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Umphrey’s McGee | UMBowl III | Review | Photos

May 5, 2012 in "jim, 12, 2, 25, 27, 28, 29, 3, 30, 31, 50, 9, a, access, after, Again, Against, age, all, am, amphitheatre, an, and, another, Are, around, Artie, as, at, attempt, August, Ball, ban, band, bands, Bass, beginning, Bill, blossom, blue, book, boot, bowl, Boys, Bridge, brother, Burn, but, by, ca, can, cat, Cavern, cc, center, chicago, chris, City, Clan, classic, college, color, COMPLETE, contact, covers, Crowd, dance, DAW, Day, dead, dirt, dog, down, Drop, Drums, Edit, electric, en, Encore, end, Enjoy, eq, Eve, Famous, FEAT, fee, festival, fi, final, fire, First, Foam, FOR, four, friday, Friend, From, front, Funk, gain, game, Genre, George, get, gin, give, Good, goods, grace, grateful, great, Groove, ground, Guitar, Gus, hampton, hi, high, home, Hood, How, ice, improvisation, in, into, intro, introduction, is, Island, IT, IX, jam, Jams, jazz, Jimmy, Joy, key, Killing, King, Labyrinth, lang, Lange, las, Last, late, League, leave, Led, leo, let, light, lights, Like, Limits, live, live music, log, long, lot, love, lover, lz, MA, Made, Marty, mash, metal, MI, mix, mod, mouth, Music, My, Nat, nate, nc, New, News, night, Nine, NJ, no, North, nothing, NV, ny, of, on, one, op, Open, opener, organ, out, PA, Park, Part, Phish, photos, Piano, pk, play, Pop, post, poster, Pot, pro, production, Pt, Quarter, rad, rage, Raging, rain, rare, read, recording, rev, rock, roll, room, row, rs, run, Sand, SC, scent, sci, second, set, Setlists, Shine, show, Shows, Sky, smooth, So, solo, Something, song, sound, SPAC, Spectrum, St, stage, start, Stern, stick, sticks, stone, story, street, string, studio, style, Summer, super, tab, tease, That, the, theater, theatre, third, Thunder, times, to, todd, tone, Too, tour, Traffic, Train, Tribute, Trip, two, underground, us, va, van, venue, Video, view, WA, WAITING, war, Way, ways, we, Weekend, Ween, Weigh, windy, with, words, years, You, Your | No comments

Words by: Bryan Tobian | Images by: Brian Spady (UMBowl III) and Jake Plimack (Martyr’s Show)

Umphreys McGee UMBowl III :: 04.27.12 :: Park West:: Chicago, IL

Umphreys McGee :: 04.28.12 :: Martyrs :: Chicago, IL

Photo gallery below review!

Umphreys McGee by Brian Spady

Eastbound, the horizon disappears behind the skyline of soaring towers as the Blue Line train charges toward downtown Chicago; like a master chef with a tin can lid slicing gracefully through the heart of Friday afternoon rush hour. A homecoming for some, this sprawling urban-scape is the sweaty underground musical incubator that nurtured a toddling progressive-rock band with jammy tendencies into a fiercely unified musical juggernaut. Chicagoland’s bars, clubs, parks and theaters are the whetstone on which Umphrey’s McGee sharpened their surgically precise chops for years; gaining many fans through word of mouth, open tape sharing, and by consistently living up to the hype in their live performances. It wasn’t all that long ago when, if you couldn’t see them one weekend, you could probably see them the next weekend without having to drive very far. On this cloudy afternoon, however, there are already people lined up outside the entrance of the Park West, excited to enjoy a somewhat rare visit from their hometown heroes.

Umphrey’s still sounds a lot like the band that used to shred up and down the Midwest dive circuit. They still play many of the same songs that they cut their teeth on six nights a week in every shithole bar within a day’s drive of the Windy City. But they have long since graduated from the up-and-comers league, evolved from that unassumingly virtuosic ragtag clan of jokers in a van, then a bus and now, occasionally, jet-setting between festivals. They have germinated a following from their roots in college house parties, dive bars and sweatbox clubs, gaining consistent momentum and blossoming into summer festival headliners, lavish theater stages, majestic amphitheatres and beyond. Everything: the sound, the production, the lights, the venues, the audience has, for better and worse, gradually swelled in respective size, precision and intensity. Above all though, the greatest development from Umphrey’s McGee has been their wizardly ability to cast improvisational sorcery anytime, anywhere, within any song…or while just screwing around during soundcheck.

