Thursday, June 14, 2018

Kieran's Bachelor party, June 2018

2/26/81 The Uptown Theater Matrix Recording

Set 1:
Feel Like a Stranger, Althea, Little Red Rooster, Bird Song, Me and My Uncle,
Big River,Tennessee Jed, Passenger, Peggy-O. Music Never Stopped

Set 2:
China Cat Sunflower>I Know You Rider, Samson and Delilah, He's Gone>drums>Space>
Truckin'>Black Peter>Goin' Down the Road Feelin' Bad>Johnny B. Goode

U.S. Blues

8/27/72 Ventetta, OR. Perfect soundboard recording. Also available as official release, including DVD

Set 1:
Promised Land, Sugaree, Me and My Uncle, Deal, Black Throated Wind,
China Cat Sunflower>I Know You Rider, Mexicali Blues, Bertha

Set 2:
Playing in the Band, He's Gone, Jack Straw, Bird Song, Greatest Story Ever Told

Set 3:
Dark Star>El Paso>Sing Me Back Home>Sugar Magnolia

Casey Jones, One More Saturday Night

5/8/77 Ithaca, NY Matrix Recording. Also available as A+ pristine official release.

 Set 2:  
Scarlet Begonias>Fire on the Mountain 

10/14/68 San Fransisco, CA One of the most immersive recordings I've ever heard

Set 1: 
Dark Star > St Stephen > The Eleven > Death Don't Have No Mercy

Set 2:
Cryptical Envelopment > Drums >Other One > Cryptical Envelopment >
 New Potato Caboose > Jam > Drums > Jam > Feedback 


Thursday, March 1, 2018

Crepuscular Digest #3

This poster got Wes Wilson a stern talking to from Bill Graham. More on Wes later

01/05/79: The Spectrum, Philadelphia, PA
A surprisingly nice audience recording from the Spectrum. A tough room to tape in

When I got into the Disco Biscuits, they were billed to me as a Philly band. Phish was a Vermont band and the Grateful Dead were a San Fransisco band. Each band had their ancestral homeland. Philly then became sort of a Mecca or mythical place of power as I became a fanatical Biscuits fan. It seemed funkier and more fun than the Manhattan I had grown up knowing as a suburban Long Island kid. There always seemed to be music, art or history around the next corner. It was certainly cheaper than NYC, which was nice. My first time visiting Philadelphia to see the Disco Biscuits was their 2002 New Years run at the Electric Factory. A carload of close friends from SUNY Albany  crammed into a hotel within walking distance  of the E-factory and had the adventure of a lifetime seeing the band give a command performance over three nights.There's a lot more to the story I'll get to eventually.

At the Original E-Factory in 1969
Once the Dead obsession crept into my life, it came as no surprise to me  that the Grateful Dead played consistently well in Philadelphia. It's the holy land of Bisco (not to mention a cultural and musical epicenter in its own right). It was cool to learn that the Dead played the original Electric Factory in 1968 and 1969. The Electric Factory promoters (this book by one of the E Factory founders looks to be pretty cool) also booked the Spectrum, the big hockey arena in town.  Once the Dead were big enough, they moved over there in 1972. According to this well researched and compelling overview of the Grateful Dead's performances in Philly, they played the Spectrum a whooping 53 times. Bruce Springsteen only played there 42 times and Philly was a second home for him.

First show at the Spectrum in 1972
I love the beefy Sugaree to start but the recording takes a couple tunes to get right so its a rough listen. The sound gets much better by mid-first set. By mid-second set it sounds wonderful. Especially for an 18,000 person room in 1979. The Estimated Prophet second set is where things really take off. Its segues ferociously into Eyes of the World. I'm typically pretty skeptical of any Eyes after 1974. Its so hit or miss for me. This is one of the better post hiatus Eyes I've listened to. They lock into a wonderful groove and tempo that makes me wish it would never end. Drums>Space is great. Space>Truckin'>Nobody's Fault but mine jam>Black Peter is really the heart of this show though. A masterful suite of music with great warmth, sadness, moments of quiet, and moments of great fury. Around and around is even really hot. The room ambiance of the recording makes it a really immersive listening experience and while listening my mind wandered to some incredible nights of music in Philadelphia through the years.

