitar, Eric Nachtrab on bass, and Sean Perlmutter on drums. They put out their first album in the summer of 2022, a self-titled disc featuring original material by Eric Nachtrab. Not long after the release of that disc, the band began recording music for the second album, this time focusing on material composed by Ben Wolkins. Second Exploration: The Music Of Ben Wolkins features all original material written by Ben Wolkins, who also produced this release.

The album opens with “Fore!,” which begins with a solid theme on guitar. The trumpet then joins the guitar on that theme, two voices rising together to deliver the message. And soon after the drums and bass come in, they veer from that main theme, though revisiting it now and again. I like the looser aspect of the jamming when the musicians are moving off into other areas, and the first lead of the album is done by Eric Nachtrab on bass. It’s a cool lead, with a sense of direction, and I like how the guitar supports the bass in that section, and how they are not in a rush to return to the theme. When Ben Wolkins comes back in on trumpet, the instrument seems to be singing, ready to lead us all forward. And then it is the trumpet and the drums that are working together to shake things up a bit, to take us to a bright and exciting place. And during the next section, with the guitar leading things in a somewhat different direction, the drums seem to urge us all to let loose, and soon all the instruments are moving toward something wonderful. The initial theme is revisited, but what I like is that the obvious way of wrapping things up, ending the track the way it began, with the trumpet and guitar delivering that theme together, is not done. Because now we’ve arrived at a somewhat different place, and while the theme is still there, we view it differently. Its force has changed. That is followed “C.O.D.,” which has a cool, somewhat mellow groove. Hey, is cash on delivery still a thing? I haven’t heard the expression in a long time. Anyway, I love the bass line, but it is the trumpet that really determines the vibe of this track, and Ben Wolkins delivers some absolutely wonderful work here. I also love how a sudden rush of the drums is what indicates a change from the trumpet to the guitar lead. This is one of my personal favorite tracks. It just gets cooler and cooler, as that rhythm settles into your belly and becomes part of your own genetic makeup somehow. The guitar lead has something of a laid-back feel, at least at first. No need to race, everything is just fine. It grows from there, and the segue to a bass lead is smooth and feels natural.

There is a joy to “If You Knew Her” right from the start, the trumpet singing again. Perhaps singing a woman’s praises? The bass line is now delivered at a quicker pace, and, interestingly, when the guitar soon takes an early lead spot, it is not a long, uninterrupted solo. Within twenty seconds or so, the horn is back to say a little more, before the guitar then is allowed to stretch out and express more of what it wishes to say. This track features some delicious work on guitar. Then in the middle of the track, there is a lead on bass. Again, there is a good deal of joy in the playing. We are also treated to a drum solo in the second half. Actually, it’s broken up into several short drum solos, excellent stuff. As the track is drawing to its conclusion, Ian Blunden gets another opportunity to shine on guitar. Then Sean Perlmutter starts “Nothing Missing” on drums. This is an interesting piece, with a good deal of character. Or perhaps, characters? They include a sleuth, who is taking in the room, looking about for indications of mystery or foul play, but it is all play, or at least playful. And then as the track settles into a delightful groove, the guitar and trumpet enter into a conversation. It is friendly, but perhaps the trumpet feels a need to state its case more than does the guitar, or is the more dominant voice. Things begin to grow wild and tense beneath the horn, led by the guitar, a wonderful section. And then suddenly we are basically back to the beginning.

There is something sweet and rather innocent about “The Worker Bee” as it begins. There is a light and carefree feel about it. As we get farther into it, it becomes more focused on its task. And while there is that focus, there is still something light about the music, reminding us that things can be accomplished without stress, without too much strain. The rhythm remains relaxed, even while the flugelhorn gets excited, grows lively. And when the guitar lead starts, it comes from that more relaxed place, then progresses from there. That’s followed by “Lavandula Hugs,” which eases in. There is something soothing about it. Lie back and close your eyes, and let the music embrace you and carry you away from your worries. Even as the flugelhorn grows in power, it maintains a comforting quality, though it is the rhythm section that really keeps that soothing vibe intact. Ben Wolkins delivers some lovely and warm work on this track, and then there is something timeless in Ian Blunden’s guitar lead.

