written by AJ Abrams
photos by Mike MacNamara

Living in New York City allows me to go on tour without even leaving home. This was especially true back in the days when the Dead played nine nights at Madison Square Garden. But even today there is never a break. There are hundreds of bands playing hundreds of different clubs every night of the week. Living in NYC for me makes life one never ending tour. In fact, I tend to log in as many gigs as the musicians themselves do. I am out at shows 5-6 nights per week. But I always make sure to stay home and rest or do laundry for one or two nights. But Derek Trucks didn't even have time to do his laundry during his one-month residency in NYC.

He didn't waste a second during his time here for he barely took a night off. Heck, he even had two gigs a night on several occasions. One night early in the run I asked him if he even had one night off. He laughed and said "Just this Sunday, but I'm trying to get another gig for then." And his fans followed Derek from show and show and sold out every single one. He played 13 sold out shows with the Allman Brothers Band at the Beacon Theatre. He also played four sold out shows at four different clubs with his own band. And he sat in for a song here and a jam there with a few other bands. So since Derek Trucks owned New York City for a month, let me begin this set of concert reviews discussing him, his band, and some other gigs he sat in at. The rest of the reviews will follow in chronological order.

March 15th - Schleigho with special guests Derek and Butch Trucks at Wetlands

I've seen Schleigho for years and they are certainly one of the most musically complex jam bands out there. Most of their songs are instrumentals that are well-composed, intricate, melodic and full of odd time signatures. I've always wondered why they are not more popular in our scene. I'm not sure about the rest of the country, but they have always had a problem making fans in NYC. They've played here a million times, but rarely pack the club. Luckily, they got a big crowd into Wetlands this time out. Perhaps it is the sign of things to come. Most veteran jam band observers seem to think Schleigho is not popular because their music is just too complex and too heady. Their slogan is indeed "Music for the Minded" and you have to have an adventurous musical mind to follow them on their trip. Well, obviously Derek and Butch have that adventurous mind, because they decided to sit in with Schleigho on a few tunes. I do not know the names of any of their tunes, I just know that I like them. In fact, I like Schleigho's music so much that I feel guilty I have not purchased any of their albums. And as soon as I finish writing this column, I intend to do just that. I love this band, yet I know nothing about their music other than the fact that the music is awesome. So the next time I review Schleigho I will be able to accurately review their shows. In fact, more of us need to go out and purchase jam band CDs. Too many of us just go to shows and listen to the free live tapes. These bands need our support with CD sales as well.

Schleigho is right up my alley because I love progressive rock and jazz. This band is perhaps the closest thing we have to 70s progressive rock at the moment, and they certainly have their jazz fusion side as well. Within their original music lies hints of Zappa, Santana, Yes, Soft Machine and Jethro Tull. The Jethro Tull connection might be more of my imagination just because certain tunes have a flute. The addition of flute gave the tunes a light, floating, breezy vibe. I'd like to see Schleigho expand their sound with more unique instrumentation. Their songs are already musically sophisticated with just the basic guitar, bass, keyboards and drums. Adding layers of additionally instruments will make their compositions sound even more impressive and mature. Maybe now that star musicians like Butch and Derek Trucks are supporting Schleigho, perhaps the common music fan will take notice and start supporting this terrific band. Derek also showed up to jam with Govt. Mule at the first of their two nights at Irving Plaza.

March 22 - Derek Trucks Band at Mekor

This was the only complete Derek Trucks show I saw during his run. I wish I could have seen a few more, but NYC is a busy concert town and I had several other bands to see. The familiar opening notes to Afro Blue floated out of Kofi Burbridge's flute. The haunting melodic theme of the solo flute filled the packed, but quiet room. Derek gradually joined in, and used his slide to gracefully ease the same Afro Blue theme out of his instrument. Derek is a terrific slide guitar player, and with his slide he left his own mark on Afro Blue. And away the band went. They played several bluesy rock tunes sung by the keyboardist. But preferred their jazzier jams and the instrumental tunes better. I have the exact same feelings for the Allman Brothers Band. While Gregg Allman is among the best white blues singers that ever lived, I still enjoy the jazzier and psychedelic side of the ABB much more than the basic blues tunes.

A few of the instrumentals were funky strut workouts reminiscent of the Meters. This was interesting because Leo Neocentelli, the founding guitarist from the Meters, had a gig at Wetlands with Oteil Burbridge later that night. Another instrumental was a funky blues shuffle featuring a violin player. It was a custom made futuristic looking violin. The violin player remained on stage for a few tunes and then Eric Krasno from Soulive also entered the musical fray. He immediately came out throwing punches on the offensive as he traded guitar licks with Derek. Krasno showed up at all of Derek's NYC gigs and he also sat in with several other bands as well. Even Peter Prince arrived to belt out some white soul romps with Derek.