A Nice New York Times eulogy for The Spectrum

 08/31/83: Silva Hall, Hult Center, Eugene, OR
 Gorgeous Sennheiser 421 mic audience recording from Da Weez

The connection between Ken Kesey and the Grateful Dead is a really engrossing sub-story in both of their arcs. Kesey of course spent some time in California, but very early on in his adult life, settled in his ancestral Oregon. When the Grateful Dead were in town, Kesey was around more often then not. Or the primary reason they were in Oregon at all. The Hult Center itself is a fascinating venue. The room the dead played in this performing arts center was the 2,448 seat Silva Hall. The interior is designed to look like a woven basket. It's heavily shot through with the University of Oregon's colors, green and yellow. It looks like a really trippy place to see a really trippy band. 

This show at the Hult center starts with Ken Kesey tells a few jokes while the band gets it together. It's noted that he was jamming behind the drums on harmonica during space but its not really audible on the recording. I'm sure if he was participating, he was influencing. Aside from the already neato Kesey stuff, this is an excellent show. 83-84 is my favorite era for Dupree's Diamond Blues honestly. I'm sure that's sacrilege to hardcore primal Dead fans but there's something about the sound they get with Brent and the quality of storytelling from Garcia. He had a real feel for the story. The closing sequence of set one is great. A driving West L.A. Fade Away is followed by a really nice Althea that gets pretty deep. It's a lovely pairing to have Althea followed by Cassidy. They segue into a hot Don't Ease me In to wrap up a hot first set.

Having not read ahead in the setlist, I was surprised and delighted to have the second set start with Cold, Rain and Snow as a wet and heavy late winter snow fell over Albany. Love those moments where the music and the universe sync up. After this, the entire rest of the second set is one fluid piece. Playing in the Band gets very deep into its jam and segues unexpectedly into a shimmering China Doll. More unorthodox than this pairing is the post Doll jam that at times touches on the Playing in the Band feel without fully returning to it. It's an extended piece of improv that shape-shifts into drums. The space is very uptempo and unusual (the drummers stay on) so I could see Kesey influencing it. The segue into Truckin' is phenomenal and well worth the price of admission. Stella Blue is as poignant as ever while the Good Lovin' has terrific energy to end the set.

10/12/68 The Avalon Ballroom, San Fransisco, CA 
Charlie Miller transfer of this intimate soundboard recording

First off, The poster for this run of shows at the Avalon Ballroom is by psychedelic poster pioneer Wes Wilson. For a time, San Francisco was the hippest music scene in the world. It's still really hip. The artists creating posters for the events spawned an art movement themselves which endures to this day. Here's a great article which goes into the "big five" posters artists as well as many of the other folks who helped create and define this vibrant 20th century art scene. I'll share some of Wes' stuff throughout this section of the post. More on the San Fran ballroom poster scene here and here.

The poster for this run at the Avalon
This show may or may not start with an absolute blazing Morning Dew. This copy at least omits it. The first one I heard has it. After the Dew (or whatever actually precedes this), Jerry encourages the audience: "Please let go of your bodies everybody" after saying it would be unhip of him to tell them to "dance or else". Dark Star is an excellent choice for letting go of your body. Every member of the band can be heard clearly in this gift of a recording. This is a time period where Bobby and Pigpen get kicked out (more on the "firing" here) for not being on the same page as far as where the music was going and how hard it should be worked on. The kick out doesn't stick and Bobby plays on this tape, while Pigpen does not. Though I love keys in improvisational music, here's a great example of what having a simplified melodic profile can do for directed improvisation. Tow guitars and a bass is lithe and aggressive. Explosive at times.

Wes Wilson created his poster for an anti-war demonstration.
 Jerry's tone is lovely. He starts stretching the Dark Star out with Phil working the intensity bellows. The first jam is nearly five minutes of directed bliss before a strong run through the first verse. Jerry is phenomenal form vocally on this night. Powerful and emotive.The second jam drifts like snow on a windy mountainside, going much further out than the first jam. Jerry weaves a gorgeous melody starting just before seven minutes. It brings in a fuller expression of the percussion section before peaking the dark star theme with a controlled squeal. Intensity continues building until a collective band deep breath just before the ten minute mark. Garcia is unrelenting and lets the jam stay in the base of the valley only a moment before guiding the band up the next peak. Here we dip up and down for a couple short jaunts of intensity flow before the final reestablishment of the dark star theme, then the final verse.