Eric Nachtrab opens “Slow Brew” with some great work on bass, drawing us in. And the moment a theme begins to emerge, the others join him. There are darker, odder elements at play at moments, and there is some delicious and exciting work on drums. I love the atmosphere of this tune, the guitar really helping to create it, while the flugelhorn then leads us through and above. There is also an excellent guitar lead in the second half. Really, each of the musicians completely shines on this track, with everything working perfectly. Check out that great drumming toward the end. This is another of my personal favorites. I highly recommend checking out this track. The album then concludes with its title track, “Second Exploration,” which begins with a drum solo, so I am on board immediately. And then things are cooking, the bass pushing forward like there are demons on its tail, the guitar then urging them into different spaces, and to dance their way there. There is some incredible work here. The trumpet allows itself more space to breathe. With the fast pace, with so much energy to this track, those pauses in the trumpet lead are striking. Still, the idea seems to be to go onward, to go farther, to push through boundaries, to not look back. This is a wonderful jam that is over all too soon.

CD Track List

1. Fore!
2. C.O.D.
3. If You Knew Her
4. Nothing Missing
5. The Worker Bee
6. Lavandula Hugs
7. Slow Brew
8. Second Exploration

Second Exploration: The Music Of Ben Wolkins was released on April 21, 2023.

Buzz Maddox Octet at Victorio’s Ristorante, 5-21-23: Photos

On a whim, my girlfriend and I went to see The Buzz Maddox Octet at Wingwalker Brewery out in Monrovia a week ago, and totally enjoyed their performance. After that gig (or maybe it was during the set break), Al Alexio, the band’s talented vocalist, told us that the band has a regular gig at Victorio’s, a place that is much closer to where we live. So yesterday we took the short drive to the restaurant, and were treated to another excellent show. The band did two sets, covering classics like “Time After Time” and “2 O’ Clock Jump.” There were also two birthdays celebrated by folks in the audience, and cake was distributed to everyone in the room. Here are a few photos:

Victorio’s Ristorante is located at 10901 Victory Blvd., in North Hollywood, California.

Dead And Company at The Forum, 5-20-23 Concert Review

Dead And Company’s final tour continued last night with the second of two shows at The Forum, and it was another strong performance from the band. There was a bit less traffic, and so my friend Jon and I got there with time to explore Shakedown Street a bit before heading inside. Shakedown Street was crowded with folks, but we each bought a few stickers before claustrophobia led us away. One of the stickers I bought says, “The Final Tour.” It’s interesting, because there are lots of shirts, buttons, stickers and so on commemorating the occasion of the band’s last trip, but it doesn’t really feel like the end to me. I mean, really, the end happened in the summer of 1995, and everything since then, in a sense, has been, more or less, epilogue. But also, remember, Bob Weir said, in the announcement regarding the tour, “We will all be out there in one form or another until we drop.” So there is life in it yet. The shirt I bought after the first show says, “This is the season of what now.” But I don’t think it will be all that long before we find out just what is next. And I have little doubt that something will be next.

As we settled in and got to know our neighbors, we played the usual game of guessing what the band might open with. I was thinking “Hell In A Bucket” or perhaps “Jack Straw.” But who knows? These guys are obviously still capable of surprising us. At 7:25 the lights went out and the band took the stage. They opened with “Bertha,” while a variation of the skull and roses picture appeared on the screen behind the stage. And, you know what, the pace wasn’t bad at all. The night before, the pace also seemed perfect. There was all that talk of how Dead And Company play everything too slowly, but all indications from the first two shows demonstrate no trouble with keeping things moving. So again, whatever they’re doing, it’s working. Of course that led to some speculation that Bill Kreutzmann, rather than wanting to go faster, as some had thought, maybe wanted to slow things down even more. I mean, seriously, what the hell is the “shift in creative direction” they were talking about? Bill really ought to clarify that statement. Perhaps in another book, Deal: Set II? Anyway, the energy was there again last night, and the band went straight from “Bertha” into “Good Lovin’,” and the audience was singing along. That fantastic feeling we all had at the show the previous night was back in full force. So it was not just the tour opener.  These guys seem determined to make the whole trip something special. Everyone was bouncing about the place, a great joy rising from the audience. And with the shouts of “Doctor,” the lights were shining on the crowd. I suppose we could all use a bit of help, right? There was some cool vocal riffing by Bob toward the end.