Derek Trucks is an unassuming band leader. He made very little eye contact with the audience and he never said a word from the stage. He is not a physically active guitarist either. He just stood there and played his guitar. His guitar style was spirited and full of emotion. But his face was not. Derek looked a little bored at all the gigs I saw him perform at. But looks can be deceiving. The sounds that came out of his guitar were incredible. He was not bored, his fingers were just busy picking magic out of his guitar. Derek is becoming known as a slide guitar genius, but let me tell you his finger picking technique is quite a sight to see and hear as well.

March 22 - The Truth (Leo Neocentelli and Oteil Burbridge) at Wetlands

After the early Derek Trucks Band show Mike Mac the photographer and I traveled downtown to Wetlands to check out The Truth. You may not have heard of The Truth but you probably know about the two main members. The Truth was Allman Brothers Band bassist Oteil Burbridge and the founding guitarist of the Meters Leo Neocentelli. The two teamed up together and whipped out fat versions of classic Meters tunes such as Fire On the Bayou, Sissy Strut and Hey Pocky Way. Neocentelli was a main contributor to the Meters sound and that was evident from every greasy cajun note he played. He menacingly stared at his guitar like he was pissed off at it. He attacked the defenseless instrument and out flew thick, metallic swamp funk and strutting syncopated rhythms. Leo was quite impressive because he is a funk guitarist and a lead guitarist all rolled into one. Most funk guitar player just keep the funk grooves coming. But Leo played heavy metal funk, if there is such a thing. The music had a general funkiness, but the guitar cranked out scorching, soaring leads.

Halfway through the set it dawned on me that the keyboardist for this show was the same guy who played violin earlier with the Derek Trucks Band. And before I knew it, Eric Krasno and Kofi Burbridge also followed us down to Wetlands to jam with Leo and Oteil New Orleans style. The highlight of show featured everyone on stage for a long workout of Sissy Strut. But there was nothing sissy like about this jam. Why do they call this tune Sissy Strut when it actually sounds like a bad ass strut, not a sissy strut?

Oteil did a few tunes without Leo. One tune called Church he dedicated to his wife. The song seemed to reflect Oteil's newfound spirituality. I'm not sure if he is religious or not, but he has given up the rock and roll lifestyle. A few times recently on the Wetlands stage he excitedly told the crowd he is a changed man and does not drink, smoke or do drugs anymore. He is very happy about his sobriety and new state of mind and wants to share it with everybody. Leo came on to the finish tune. But soon left and the show ended with Oteil, Kofi, and Krasno jamming together for a few minutes.

On March 25 the Allman Brothers Band played their final show of the Beacon Theatre run. When the Allman's show ended, the Derek Trucks Band had a midnight show at Wetlands. Unfortunately I was not at the Beacon, and I also missed most of Derek's final NYC performance of the month. I caught the last half hour of the show and I was glad I did. Because the long instrumental versions of Cissy Strut>Lively Up Yourself were fantastic. It was a terrific way for Derek to say goodbye to the big apple. It was a hell of a month for him, and one that proved he is no longer a kid, but a grizzled jam band veteran.

Now I will continue on to review several other shows I saw during March.

March 6th - Native and Rhythm Republik at Wetlands

This was a night of music featuring Wetlands employees and their respective bands. The first band up was a power punk hard rock band featuring Wetlands' promotions manager Scott Long and Wetlands' webmistress April Fresh. Unfortunately, I do not remember the name of their band. Next up was Rhythm Republik, fronted by longtime Wetlands' doorman/cashier Kregg Ajamu. Kregg is the lead singer and lyricist for Rhythm Republik. RR played pure funk and soul with socially conscience lyrics. The lyrics were either uplifting and full of love or about problems with society, and urban living. However, the music was always funky and soulful no matter what. They were the most groovin' funky rants I have ever heard. The lyrics sometimes were negative, but the music was all positive.

Kregg was a flamboyant, energetic, spiritual and motivational performer. He believed in the lyrics he sang and he showed his emotions on his sleeve. When he sang about love, you felt the love. And when he bitched about poor city conditions, you felt his pain. He is a dynamic performer and brings urban funk and soul to Wetlands. Every show he wears a different, colorful and far out costume. Next time Rhythm Republik is opening for your favorite band at Wetlands be sure to arrive early and check them out. Even if you don't like funk or soul you will surely enjoy the captivating stage persona of Kregg. You've seen him at the cashier cage, but he is a lot more fun to see belting out emotional tunes than he is collecting your cash. Native was supposed to close the night. But unfortunately there were some major electrical problems with the sound system and their set was cut short after only three songs.