"Ohm" is on of Wes Wilson's most famous posters. Van Morrison1967
The segue into Saint Stephen is playfully sparse and absolutely delicately brilliant. The band all jump in to the structure with tangible glee. The vocals are recorded beautifully with every voice ringing clearly. Bobby's vocals against Jerry's sound wonderful. After delivering the "One man gathers what another man spills" line, Bobby mumbles "funniest thing I ever heard" nonchalantly to the roaring approval of the audience. They segue out of Stephen like a river suddenly un-dammed. Like a flame suddenly greeted by a great rush of oxygen. They slip into the Eleven theme effortlessly, instrumentalists at the top of their game. They play through the pre-vocal section with many small, lovely embellishments and great intensity. They hit the vocals on the Eleven with the typical vigor and precision found in this performance.

2/24/67 at the Fillmore is a trademark Wilson piece
They hit peak after peak post vocals, maintaining a completely improbable pace of soundscape creation and destruction. The tempo taffy pulls down to a slow blues shuffle. Death Don't Have No Mercy. The emotion in Jerry's vocal and instrumental performance on this track is captivating. Becoming a Grateful Dead enthusiast after Garcia had passed offers me an opportunity to avoid some of the hang ups of being a Dead Head. I was able to separate myself a bit from the deification of Jerry Garcia. It was clear studying the history as an outsider how toxic it became to him. Listening to this performance however, its clear there was no chance a person who emitted music like this could ever be treated as a mortal. The first big Jerry solo at 3:30 is so much about the notes not played. The control and tastefulness of what he did choose to lay down.Verse two and the control, the delicacy is even more tightly dialed in. At 7:00 we hear maybe the most powerful vocal delivery of Jerry Garcia's career (in my humble and currently held opinion. Subject to change). Nuanced and dynamic, the whole weight of the human experience is pondered then shed as unnecessary to bear any more. The show goes on for an as equally big and beautiful segment of music I'll leave you to explore on your own. Many treasures await.
Still a much sought after poster artist. Moonalice 2013
Legend puts Jimi Hendrix in town for a run of shows and quite possibly in attendance at this show. Its an even more compelling wrinkle to this already engrossing aural tale. Dig into that bit of Dead mythology here. More on 10/12/68  here and here too. This show deserves all the attention its gotten through the years.

Steve Kimock Band 2/22/02  The Gothic, Bellevue, CO
"The tape that got him the job"

 Steve Kimock's credentials are some of the most impeccable in improvisational rock. He's been playing with members of the Grateful Dead as well as many incredibly talented musicians outside the core Dead thing since the 70's. His tone and style are very unique and yet blend really well with the wide variety of musicians he plays with. My first time seeing him live was at the Capitol Theatre with Bob Weir's campfire band (more on that show including audio and pictures here). His latest album Satellite City is phenomenal. On the anniversary of this show, this recording  by Charlie Miller and Arielle Phares circulated online and piqued my interest. I don't venture out much from the Grateful Dead and Disco Biscuits as far as jam music and was hugely rewarded for this particular jaunt.

Kimock in 2002
After listening to about five minutes of the first tune Ice Cream, I found myself looking up the rest of the line up for this band. Everyone sounded super talented. By the third song, Tangled Hangers,  my jaw was on the floor at the quality of playing. So emotive as well, which I find more rare in bands without vocals. (This Will Destroy You is one of the few that comes to mind)  Wanting to know more about the musicians took me down some surprising paths again outside my usual taste. Drummer Rodney Holmes fell in love with art and music in high school on. He wound up playing in Santana's band in two separate phases of that band among many other things. He's been able to balance a strong rock and strong jazz foundation to great success while displaying his interest in electronic/ dance music. The electronic influence from this performance is clear even though he plays a completely live/ acoustic kit. Bassist Alfonso Johnson played with Santana as well, Weather Report, Genesis, Bobby and the Midnites and Jazz is Dead. His playing caught my ear the most. Incredible bass player. The second guitarist Mitch "Moose" Stein had an early improv background and wound up getting way into the jazz scene. He compliments Kimock's lead parts in a way that can't help but make you think of how Bobby related to Jerry. The nimble interplay of two guitars and a bass (without Keys to round out a standard rock line up) is something that really caught my ear about that Avalon Ballroom '68 show. It also makes this show really compelling.