The pleasant groove of “Brown-Eyed Women” kept everyone feeling good. And things started to really take off with Jeff Chimenti’s lead on keys. What is it about this guy? He was phenomenal the night before too. And when the guitars start spiraling, there is even more energy. And that somehow only spurs Jeff to reach greater heights, to rock those keys even harder. The crowd was enthusiastic about every song, responding with cheers to each new height. Part of it was to let these musicians know how much they are appreciated, how much they are loved. Part of it was knowing that this might be the last chance to see at least some of these guys. But mainly it was because the music was just so fucking good. They followed “Brown-Eyed Women” with “Jack Straw,” as the light rose like an eager sun wanting to dance on its favorite mountainside. I liked Bob’s matter-of-fact delivery of “We used to play for silver, now we play for life.” Just stating a fact. It rang true, though of course tickets for these shows were not cheap. Things slowed down a bit to find a really pretty plateau, a private spot where the guitars could ponder. This was a really good jam, and it then let us go ever so gently at the end. Beautiful. The crowd, again, responded appreciatively.  Oteil Burbridge then had a chance to shine on “High Time,” delivering a passionate vocal performance. “Nothing’s for certain/It could always go wrong/Come in when it’s raining/Go on out when it’s gone.” Wow. This rendition also had a beautiful and touching ending. Oteil was fantastic.

The moment the band began “Mr. Charlie,” the crowd somehow got even more excited. This is the sort of song that John Mayer does really well vocally. It was a totally fun rendition, with a great groove. John then switched guitars for “Bird Song.” The band eased into this one, creating a mellow atmosphere, a desert landscape, with little creatures darting in front of us occasionally. There were moments at the beginning that led us to think they might be going into “He’s Gone,” and at one point there seemed to be hints of “Dark Star.” Now the band was heading toward those outer reaches, or perhaps inner reaches, for there is something lonesome in the desert, though we were comforted by the wind, by the breath. “Sleep in the stars.” And an electric pulse took things in a different direction. Where were we heading? Ah, we had to just trust the pilot of this vessel. Though the waters might get a little wild, it would be an interesting ride, guaranteed. The fish, the plants, the water itself seemed involved in a dance. And then the power started to build. You could feel it before you heard it. Things were moving, and we returned to the main theme of “Bird Song.” What a great jam. And, as they did the night before, they closed out the first set with a fun, energetic number to bring everyone back from the edges, from their lonesome perches and desert patches. “Don’t Ease Me In” was a joyous number, getting everyone bopping around. The first set ended at 8:43 p.m. (and so was approximately twelve minutes shorter than the first set the night before).

