As we honor the life and legacy of Phil Lesh, we revisit this piece from 2001 about his classic Quintet.***DB- Before your summer tour you announced that you were going to incorporate progressive themes into your shows. How were these themes manifested in your music?DB- As far as I recall, during these shows themselves, you never articulated the specific origin or nature of the pieces.DB- What type of feedback did you receive?DB- That’s interesting, I didn’t realize you had taken such an approach to constructing your set lists.DB- How long is the process of putting it together every night?DB- And the content of that story itself reflects your mood, the vagaries of the day
DB- That leads me to a related topic. How has your relationship with music itself changed over the years?DB- In terms of channeling that music is there any way that one can prepare to receive it?DB- The challenge then is to avoid distraction?DB- Can one refine this over time?DB- So even though you’ve been playing music for many more years than say Jimmy and Warren, that doesn’t matter if they have the ability to tap in?DB- On a similar note, how has your relationship with the audience changed over the course of your career?DB- To what do you ascribe that lull?
DB- Has your own ontology or spiritual engagement been consistent over the decades you mentioned?DB- Is that manifested in your music, and if so, to what extent?DB- Well do you feel appreciably different say from an emotional standpoint when you perform nowadays?DB- Certainly the heart and talent of your current bandmates facilitates that as well. You have two my favorite guitar players in your band.DB- What led you to move from a fluctuating roster of players to this core band?DB- As opposed to the Grateful Dead, you really have two guitarists playing lead. Has this led you to engage with the music any differently?DB- Well you have players with big ears.DB- Moving back to something you said earlier about setlists, I remember at one point you indicated that your goal was to move past setlists but it seems that now they are essential to what you hope to accomplish on stage.
DB- The composed pieces that you performed in the summer, do you plan to return to those?DB- How did that collaboration work? What sort of information did you provide him?DB- When do you anticipate that it will be completed?DB- Returning to the current line-up, have you considered giving this band a particular name? Phil Lesh and Friends suggests a transience that no longer seems applicable.DB- I’d like to hear a bit about song selection. For instance, John Molo introduced the idea of performing “Golden Road.” This tour you debuted “Liberty.” Who brought that to the group and what is the process?DB- How’s that proceeding?DB- Let’s talk a bit about the Unbroken Chain foundation, what projects do you have on the horizon?
DB- In terms of music in the schools, I’m amazed by what’s defined as essential. It really feels like the people making budgetary decisions have limited perspectives.DB- I’m certainly a sports fan but the hierarchy whereby sports are considered essential but the arts are not is confounding to me.DB- You mentioned the benefit on December 3. I recall you made a decision not to perform the week after the incident. What do you think the impact of those events has been on your playing or songwriting?DB- Indeed, it wouldFinal question- I’d love to hear your thoughts on the legacy of Ken Kesey.DB- I always thought the Grateful Dead manifested that ethos. There was something in the approach to form and function. And I’m not even talking about the bass player taking the stage in a Barney costume [4/1/93].