Alfonso Johnson in Rochester in 1977
Charlie Miller on 2/22/02

For those of us who spend countless hours listening to Grateful Dead recordings, no one is more responsible for our quality of life in 2018 than Charlie Miller. He's been steadily remastering, upgrading and circulating hulking portions of the Grateful Dead's performance history. He does this as a service to the community, seeking no compensation for his intensive efforts.  He started taping the Grateful Dead in 1983 and has been capturing beautiful recordings ever since, most recently,  these lovely recordings of  the entire 13 show Baker's Dozen MSG run by that Vermont band.

He mentioned on social media that this Kimock recording recording was the tape that landed him the job. That little bit of information is what got me so interested in this recording. It was a tremendously rewarding listening experience and super fun getting to learn about some great musicians.  I was so grateful for the experience Charlie's tape provided me, I decided to bother him about it. Here's the conversation we had:

Crepuscular Rays: I saw you said that making the recording got you the job. Would you mind elaborating on that?
Charlie Miller: The band released my recordings as Live in Colorado which got me the job with the band. I've been working for Kimock for 17 years, but not so much lately.

CR: Thanks! I can see why it was released. Incredible music! Did you run boards/ mix for them or focus on recording the performances?
CM: I was Kimock's recording engineer, sound man, driver, road manager, stage crew and most importantly, his friend.

CR: That's one hell of a position. Had you been working in that capacity before?
CM: I've been recording since 1983. I had experience with all those things just not at the same level. When you're with a band for so long you end up doing everything at some point.

Rodney Holmes 2016
CR: At the show did you know it was a special performance? Like did it stand apart from others of that era? Seems like it from the audience.
CM: Yeah we all knew... and the next night was the cigarette after sex 😃

CR: Nice! Any other Kimock recordings I should check out? I'll definitely check out 2/23/02 now.
CM: I put 98% of the year up on the archive. It's all killer. Really.

CR: Awesome! I really appreciate you taking some time to chat with me about this legendary show. Anything else you'd like to add?
CM: Play it loud.

To learn more about Charlie Miller's legacy, take a ride in the wayback machine to check this interview from the now defunct Dar Star palace blog. It's a really thorough piece with great pictures.

Friday, January 26, 2018

Crepuscular Digest #2

Jerry Garcia Band SUNY Stony Brook Gymnasium, 2/24/80 

When I'm looking through concert recordings, if I see a show played somewhere I know (especially in New York State), I tend to select it over others from far off places. When I saw that Jerry Garcia Band played SUNY Stony Brook several times in their career, I started working through those performances. I grew up in the nearby town of Mount Sinai. I came of age when Rollerblade's became popular. First they were a roller rink/ tool around the neighborhood thing. Then it was all about roller hockey for years. It started off as a casual neighborhood game then became a serious 3-5 day a week neighborhood game. We played in a cul-de-sac at the other end of the neighborhood from me. One of the homeowner's in the cul-de-sac, Mr Balafas, owned a welding company. He enjoyed watching the game and offered to build us goals. Even offered to store them in his driveway. A significant portion of the kids in the neighborhood game got so serious we started playing in a local league in Miller Place, the next town over. As I got more into my early teens, skate and snowboard culture started to get more mainstream exposure and the kids in the neighborhood starting getting in to that. People started modifying Rollerblade's to do some of the same tricks (grinds and airs) as skateboards and off we went getting in to the burgeoning sport of aggressive rollerblading. It was a short trend compared to something more enduring like skateboarding, but we had a blast and were constantly looking for places with sets of stairs and ledges. Finding SUNY Stony Brook was like heaven. We had a lot of adventures including running from the University police once it got pretty popular to skate there. That was especially fun for us, we got to know the tunnels below campus and would be able to disappear in one place and pop out in another. Until one day we popped out of a building and were surrounded by campus squad cars and bike officers. Brian Needles (my main skate partner/ partner in crime) and I got taken into the station and had our parents called. That ended our sessions at SUNY SB.

Well that was quite a digression to explain my sentimental attachment to this venue. I knew the Gym very well from skating there and from my sister's track meets. This show was just a few days before the famous Kean College shows released officially as After Midnight. It has the same super minimal line up as that recording: John Kahn on bass, Ozzie Ahlers on keys, and Johnny De Fonseca on drums. His story with the band is fascinating yet tragically short. Thanks to the Hooterollin blog for their beautiful work telling De Fonseca's story. With how hot the Kean college recordings are its perhaps not surprising they play a very hot show in Stony Brook as well. It's weird for me to hear JGB tunes without female vocalists but the deft and hard driving playing throughout make up for it. 'Sitting here in Limbo' is totally a vocal duet song to me but he does a phenomenal job carrying this one on his own. 'That's all right, Mama' is killer, as is 'Masterpiece' and 'I'll Take a melody'.  The audience recording is crystal clear and very high quality taboot. I  recommend you give it a listen.