Umphreys McGee by Brian Spady

In spite of the group’s more than modest success, one of their top priorities has been the accessibility of the band members to the fans. They understand that one of the key factors to their growth has been their keen ability to listen and give the people exactly what they want. The UMBowl series is one of the band’s many attempts to keep in touch with their fans, to listen to what they are requesting, and of course, in classic Umphrey’s fashion, to deliver the goods. And what a grandiose way to deliver: a four-and-a-half hour show that tests the limits of audience participation and on-the-spot musical improvisation taking place at one of Chicago’s most pristine, intimate venues. Now in its third year, UMBowl is a four-set behemoth of a show with audience interaction weaved tightly into its fabric.

Outside, Park West is simultaneously like a spaceship out of both the 80s and the distant future. It is a room that the band has been crushing since their fabled beginnings. The exterior metal shell with red warp-speed letters sticks out like a sore thumb in its quiet near-Northside neighborhood. Hidden within it is the cavernous recital chamber, a musical temple with terraced dance floors, the entire room outfitted to the nines with soundproofing foam walls stretching up into its stratospheric globular dome. Hanging from the dome like Moby Dick’s uvula, a colossal disco ball shines like the North Star. As showtime approached, colorful fans filed in, and the place turned electric.

Umphreys McGee by Brian Spady

Following UMBowl tradition, the evening was christened with a hilarious rockumentary video spoof showcasing the band’s lighthearted, goofy humor with a parody of the movie Almost Famous, UM ribbing themselves as they argue pretentiously over a t-shirt design. Afterwards, the show blasted out from the gates with smooth fury highlighted by covers of Daft Punk’s Voyager, The Grateful Dead’s Help on the Way > Slipknot and bassist Ryan Stasik‘s long awaited attack on Tools 46 and 2, which showcased their range and chameleonic nature. Front Porch featured the most prolific improvisation of the set with an airy jam akin to the Allman Brother’s Blue Sky peaking majestically with dual guitar trills from Brendan Bayliss and Jake Cinninger before launching into overdrive and dropping back onto the Porch.

The second set was an hour of Stew Art, where the band improvised on open-ended themes selected from real-time texts sent in by audience members. Indian Metal gave the band a chance to open up their world music catalogue, giving a refined crunch to a very flow-y Middle Eastern jam. The second installment of the Uplifting Soaring Jam offered an overdriven addition to its majestic predecessor, which caused an uproar at least year’s UMBowl. Drum demigod Kris Myers and his rhythmic counterpart Ryan Stasik used Drum n Bass as a launching point for a jazzy dance assault that had the crowd pumping. Yacht Rock Jam was basically a cruise through George Benson’s Breezin,’ while Hip Hop Tribute began as a half-speed, down and dirty rendition of their original funk instrumental Tribute to the Spinal Shaft which soon morphed into a mash-up of Warren G’s Regulators, Snoop Dog’s G’z and Hustlas and Dr. Dre’s equally smooth Xxxplosive. The set ended on Take Us to the Disco Tech, which starred light designer Jefferson Waful as he used the gargantuan disco ball to pump effervescent galaxies throughout the room.

Umphreys McGee by Brian Spady

In the third set, the band offered a series of choose your destiny multiple choice selections of original songs, which again left it to audience vote to direct the band in real time to the winner, everyone sculpting a truly unique set through the general will. The result was a beast of a hybrid where the first half of All in Time bookended parts of Glory, Linear and August, capped off by the explosive outro of Bridgeless. This was followed by a sandwich of Mantis and Nothing Too Fancy smashed over a molten hot Making Flippy Floppy Sloppy Joe center. However, being so late in the game, many fans in the audience seemed sluggish at the polls. As the drinks flowed and the sweat poured, votes only dribbled in, perhaps suggesting that this will be the next set revamped for future UMBowls.

Finally, the most exciting quarter, the all Jimmy Stewart set, arrived. A Stew, their term for a structured improvisational jam, is meant to sound more like an instrumental song than an open ended solo-fest. These structured progressions become the canvas the band paints its vast array of labyrinthine soundscapes – spanning every genre from rock n’ roll and metal to funk and jazz, techno, country and every mutant in between- upon. Over time, with more than a decade of live recordings, they have collected a catalogue of these jams, many of which have been the basis of actual songs, and many that have just made for some truly inspiring moments when originally played. For this final set, the band pre-released seven hours of recordings containing some of the most acclaimed jams of their career, and of course, allowed everyone with an UMBowl ticket to vote for their favorites for the band to revisit. What resulted was one of the most spectacular hours of live Umphrey’s to date.