March 16th - Al and the Transamericans at Wetlands

This band consisted of Al from moe. on guitar and vocals, Jim from moe. on bass, Vinny from moe. on drums, Rolf Witt on fiddle and mandolin, and Kirk Juhas from freebeerandchicken on keyboards. It was pouring rain all night and this made for a small, intimate crowd at the show. I actually enjoyed this show more than the moe. show I saw a few weeks later. Perhaps it was because of the diverse setlist:

1: Mexico, Guitar, Folsom Prison Blues (Johnny Cash), Red Hill Road, St. Augustine, Dead Flowers (Rolling Stones), Lost and Found, What The Hell You Thinking Boy, Tennessee Jed

2: Waiting For The Punchline, The It's A Real Good Year To Die Rag, Roll In My Sweet Baby's Arms (Earl Scruggs), Old Friend, Bring You Down, Love Is A Rose (Neil Young), Time Again, Me and Pat and Bill and You, Jambalaya (Hank Williams)

E: You Don't Know How It Feels (Tom Petty), Queen Of The Rodeo

Al was his usual funny, talkative, zany old self. He was also a brilliant musician and proved that he can carry a whole show by himself. Although, he did have a few moe. bandmates to help him out. He often joked: "This next song is by one of my favorite songwriters." or "This is my favorite cover song." And the next song he was talking about would turn out to be a moe. song. Al has a terrific country twang when he wants to sing in that style. I don't know how a Jewish kid from the East Coast learned to sound like a redneck, but he sure does sound convincing. His first country cover of the night was Johnny Cash's classic Folsom Prism Blues. This is one of my favorite country tunes of all time and it was a great version of the song. But it was weird to hear jovial Al sing a dark line like "I shot a man, just to watch him die." As you can see from the setlist, there were several Americana roots music tunes. Al obviously really likes the genre. I've always thought moe. would sound better with a keyboardist, and this show gave me a chance to hear what some moe. songs would sound like with keyboards. I think the keys would make an excellent addition to moe.'s sound.

This was a show where the setlist truthfully reflects what happened at the show. Most of the songs were played faithful to the original versions. There were certainly some jams, but the emphasis was more on the quality of the song structure. The diverse mix of covers and moe. songs kept the evening exciting and spontaneous. I even learned that Hank Williams wrote more than just country tunes. Williams' Jambalaya sounded like a traditional New Orleans Mardi Gras song, just as its name suggests. Thanks for enlightening me Al, I had never heard that tune before.

March 23rd - Fat Mama and Illuminati at Wetlands

Fat Mama is the best progressive jazz fusion big band in the scene right now. And they proved it once again at this show. Fat Mama created dense walls of sound that enveloped the room. What separates Fat Mama from other jazzy jam bands today is their music emphasizes captivating soundscapes over funk. Funk is fun and sure Fat Mama can do the fun funk too. But they move beyond funk to explore deeper musical emotions. Their songs can be dark, evil and sinister. Or they can be ambient and airy or trippy and psychedelic. Of course, they can even be straight up jazz be bop too. Their jams are as limitless as music itself and they try to cover as much diverse territory as possible. These guys use their large instrumental make up (guitar, drums, bass, keyboards, saxophone, trumpet and a DJ) to evoke various moods. And they do this as a team. Their soundscapes are created by everyone. All of the members are a different color on the sonic palette. And these colors combine to create musical masterpieces. Not one musician stands out either in a good way or a bad way. There is no weak link yet there is no dominating force either. Most adventurous jazz bands have either one dominating musician who monopolizes and leads every jam or someone who seems to hold back the rest of the band and prevents jams from going over the top. Many bands say they can take you on a musical journey. Fat Mama is one of the few bands who can actually come through on that promise. Their music will transport you into another dimension.

Illuminati headlined this night of jazz at the wetlands. Illuminati is a jazz big band famous for rearranging new big band versions of Grateful Dead songs. But the band is now beginning to play less Dead and more of composer Joe Gallant's original compositions. Illuminati is technically a jazz big band but Joe Gallant's original tunes and his reworking of Dead songs all use lush, orchestral arrangements. Almost all the songs at this show were Joe Gallant originals. So, if you got sick of seeing Illuminati do the same old Dead songs over and over, I highly recommend you go check them out again. Gallant used layers and layers of strings and horns to create sophisticated, cultured music bordering on classical.