During the set break, folks in the bathroom all agreed it had been a really good first set. “What’s the name of this band again?” someone in a stall playfully asked. Yes, the mood was light and cheerful throughout the venue. And the electric angel made her way through the crowd on the floor. At 9:27, the lights went out and the band came back on stage, opening the second set with “Althea.” Of course! We were kind of expecting this song the night before, but then, when it wasn’t played, we forgot about it. There was some power building during the jam, and then the song took an odd turn at the very end, and things started to grow darker, to rumble, and we recognized immediately that we were in “The Other One” territory. The band started by laying the groundwork, summoning the spirits from their realm, and soon the mountains began to pulse with a dark, but strong heart. And then suddenly – boom! – we were coursing through the arteries ourselves, propelled by a force. After summoning the beast, what do they presume to do with it? Ah, but it became clear the beast itself would decide, soon changing the course of things. And they began the first verse, the band playing behind a protective red curtain of light. Things were certainly getting wild at that point, Oteil doing battle with a demon and winning. And the force of their playing seemed to be what was keeping us safe, keeping us from being destroyed by other voices. The jam then led directly into “Terrapin Station,” and things were calmer, prettier, giving us a moment to catch our breath, to settle back into ourselves. A green haze pierced by lengths of red light, the song opened that door to the place where the magic happens, and we passed through into that other realm, the music pretty and gentle, having created a safe place of light and warmth. At one point, it grew softer, though only then to have a greater height to reach when things exploded with a glorious force. “Since the end is never told…” Fantastic stuff here. “And I know we’ll be there soon!” With this crowd, it felt like we were there right then. And from there, the band went back into “The Other One,” and it seemed that the creatures had been tamed, perhaps drawn into a stasis of sorts, the magic of “Terrapin” having done the trick. But no, we got the sense of a beast crouching, gathering energy, content for the moment to observe. And then, bam, we were back into the main thrust of the song, the power being tremendous. And Bob delivered the second verse.

The song had a lovely conclusion, and as the crowd’s response began to taper off, “Drums” emerged. But, wait, who was that fourth person back there, along with Mickey Hart, Jay Lane and Oteil Burbridge? It looked like Steve Parish, who has been an important member of the Grateful Dead family since the 1960s. And indeed, later it was confirmed that Steve Parish was back there adding to the power, a thousand hearts engaged in this dance, creating it. Creatures of rock and stone began to shift, to dance, and soon it was the earth itself, and we knew the pounding could shift the axis, change the course of the future, alter it through sheer force.  And then there were three, Steve Parish stepping down. The music led us to a different place, and soon Mickey was piloting the vehicle out past the charted waters and there was a nearly spiritual element to it. A deep voice communicated something of a warning, to tread carefully. And it was part of the ceremony, this destruction of parts of the past. Soon there was a series of signals sent, and received, and with the return of the guitars, we were into “Space.” It was tentative at first, testing the waters, as the winds rushed in, and that now-familiar starscape appeared on the screen. And there was a sense of being able to guide us home. Jeff delivered some beautiful stuff on keys. And that led to “Stella Blue,” one of my favorite Grateful Dead songs. It was a slightly awkward transition, but no matter, for once it got going, it was wonderful. “All the years combine,” indeed! Bob delivered this beautifully. “It seems like all this life/Was just a dream.” That led to “Help On The Way,” an exciting choice at this point in the set. Everyone was happy to hear it. As is normal, that led into “Slipknot!” and then “Franklin’s Tower.” “Slipknot!” featured a funky, fun, delicious jam, and “Franklin’s” was all about dancing, dancing, dancing. Then, interestingly, there was a slow part near the end, before it built up again. “Roll away the dew!” The second set ended at 11:14 p.m., and a minute later the band was back on stage for the encore. It seemed almost inevitable that the encore would be “One More Saturday Night.” But the band surprised us again by choosing “Brokedown Palace.” There really was not a better choice to wrap up the show. “I love you more than words can tell.” It seemed that everyone in the place felt that for these musicians. Fare you well, Dead And Company. The musicians took their bows and exited the stage. It was 11:22 p.m.

Set List

Set I

1. Bertha >
2. Good Lovin’
3. Brown-Eyed Women
4. Jack Straw
5. High Time
6. Mr. Charlie
7. Bird Song >
8. Don’t Ease Me In

Set II

1. Althea >
   
2. The Other One >
3. Terrapin Station >
4. The Other One >
5. Drums >
6. Space >
7. Stella Blue >
8. Help On The Way >
9. Slipknot! >
10. Franklin’s Tower

Encore

1. Brokedown Palace

Here are a few photos:

"Bird Song"

"Althea"

 

"Stella Blue"

outside after the show

stickers I got (3 I bought, 3 were given to me)

The Forum is located at 3900 Manchester Ave., Inglewood, California. The next show is Tuesday in Phoenix, but that was it for me.