The band opened with the grungy prog of Liberty Echo, but soon gave way to a laid back White Pickle. This tune gave Joel Cummins a chance to strut his super smooth West Coast synth contrasted against a straight-ahead, swirling B-section podium for Jake Cinninger’s skin-to-steel, six-string masters seminar. The ending smashed right into Den, a poppy four-to the-floor over Cummins’ breezy piano. Cinninger’s flanged guitar, run through an octave pedal, produced a pingy tone reminiscent of steel drums, which gave the piece a momentary island feel over the happy, majestic, sunshiny groove. As Cinninger locked in a repeating riff, Bayliss latched on in harmony and their guitars drove a hummingbird war to a raging peak before relenting into somber Bayliss ballad The Better End. The rousing 9:30 evoked feelings of a sinister chase scene before the band explored some metal with Lift and Separate.

Umphreys McGee @ Martyr’s by Jake Plimack

As expected, the band nimbly treaded through a full spectrum of musical styles. Moreover, they showed they are no longer just happening onto the spark, the catalyst that starts their improvisational fires. They now clearly understand the science behind making their brand of magic. Still, Team UM is constantly experimenting with the music, the show, their approach to promotions, and fan connections. And, while an emotional Divisions encore seems to wind this story down, it turned out to just be the introduction for a new chapter. The next night, just down the street at Martyr’s, another historic Umphrey’s stomping ground, the boys beta tested their next level of the band-to-fan interaction paradigm through an all request private show, organized completely by one diehard fan for 200 of his diehard fan friends.

This was a relatively under-spoken part of the promotional release of last year’s Death by Stereo album, where fans could purchase days with the band in the studio, hanging out on the bus, buy the old tour van, or remix the album. And, while the ticket on this event was a hefty $250 per head, a limited edition poster, top shelf open bar, and laminated pass were among the perks. However, the intimate club, the handcrafted setlist, the excitement of being able to reach out and touch the band, the small group of zealous Umphreaks who all knew each other through less than a couple degrees of separation, and of course, the extreme level of playing that these circumstances encourage, well, all these factors made the experience truly extraordinary.

Heading westbound towards O’Hare Airport, the traffic was momentarily absent as the Sunday sky hinted at dawn. Chicago is no longer home for a lot of folks who began here, including most of Umphrey’s McGee, and while they may not come back to town again for a while, it’s never been clearer that when they do they will always bring us something to write home about.

Setlists below gallery.

4/27/12 – UM BOWL III @ Park West (Chicago, IL) View Photos

UMBowl III Setlist

First Quarter: Flamethrower > Night Nurse > Voyager > Front Porch, Comma Later*, Help On the Way > Slipknot!, 46 & 2

Second Quarter: Stew Art event

Third Quarter: All In Time > Glory > The Linear > August > Bridgeless, Preamble > Mantis > Making Flippy Floppy > Nothing Too Fancy

Fourth Quarter: Liberty Echo > White Pickle > Den > The Better End, 9:30 > REW > Lift & Separate > Dream Team > In the Kitchen

Overtime :D ivisons

For detailed notes for this performance pop over here.

04.28.12 Martyrs Setlist

Set One: Wappy Sprayberry > Space Funk Booty, Last Man Swerving* -> Out of Order, Down Under, The Weight Around, Robot World > “Jimmy Stewart”% > 50 Ways to Leave Your Lover > Puppet String**

Set Two: Utopian Fir > “Jimmy Stewart”%% > Utopian Fir, The Trooper$, Baby Honey Sugar Darlin’, Hurt Bird Bath -> The Other Side of Things^ > Hurt Bird Bath, The Good Times Are Killing Me$$, Nopener&, The Triple Wide, Hangover -> La Grange > Hangover

Encore: Two Dips&&, Wizard Burial Ground, Waiting Room

Private show put on by fans billed as “Bill Graham for a Day”

* with Thunderkiss ’65 (White Zombie) jam
% with lyrics
** with In the Kitchen teases
%% with “Zsa Zsa Gabor” theme, followed by lyrics
$ debut, Iron Maiden
^ verses only, no chorus
$$ debut, Modest Mouse
& lounge style
&& debut, Brendan, Wade Wilby, and Clayton Halsey

Umphreys McGee Tour Dates :: Umphreys McGee News

JamBase | Chi-town
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The Jam Stampede with John Kadlecik | NYC | Review

