Photo by Vernon Webb

The second set was all electric, kicking off with a couple of Tuna chestnuts delivered with fire and Smith again augmenting. “Ode to Billy Dean” from the band’s 1972 Burgers release featured Mitterhoff playing leads on an electric tenor guitar (typically a rhythm instrument) and GE and Jorma each offering counterpoint solos – Smith a fiery scorcher and Kaukonen a more finessed approach. The band even engaged in some ensemble play after the final vocals. Then we were taken to Tuna’s 1973 studio effort Phosphorescent Rat by, “Corners without Exits,” a somewhat breezily-cored tune by Tuna standards. Kaukonen offered some of his best rhythm guitar of the night on this number, and Casady again shook the heavens with spine-tingling bass. Kaukonen waited until the end of the song to really dig into his Sunburst and when he did, the sparks flew.

Musselwhite returned and Smith stepped up for lead vocal on “Long Gone Bowling Green,” a roaring version of what sounded like a song from the early part of last century, but seemed to contain different lyrics from a song which WC Handy penned as a tribute to a legendary bank robber which shares the same name and was made famous by Louis Armstrong. This was Smith’s time to shine with his lead vocals and searing guitar work on his Gold Les Paul. He also provided smart rhythm guitar behind Kaukonen and Musselwhite solos and interplay. It was interesting to see Smith assume the band-leader role here as he seemed to also do on the Musselwhite material all night.

Jorma then resumed the mantle to sing two covers which also appear on the forthcoming Hot Tuna release, Steady as She Goes. Marshall Wilborn’s “Goodbye to the Blues,” and Mark Markham’s cheeky “If This Is Love.” The former came off as Hot Tuna’s answer to Genesis’ “That’s All” and featured Lauderdale’s backing vocals. The latter was a hard-driving rocker with playful lyrics and incisive solos from Mitterhoff, Smith and Kaukonen (who prudently used distortion with classic modern times Jorma effectiveness). Smith culminated his solo with a full-on rock and roll flourish that delighted those who had found dancing room behind the seated audience.

Then Musselwhite was in the spotlight once again… His harmonica had a classic feel throughout this set; presumably it was run through an old guitar amp to lend “that Little Walter sound,” which fit snugly in this musical context. When Musselwhite performs “If I Should Have Bad Luck” solo, it often comes off as a bit mournful. But with Hot Tuna and GE Smith propelling him the song took on a defiant “bring on the bad luck” feel. Casady took particular delight in this one, stalking the stage as he thumped a muscular bass line. GE Smith scorched the beginning of his solo, but as happened in many ways on this night of jaw-dropping musicianship – he turned to Musselwhite mid-solo and engaged him in tantalizing interplay. During “Where Highway 61 Runs” Jorma seemed joyful, adding guitar color as the piece chugged along. When Musselwhite started using his left hand as trumpeters use mutes – each musician on the stage altered their inputs appropriately. Smith and Kaukonen brought the song to a rousing close. They exchanged licks (Smith with a more measured approach, Kaukonen more earnest, the two essentially role-flipping) and then they finally came together on a single, triumphantly repeated riff.

“Christo Redentor,” introduced by Musselwhite as “a song I first recorded 45 years ago, and it is STILL a great tune” followed and served as a bit of a show-stopper. This elegant piece hushed the crowd and brought forth some of the most lyrical playing of the night from Musselwhite and Mitterhoff. Delightfully sparse, this piece (which has also been recorded by Donald Byrd) had a middle section reminiscent of the central melody of Doc Pomus’ legendary piece, “Lonely Avenue.” Hot Tuna fans clearly had to take note that on “Christo Redentor” we were treated to about as close to a jazz solo from Jorma as we are typically gonna get. Lauderdale boldly and confidently stepped up to follow this strong number by leading the band through “Jawbone” (also co-written with Robert Hunter). The Tuna four provided most of the accompaniment, as a low-key Smith and Musselwhite huddled at stage right. Mitterhoff’s electrified mandolin soared on this number, the most Tuna-esque of the five on which Lauderdale sang lead on this night. Kaukonen delighted in playing with the infectious rhythm, while still finding space for occasional adornments. “Come Back Baby” concluded the set with the full ensemble on stage and everyone getting to solo. Musselwhite seemed to summon the Gods with his solo, Lauderdale sang a verse and GE Smith got wizardly with a slide which served as a prelude to an explosive Kaukonen solo before the final return to vocals. It served as a fitting and energetic end to a fantastic set of electric music.

Clearly Hot Tuna feels as though GE Smith is a de facto member at this point. Not only did he mingle impressively with all the musicians all night, but when Tuna returned for a “bringing it all back home” type encore surely specifically designed with the wild side of the Tuna fan base in mind, GE was there once again. He was part of a full-throttle Tuna-mayhem take on “Funky #7.” The band sunk its teeth into this with the unbridled ferocity which characterized the lion’s share of its legendary performances of the 70s. Casady unleashed a bass solo that literally shook the old theater to its foundations, and Jorma and Smith once again demonstrated that their times sharing the stage at Jorma’s Fur Peace Ranch have bolstered their musical kismet. Their solos spiraled to incredible heights, so much so that some of this chair-trenched (yet respectful and attentive) audience even (gasp) got up and DANCED. After a night of successfully sharing the stage with top notch musicians, Hot Tuna returned to its own uniquely and wildly psychedelic-laced blues sound – one which will outlive us all.

Pages:« Previous Page