Grateful Dead Greek Theater, Berkeley, CA, 4/19/86
Pristine Charlie Miller/ David Gans soundboard recording

First off, I found this great fan account of the run. always love hearing about people's experiences at shows. I tend to prefer listening to audience recordings from the early to mid-80's but got it in my head I wanted to hear the boards for this run. Taper and mastering genius Charlie Miller did his usual magic on this tape. It's a stellar mix and recording right out the gate for the 'Feel Like a Stranger'. Everyone is present and balanced in the mix which is great considering how tight and interactive this 'Stranger' is. 'Stagger Lee' and 'Friend of the Devil' also have some lovely moments, especially from Brent. The whole first set is fun and well played. They stretch the 'Cassidy' out nicely and rock through 'Big Railroad' and 'Saturday Night'.

The backstage pass for this show is a bit of a piece of fascination to me. When I first saw it I immediately thought about the Challenger tragedy and figured it was very close to the date. Turns out it had happened just three months previously, on 1/28/86. My first thought upon discovering that fact was, wow GDP, maybe in poor taste? I then figured the pass designs were probably already done when the accident had occurred. I was in Elementary school at the time and the launch was a huge deal. The first teacher to go into space Christa McAuliffe captured the nation's attention. Looking at it this way it's no surprise the dead chose this design. Plus, its got  a cool psychedelic art meets the 80's graphic design thing. The second set is very well played and goes way out there. The drums>space>the Other One>China Doll segment is my favorite part of the show and gets very heavy and intense. The Crazy Fingers>Playing also gets very spacey. The whole second set is very improv heavy but with a mellow feel. Grateful dead in space! Lately the east coast vs west coast feel for shows has come up a lot in discussion. I 'm a firm believer in 'different but both great' for the two coasts. These shows (like the Marin 84 run I talked about here) are a great example of how a mellow and laid back show or run can still be engaging, masterfully played and thoroughly terrific.

Grateful Dead Carrier Dome, Syracuse, NY, 10/22/83
Incredible Dusborne Matrix  Recording

Jerry kicks on that effect, you know the one, and the crowd oohs in anticipation. 'Shakedown' is about to happen. I listened to all of 1984 last year and came to the conclusion that the spring and early summer were my favorite parts. I backtracked to fall 83 and loved that just as much. I determined the sweet spot for what I like appears to be fall 83-spring 84. The quality of audience recording from this time period is just phenomenal. Its right at the apex of what analog could get to before primitive digital takes over and isn't so hot for a few years.

 Back on to chasing shows from the old home land. I consider anything along the Erie Canal to be especially important (my work has gotten me pretty deep into NYS Canal history) so Utica, Syracuse and Rochester shows always take precedence. I'll also accept Binghamton shows since its connected to the Erie with the lateral Chenango Canal hahaha. Interesting side note I'm researching: Notice Albany isn't in the mix at all? Weird huh? Major city in that same corridor right? Might as well tack it on. Well there's a canceled show in 1970 and then 20 years without a show within city limits. Shows in the market, sure, but none in the city. I suspect a vast conspiracy.

The mix achieved on this matrix recording is tasty. Live and warm, but still crisp. The full hit of Phil's bass and the lower end Brent synth parts sounds amazing on my headphones. The groove is dark and always heading towards new ideas. Jammy without being too aimless or noodley. 'Wang Dang Doodle' scorches. This is a particularly hard hitting version of this tune. 'Candyman' has plenty of mustard on it despite it often being a tune the band can use to catch their breath. The second set starts off with a  'China>Rider' sequence that is tight and inspired and gets really hot by the segue. 'Terrapin Station' is chill-inducing from note one. The response from the crowdto its first notes speaks volumes. Jerry's voice is still very strong, and sincere as always. Phil is very active. The improv leading into the final verse of the 'Lady with a Fan' section completely deconstructs the themes and then surges forward with great power. Terrapin itself is triumphant and powerful. Jerry stays on with the drummers and rocks out for a bit before the drums section. Its labeled on this recording as the Hofman's Snappy jam lol. For those from outside upstate New York,  white Hots are a popular cased meat treat in the Rochester/ Syracuse area. They are made with pork, beef and veal and are uncured, hence their white color. Hofman is a famous maker of the white hot. Drums>Space is top notch and who doesn't love a Space>The Wheel? This is a great time for that particular segue and this version does not disappoint. Hints of a Spanish Jam. The Set 2B and encore are rock solid as well.