April 27, 2012 in 10, 11, 12, 2, 25, 27, 28, 3, 50, 9, a, ACL, acoustic, after, Again, age, all, am, American, an, and, another, Arc, Are, around, as, at, attempt, ban, band, bands, Bass, black, book, bowl, Burn, but, by, Byrne, ca, can, cat, cc, center, charlie, classic, close, Closer, COMPLETE, covers, Crowd, cute, dance, Dank, dave, Day, dead, denver, does, dog, down, Drums, en, Encore, end, epic, eq, Eve, fake, Famous, Fat, fee, fi, final, First, fool, FOR, frank, Friend, From, gag, gain, get, Gf, gin, glow, golden, Good, grace, grateful, Groove, guide, Guitar, guitarist, hall, hampton, hi, high, Hope, How, ice, improvisation, in, inspiration, into, is, IT, jam, jammin, jamming, Jams, John, key, Keyboard, Keyboards, King, know, las, late, Led, let, life, light, lights, Like, live, live music, log, long, love, lover, luring, MA, Main, maine, Manhattan, Melt, MI, mike, miles, monday, moon, Mr, Music, My, name, Nat, nate, nc, New, new york, News, NH, night, NJ, no, nothing, NV, ny, of, on, one, op, Open, opener, opening, out, PA, Part, Phish, photos, picking, play, player, Pot, pro, Pt, rad, rain, rev, rock, row, rs, run, SC, scent, sci, second, set, show, Shows, Simple, smooth, So, solo, solos, song, Soul, sound, SPAC, spring, St, stage, start, Starting, state, stick, story, street, string, super, suzy, tab, talk, Taste, That, the, theatre, Thunder, times, to, Too, tour, Tribute, Twist, two, us, va, van, venue, view, vocal, WA, war, water, Way, ways, we, Web, Ween, Weigh, with, words, years, york, You, Your | No comments

Words by: Chadbyrne R. Dickens | Images by: Suzy Perler

The Jam Stampede with John Kadlecik :: 04.16.12 :: Gramercy Theatre :: New York, NY

John Kadlecik by Suzy Perler

John Kadlecik, widely known lead guitarist for Furthur and co-founder of Dark Star Orchestra, effortlessly proved to a small, loyal crowd on Monday evening at the The Gramercy Theatre in Manhattan, that he is a guitar tour de force. Following a set of solo acoustic rarities and covers, he joined in with old friends from the Zen Tricksters days. Comprised of veteran stalwarts, the headlining act, The Jam Stampede, booked this Monday night excursion to euphoria on Furthurs off-night from an extensive run at the Beacon Theatre for good reason. The timing of the gig afforded us the opportunity to witness Kadlecik open the night with an acoustic set, and wait with baited-breath in the hope he would take advantage of this opportunity to sit-in at this special Grateful Dead tribute performance.

Having recently caught a solo John show at Sullivan Hall, I knew what to expect from the opener. Johns sweet and clear voice delivered one eloquent song after another. Naturally, the crowd arrived in hopes of another Grateful Dead love fest, but he did not immediately answer their call. After a fresh take on a couple obscure Robert Hunter covers, the crowd was so entranced by his waxing musical deliver that John ribbed them, Wow. It is so, so quiet in here! Johns voice is crystal clean and clear. If Pigpens voice conjures up Thunderbird, Johns is a smooth flowing Molson Golden. Transitioning into a gentle rendition of Dylans Visions of Johanna, a tune the Grateful Dead covered a few times, the pleased audience, recognizing the sounds of a familiar tune, sang along to the parts they knew while growing visibly animated. Although John chose specific songs from his soul, it was obvious from the audience, although satisfied, that they were anticipating even more.

The Jam Stampede w/ John Kadlecik by Suzy Perler

Naturally, when one buys a ticket to hear John, who predominantly performs with the most famous jam outfit in history, one wants to witness what they perceive to be his most pronounced skill. Watching John play an entire set of mellow acoustic tunes is similar to a man being invited over to Megan Foxs house only to play Scrabble. One is so excited to hear John jam that is takes time to accept his subtle solo performances, regardless of how good a Scrabble player he may be. Placed near the back end of the opening set, highlights included John Lennons Watching the Wheels and a surprising, tasty rendition of Phishs Fast Enough for You.

Recharging between sets, I found JK straddling a doorway alone, savoring a few recharge moments before unleashing his fury on us. Knowing he has a very unique place on the music scene, he plays some of the most beloved songs in musical history with a band that has no equal in terms of passionate fan following. Naturally, I asked what many of my peers wanted to know:

With the vast Furthur catalog at your disposal, what song is the one you are always most chomping at the bit to play?

He reflected for a moment. If Johns reserved delivery yet often quirky speech arent reminiscent of John Denver, his bespectacled face hiding an innocent, boyish face certainly is. He replied matter of factly, Whatever song is next. Even after all the years and all the shows, he simply relishes the chance to shred his guitar with his innate prowess, picking on the strings with some old friends, all onstage buoyed by his presence. Kadlecik shared how he feels fortunate, due to his success as the lead guitarist for Furthur, to have an opportunity to play a setlist of songs of his choice that are not always Grateful Dead related because he may not otherwise have the chance to do so if not for his notoriety in recent years.