March 28th - John Paul Jones at Irving Plaza

Once upon a time, Jones was the bass player and keyboardist for the mighty Led Zeppelin. But when Page and Plant got together on their occasional reunion tours they didn't invite their old friend along for the fun. It's a shame because many people think Jones was the best overall musician in the group. And he proved what a well rounded musician he is by playing several different instruments. He was surrounded on stage by many different instruments. He said that all of them were custom made by the same man. I don't remember his name, but he came on stage to take a bow. Some of the unique instruments Jones used were a bass mandolin, a standard mandolin, triple neck guitar and the most enormous pedal steel guitar I have ever seen. This crazy contraption was built like a machine and Jones seemed to sue it more than any other instrument. Of course, he also played bass, keyboards and guitar.

The band was a power trio of Jones, a bass player using the rarely used Chapman Stick bass, and a drummer. All of the songs played were instrumentals from their album Zooma along with a few instrumental versions of Zeppelin songs. All of the songs from Zooma had a progressive blues edge. This was especially true when Jones played the pedal steel and out came an explosive, thick metallic, buzz saw sound. Jones certainly help shape the overall Led Zeppelin sound and that was obvious during the handful of Led Zeppelin tunes he played. "Let's go back in the closet to bring out the old dinosaurs, shall we?" he said before launching into Traveling Riverside Blues. He also played No Quarter and When the Levee Breaks, You Shook Me, and Heartbreaker. These tunes sounded amazingly close to the original versions. He chose to play going to California solo on a mandolin. This beautiful tune seemed even more serene as Jones lovingly picked the notes out of the mandolin.

The show came to a rousing conclusion with the encore, a Zeppelin 1-2 punch of Trampled Under Foot and Blackdog. Jones recreated the galloping keyboards of the original. Black Dog has always been my least favorite Zeppelin song, but it sent the crowd home with a solid dose of classic rock. But throughout the show Jones proved he is not a stale classic rocker. This song sounded fresh as an instrumental version. But many in the crowd wanted to be Robert Plant and decided to sing along with the band. The only vocals in a song on this night came from the crowd instead of the band.

March 31 - Lou Reed at the Knitting Factory

Lou Reed is a legend for his ground breaking, experimental, adventurous work with the Velvet Underground. Reed was more a musical visionary back then. Today he focuses more on the lyrics rather than the music. He has now become known as a New York City rock and roll poet. He is the most musically simplistic superstar I have ever seen. His genius today lies in his cultural observations. U2 once sang "All I need is red guitar, three chords and the truth." They must have been talking about Lou Reed because because he has been playing the same three chords for 30 years and his lyrics generally tell it like it is. Those simple, monotone chords have been his trademark style. And he personifies downtown NYC cool. He was dressed in his standard uniform of black from head to toe. When someone yelled "Bruuce" (as in Springsteen) Lou replied, "We pay a few assholes from NJ to be here. You'll hear them from time to time." And at the end of the show he told us all to "Get rid of Giuliani". Yes sir, Reed is Mr. NYC.

To me, what makes a legendary performer is diversity. But Reed is not diverse. Meet the new Reed, same as the old Reed. These famous three chords can get old after a while. There was a second guitarist up there, but he just played those same basic chords too. This might have been the first rock and roll show I ever went to without a single guitar solo in it. And there were two guitarists there! The show focused almost exclusively on songs from his new album titled Ecstasy. I only recognized two songs, Romeo and Juliet and Sweet Jane. Since Lou Reed is a master wordsmith I tried to pay attention to the lyrics. But it was hard to because all of the songs were so new and I was there to have fun, not sit and analyze lyrics.

He closed the show with Sweet Jane. Now this is one song that was meant for those classic three chords. Now they they became magical, colossal chords. This was one of his signature song and the three chords built up one top of one another to make the song powerful, rocking, intense and muscular. It was an anthem. It was classic rock and roll. I should say that a few friends of mine at this show, including Mike McNamara the photographer, thought it was an amazing concert. They thought Reed still had the magic. And there were rumors the next two nights of Lou Reed would feature special guests and more Velvet Underground songs. I was due to go on vacation in Calfornia, so I don't know what happened during the last two nights of his run.

Well, this column has now gone on for two long and I have not even scratched the surface. Over the last month I also saw the Allman Brothers Band, Govt. Mule, the first Disco Biscuits show without Brownie, John Scofield with ulu and Soulive and the moe. April Fools show. The audience was certainly fooled with that moe. show, as everyone was dissapointed. So, I'll spare you the details of a negative review. It looks like I have run out of time for this month. I'd like to report on these other shows as well, but you need time to read the rest Jambands.com don't you? Besides, I have some laundry to do before another busy week of live gigs here in New York City.