The Vince era

Part of my complete fall for the Grateful Dead was my discovery of Brent Mydland. I LOVED his key playing, especially the Hammond B3 organ. I loved his voice and how he inspired Garcia's playing. His songs were dark and brooding, as was his musical energy at times. It more honestly rounded out the Grateful Dead's interpretation of humanity in their performances. Just a little darkness. Just a little light. So I adored the Brent era and especially fell in love with the famous spring 1990 tour. The playing was dynamic and exciting, building in quality and popularity continuously from after Garcia's coma in 1986. Brent's musical presence and increasing portion of the spotlight were a major driving force in why it was such a good tour. Summer tour kept up the heat consistently until it ended in late July. A week after tour ended, Brent Mydland passed away tragically. Learning this information, as I was falling in love with the man's music was heartbreaking.
Vince's first show: Richmond Coliseum 9/7/90
 I purposely avoided the Vince Welnick era. I didn't want to hear Jerry's heartbreak, the decline. I didn't want to hear all the cliched complaints about the era: Jerry's constantly bungled lyrics, uninspired playing, Vince's cheesy synth tones and Bruce Horsnby's popular guest appearances overs-shadowing Vince's playing. Then I listened to about 800 Grateful Dead shows, a bunch of Jerry band shows and lots of post Jerry member projects like Ratdog, Furthur and Dead and Company.The Vince era represented a big block of Grateful Dead shows I hadn't yet dug in to. If I could listen to and enjoy what a lot of people would consider a meh Ratdog show, I could give Vince a chance. At first I cherry picked The best of the Vince era shows with a heavy bias towards selecting Bruce Hornsby nights. I did enjoy a lot of them, but would always default to other eras as what I enjoyed pursing.

3/29/93 @ the Kinckerbocker Arena
It took a few more years but I decided I wanted to go right up to the line. Vince's first shows with the band. No Hornsby to keep things moving and the wound of Brent's passing still fresh on everybody's hearts. What I found from two Richmond shows then the three night run in Philadelphia in Spetember of 1990 was an inspired band still rolling from the momentum of several great years. There is an audible dose of enthusiasm from the new musical relationship. There's a new energy on stage and they're still all feeling each other out. I found all five of these recordings to be highly enjoyable end to end, a phenomenon I rarely experience listening to five consecutive nights from any era really.  I was shocked frankly. I had previously listened to the MSG run proceeding this and while there are lots of really hot points, I didn't love it. I love these shows. I'm not saying I'm going to enjoy listening to all of the terminal Dead period but it was pretty cool to have such a shock so deep into my GD journey. A real divergence from what I expected of this run. I expected it to be a mess and for that to be the reason why they asked Bruce to help out for a while. What if he never had? What if they had a bit more faith in Vince and worked with him to get it where they wanted it? Things might've turned out a bit different. Who am I though, to blow against the wind? Vince was a big part of this band. A great player, a human, equally worth of our respect as his predecessors. His death no less tragic then the rest of the occupants of the Grateful Dead's hot seat. Plus, dude-man looks exactly like Jorah Mormont so he's got that going for him.

Check out these shows! You might just be surprised yourself. The spectrum shows are Dusborne Matrix mixes of especially good quality.
9/7/90 Richmond Coliseum
9/8/90 Richmond Coliseum
9/10/90 The Spectrum
9/11/90 The Spectrum
9/12/90 The Spectrum

Thursday, January 25, 2018

Billy Strings and Greensky Bluegrass 1/24/18

Went to see music at the Egg last night.
It's a really neat building.
Met really great friends. Ran into a bunch more really great friends
Billy Strings was very impressive. Charismatic young virtuoso flat picker. Hot band.
Greensky came on. My first time seeing them.
They were unassuming and sincere. My favorite kind of musician. . The songwriting and  playing was masterful and soulful.
Their jams get as deep, interesting and grooving as any of the best traditional jamband line ups. All on strings alone.
Even though I'm an old and had to sit down at times during second set, I was so happy to be in this special place.
There were egg puns. It was casual Wednesday.
I hope there are more Greensky egg puns next year. Wouldn't complain about another casual Wednesday either.