The Jam Stampede w/ John Kadlecik by Suzy Perler

Finally, Jam Stampede took the stage and immediately plunged into the familiar repetitive E and D chord exchange of The Other One. A veteran line-up with recent experience playing gigs like Brooklyn Bowl and Sullivan Hall, Wayne Scheller (keyboards), Tom Circosta (guitar), Klyph Black (bass), Dave Diamond (drums), and Mike Mizwinski (guitar) contagiously and confidently took over the Gramercy Theatre so effectively even the grumpiest curmudgeon would be compelled to tap a foot in unison. After a pass through the first verse, the band instantly reversed gears by slowing down and segueing into a solid Morning Dew. It was during this song, and guitarist Mizs guitar demonstration at the conclusion, that I was converted into a true believer in this band. The crescendo was so intense, involved and inspirational that I was instantly impressed with the talented musicians surrounding the stage.

The set progressed with familiar grooves, highlighted by a tightly conceived and melodious Unbroken Chain, complete with the requisite improvisational noodling after the second verse. Lizzy Friel, lead singer of the well-respected Jerry tribute act Reflections, joined the band to provide luscious harmonies on numerous songs. Having recently become engaged, Lizzy exuded a radiant glow which only facilitated better vocals during her guest turn.

There are 324 Grateful Dead cover bands in the U.S. according to www.gratefuldeadtributebands.com, which included those quality outfits I have seen like Reflections, Ship of Fools, Splintered Sunlight, Wig Jam, Dead Sessions, Reckoning, Cosmic Charlie and Dark Star Orchestra. By the end of this entertaining and engaging evening, I was convinced that Id just witnessed the most rewarding tribute experience. Jam Stampede tackles each and every number with an altered angle offering a unique take on timeless classics. Rather than replicate and spit out versions as a Jerry wannabe act, the band utilizes the Grateful Deads song structures as a foundation or starting point to then explore the vast musical landscape around it. By accentuating new and original points within a tune, varying the chord structure, and even changing the crescendo spots, they effectively maintained interest from an audience who remained surprised at a show where one has heard and sang along to all the songs so many times previously.

The Jam Stampede w/ John Kadlecik by Suzy Perler

Three members of the band played with one another with the old school jam outfit The Zen Tricksters, and the chemistry still translates well. All the players are masters of their domain, lifelong veterans who respect their craft and put forth the due diligence necessary to play this music right. Mr. Black, the bassist set up center stage, with the physical appearance of Ron Wood meets Peter Wolf upon first glance, but ultimately one can hear and see more of a reincarnation of Rick Danko. Despite the band being comprised of such quality players, it was Mike Mizwinskis virtuoso guitar work that was the impetus for most of the crowd talk between and after sets. I dont doubt that anyone in attendance now acquainted with Mizwinski would ever pass up an opportunity to see him own his guitar with such authority, passion and skill again. Not a household name yet, but without question, Miz has the chops to be a superstar.

Having witnessed the first sets talent, people were angling for a better view, competing for a closer spot near the stage in anticipation at the start of the second set. Help > Slip > Franklins was a tight and energetic place to start. John Kadlecik had graced the stage for numerous songs throughout, and watching as he often leaned back to allow Mike to take over the patented Jerry solos was reminiscent of a baton being passed. The music was so energetic and together, even the usually mundane Playin > Uncle Johns pairing took on an interesting dynamic due to the band playing with a mutual purpose and connection, with Lizzy again joining to add to the myriad of voices, which collided in a wonderful harmonic melting of sounds. However, it was the encore of Bertha that culminated a most surprising and special night of celebration amongst old friends. JK and MM alternated spots to improve, inspire and demonstrate each others virtuoso guitar work.

The Jam Stampede w/ John Kadlecik by Suzy Perler

With the intensely loyal Grateful Dead fan base, it is sacrilegious to offer up any true analysis or constructive criticism about any aspects of a show. If one suggests anything negative about the Dead, one is ostracized with a dunce cap in the corner without water. However, we all know that nothing delivers absolute perfection. Cognizant of the high quality jamming by Furthur, having seen over 100+ shows with Garcia, I remain challenged when forced to separate the current incarnation to the epic heights they once managed to attain. Its similar to someone dating a beautiful 20-year-old lover. They may still love this person at age 60 for all the right reasons, but most likely wont feel the same passion they did for them at 20 because the older version is simply not as alluring when the two ages are juxtaposed. Perhaps this latest round of Furthur shows best demonstrates that point to any old school Head. When witnessing Jam Stampede attack the same songs with renewed vigor and a fresh, renewed energy and approach, one cant help feeling as equally passionate at this $15 gig as at a $200 Furthur one. Just because no one named Weir or Lesh is onstage it doesnt mean they cant deliver epic versions of the songs those legends have played hundreds of times for decades.

I vividly recall occasionally spotting a bumper sticker on 80s Dead tour that simply stated: The Fat Man Rocks. Although meant in endearing levity, I never accepted this misguided attempt at humor. Chastising another about weight, even if one respects them, never demonstrates good taste. Intelligent men know that if you mention any similar remark to your girl, you are destined for a night in the dog house. Similarly, I never could comprehend how anyone so blatantly competent and proficient would consistently garner the moniker of Fake Jerry. Considering that Fake Jerry could never be a proper label anyway, as there is no mortal presently strumming a guitar who can approach the talent and icon status of Garcia, ultimately, it was a catchy, cute if not an accurate moniker. After this intimate showcase of guitar talent, I discovered first hand there is a John and a Mike, and fortuitously for those in attendance, they are both very real originals in their own right.

John Kadlecik Setlist
Down to Eugene, Givin’ Me the Business, Yellow Moon, American Spring, It’s Alright, Visions of Johanna, The Light That Has Lighted the World, Watching the Wheels, Seen Love*, Sister Smiles*, What’s Become of Mary*, Fast Enough for You*, Illegal Smile

* – with Lizzy Friel on harmony vocals

Jam Stampede Setlist
Set I: Other One > Morning Dew > Box of Rain*# > Simple Twist of Fate# > China Cat > Rider* > Unbroken Chain# > Other One > Deal*

Set II: Help > Slip > Franklins > Playin*# > Uncle Johns*# > Playin*# > Lovelight# > Bertha#

# with John Kadlecik
* – with Lizzy Friel on harmony vocals

The Jam Stampede Tour Dates :: The Jam Stampede News

JamBase | Shakedown Street
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The Jam Stampede with John Kadlecik | NYC | Review

April 27, 2012 in 10, 11, 12, 2, 25, 27, 28, 3, 50, 9, a, ACL, acoustic, after, Again, age, all, am, American, an, and, another, Arc, Are, around, as, at, attempt, ban, band, bands, Bass, black, book, bowl, Burn, but, by, Byrne, ca, can, cat, cc, center, charlie, classic, close, Closer, COMPLETE, covers, Crowd, cute, dance, Dank, dave, Day, dead, denver, does, dog, down, Drums, en, Encore, end, epic, eq, Eve, fake, Famous, Fat, fee, fi, final, First, fool, FOR, frank, Friend, From, gag, gain, get, Gf, gin, glow, golden, Good, grace, grateful, Groove, guide, Guitar, guitarist, hall, hampton, hi, high, Hope, How, ice, improvisation, in, inspiration, into, is, IT, jam, jammin, jamming, Jams, John, key, Keyboard, Keyboards, King, know, las, late, Led, let, life, light, lights, Like, live, live music, log, long, love, lover, luring, MA, Main, maine, Manhattan, Melt, MI, mike, miles, monday, moon, Mr, Music, My, name, Nat, nate, nc, New, new york, News, NH, night, NJ, no, nothing, NV, ny, of, on, one, op, Open, opener, opening, out, PA, Part, Phish, photos, picking, play, player, Pot, pro, Pt, rad, rain, rev, rock, row, rs, run, SC, scent, sci, second, set, show, Shows, Simple, smooth, So, solo, solos, song, Soul, sound, SPAC, spring, St, stage, start, Starting, state, stick, story, street, string, super, suzy, tab, talk, Taste, That, the, theatre, Thunder, times, to, Too, tour, Tribute, Twist, two, us, va, van, venue, view, vocal, WA, war, water, Way, ways, we, Web, Ween, Weigh, with, words, years, york, You, Your | No comments

Words by: Chadbyrne R. Dickens | Images by: Suzy Perler

The Jam Stampede with John Kadlecik :: 04.16.12 :: Gramercy Theatre :: New York, NY

John Kadlecik by Suzy Perler

John Kadlecik, widely known lead guitarist for Furthur and co-founder of Dark Star Orchestra, effortlessly proved to a small, loyal crowd on Monday evening at the The Gramercy Theatre in Manhattan, that he is a guitar tour de force. Following a set of solo acoustic rarities and covers, he joined in with old friends from the Zen Tricksters days. Comprised of veteran stalwarts, the headlining act, The Jam Stampede, booked this Monday night excursion to euphoria on Furthurs off-night from an extensive run at the Beacon Theatre for good reason. The timing of the gig afforded us the opportunity to witness Kadlecik open the night with an acoustic set, and wait with baited-breath in the hope he would take advantage of this opportunity to sit-in at this special Grateful Dead tribute performance.

Having recently caught a solo John show at Sullivan Hall, I knew what to expect from the opener. Johns sweet and clear voice delivered one eloquent song after another. Naturally, the crowd arrived in hopes of another Grateful Dead love fest, but he did not immediately answer their call. After a fresh take on a couple obscure Robert Hunter covers, the crowd was so entranced by his waxing musical deliver that John ribbed them, Wow. It is so, so quiet in here! Johns voice is crystal clean and clear. If Pigpens voice conjures up Thunderbird, Johns is a smooth flowing Molson Golden. Transitioning into a gentle rendition of Dylans Visions of Johanna, a tune the Grateful Dead covered a few times, the pleased audience, recognizing the sounds of a familiar tune, sang along to the parts they knew while growing visibly animated. Although John chose specific songs from his soul, it was obvious from the audience, although satisfied, that they were anticipating even more.

The Jam Stampede w/ John Kadlecik by Suzy Perler

Naturally, when one buys a ticket to hear John, who predominantly performs with the most famous jam outfit in history, one wants to witness what they perceive to be his most pronounced skill. Watching John play an entire set of mellow acoustic tunes is similar to a man being invited over to Megan Foxs house only to play Scrabble. One is so excited to hear John jam that is takes time to accept his subtle solo performances, regardless of how good a Scrabble player he may be. Placed near the back end of the opening set, highlights included John Lennons Watching the Wheels and a surprising, tasty rendition of Phishs Fast Enough for You.

Recharging between sets, I found JK straddling a doorway alone, savoring a few recharge moments before unleashing his fury on us. Knowing he has a very unique place on the music scene, he plays some of the most beloved songs in musical history with a band that has no equal in terms of passionate fan following. Naturally, I asked what many of my peers wanted to know:

With the vast Furthur catalog at your disposal, what song is the one you are always most chomping at the bit to play?

He reflected for a moment. If Johns reserved delivery yet often quirky speech arent reminiscent of John Denver, his bespectacled face hiding an innocent, boyish face certainly is. He replied matter of factly, Whatever song is next. Even after all the years and all the shows, he simply relishes the chance to shred his guitar with his innate prowess, picking on the strings with some old friends, all onstage buoyed by his presence. Kadlecik shared how he feels fortunate, due to his success as the lead guitarist for Furthur, to have an opportunity to play a setlist of songs of his choice that are not always Grateful Dead related because he may not otherwise have the chance to do so if not for his notoriety in recent years.

The Jam Stampede w/ John Kadlecik by Suzy Perler

Finally, Jam Stampede took the stage and immediately plunged into the familiar repetitive E and D chord exchange of The Other One. A veteran line-up with recent experience playing gigs like Brooklyn Bowl and Sullivan Hall, Wayne Scheller (keyboards), Tom Circosta (guitar), Klyph Black (bass), Dave Diamond (drums), and Mike Mizwinski (guitar) contagiously and confidently took over the Gramercy Theatre so effectively even the grumpiest curmudgeon would be compelled to tap a foot in unison. After a pass through the first verse, the band instantly reversed gears by slowing down and segueing into a solid Morning Dew. It was during this song, and guitarist Mizs guitar demonstration at the conclusion, that I was converted into a true believer in this band. The crescendo was so intense, involved and inspirational that I was instantly impressed with the talented musicians surrounding the stage.

The set progressed with familiar grooves, highlighted by a tightly conceived and melodious Unbroken Chain, complete with the requisite improvisational noodling after the second verse. Lizzy Friel, lead singer of the well-respected Jerry tribute act Reflections, joined the band to provide luscious harmonies on numerous songs. Having recently become engaged, Lizzy exuded a radiant glow which only facilitated better vocals during her guest turn.

There are 324 Grateful Dead cover bands in the U.S. according to www.gratefuldeadtributebands.com, which included those quality outfits I have seen like Reflections, Ship of Fools, Splintered Sunlight, Wig Jam, Dead Sessions, Reckoning, Cosmic Charlie and Dark Star Orchestra. By the end of this entertaining and engaging evening, I was convinced that Id just witnessed the most rewarding tribute experience. Jam Stampede tackles each and every number with an altered angle offering a unique take on timeless classics. Rather than replicate and spit out versions as a Jerry wannabe act, the band utilizes the Grateful Deads song structures as a foundation or starting point to then explore the vast musical landscape around it. By accentuating new and original points within a tune, varying the chord structure, and even changing the crescendo spots, they effectively maintained interest from an audience who remained surprised at a show where one has heard and sang along to all the songs so many times previously.

The Jam Stampede w/ John Kadlecik by Suzy Perler

Three members of the band played with one another with the old school jam outfit The Zen Tricksters, and the chemistry still translates well. All the players are masters of their domain, lifelong veterans who respect their craft and put forth the due diligence necessary to play this music right. Mr. Black, the bassist set up center stage, with the physical appearance of Ron Wood meets Peter Wolf upon first glance, but ultimately one can hear and see more of a reincarnation of Rick Danko. Despite the band being comprised of such quality players, it was Mike Mizwinskis virtuoso guitar work that was the impetus for most of the crowd talk between and after sets. I dont doubt that anyone in attendance now acquainted with Mizwinski would ever pass up an opportunity to see him own his guitar with such authority, passion and skill again. Not a household name yet, but without question, Miz has the chops to be a superstar.

Having witnessed the first sets talent, people were angling for a better view, competing for a closer spot near the stage in anticipation at the start of the second set. Help > Slip > Franklins was a tight and energetic place to start. John Kadlecik had graced the stage for numerous songs throughout, and watching as he often leaned back to allow Mike to take over the patented Jerry solos was reminiscent of a baton being passed. The music was so energetic and together, even the usually mundane Playin > Uncle Johns pairing took on an interesting dynamic due to the band playing with a mutual purpose and connection, with Lizzy again joining to add to the myriad of voices, which collided in a wonderful harmonic melting of sounds. However, it was the encore of Bertha that culminated a most surprising and special night of celebration amongst old friends. JK and MM alternated spots to improve, inspire and demonstrate each others virtuoso guitar work.

The Jam Stampede w/ John Kadlecik by Suzy Perler

With the intensely loyal Grateful Dead fan base, it is sacrilegious to offer up any true analysis or constructive criticism about any aspects of a show. If one suggests anything negative about the Dead, one is ostracized with a dunce cap in the corner without water. However, we all know that nothing delivers absolute perfection. Cognizant of the high quality jamming by Furthur, having seen over 100+ shows with Garcia, I remain challenged when forced to separate the current incarnation to the epic heights they once managed to attain. Its similar to someone dating a beautiful 20-year-old lover. They may still love this person at age 60 for all the right reasons, but most likely wont feel the same passion they did for them at 20 because the older version is simply not as alluring when the two ages are juxtaposed. Perhaps this latest round of Furthur shows best demonstrates that point to any old school Head. When witnessing Jam Stampede attack the same songs with renewed vigor and a fresh, renewed energy and approach, one cant help feeling as equally passionate at this $15 gig as at a $200 Furthur one. Just because no one named Weir or Lesh is onstage it doesnt mean they cant deliver epic versions of the songs those legends have played hundreds of times for decades.

I vividly recall occasionally spotting a bumper sticker on 80s Dead tour that simply stated: The Fat Man Rocks. Although meant in endearing levity, I never accepted this misguided attempt at humor. Chastising another about weight, even if one respects them, never demonstrates good taste. Intelligent men know that if you mention any similar remark to your girl, you are destined for a night in the dog house. Similarly, I never could comprehend how anyone so blatantly competent and proficient would consistently garner the moniker of Fake Jerry. Considering that Fake Jerry could never be a proper label anyway, as there is no mortal presently strumming a guitar who can approach the talent and icon status of Garcia, ultimately, it was a catchy, cute if not an accurate moniker. After this intimate showcase of guitar talent, I discovered first hand there is a John and a Mike, and fortuitously for those in attendance, they are both very real originals in their own right.

John Kadlecik Setlist
Down to Eugene, Givin’ Me the Business, Yellow Moon, American Spring, It’s Alright, Visions of Johanna, The Light That Has Lighted the World, Watching the Wheels, Seen Love*, Sister Smiles*, What’s Become of Mary*, Fast Enough for You*, Illegal Smile

* – with Lizzy Friel on harmony vocals

Jam Stampede Setlist
Set I: Other One > Morning Dew > Box of Rain*# > Simple Twist of Fate# > China Cat > Rider* > Unbroken Chain# > Other One > Deal*

Set II: Help > Slip > Franklins > Playin*# > Uncle Johns*# > Playin*# > Lovelight# > Bertha#

# with John Kadlecik
* – with Lizzy Friel on harmony vocals

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