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- Gordon the Drummer
- Senior Boarder
Re: JK and Bobby interview in new Guitar World Mag#118975 2 years, 5 months agoFrom the March 2012 issue of Guitar World:
WEIR: We can dust the Dead off every now and again and take it out and see if anything changes, and we will have some fun doing that.
[Furthur] is the longest running post-Grateful Dead collaboration. Is it an ongoing band?
WEIR: Oh, yeah. I'm not sure we're going to do four tours a year. Next year we might do three, because we don't want to run ourselves out of gas.
- Platinum Boarder
Re: JK and Bobby interview in new Guitar World Mag#119057 2 years, 5 months agosweet thanks for the quotes...
if anybody out there with this magazine has a scanner or some sort of technology to put pics of the pages up for us to read I'm sure it would be very much appreciated by everyone. I might just buy the magazine myself but unfortunatley I have no idea how to do anything like that....
- Platinum Boarder
Re: JK and Bobby interview in new Guitar World Mag#119075 2 years, 5 months agoI picked this up yesterday. It's a pretty short article. You can actually read it just standing around in a store. Nice piece. Explores how Phil and Bobby work off of one another, where JK fits in, and some of the issues that gave rise to Furthur as opposed to simply continuing the Dead.
It's really a shame the mainstream media doesn't pay more attention to the dead and related projects. When a really professional reporter digs into it, there's so much to talk about."Got any nails?"
"Got any flies?"
- Gordon the Drummer
- Senior Boarder
Re: JK and Bobby interview in new Guitar World Mag#120429 2 years, 5 months agoSome more quotes from the Weir/Kadlecik article here:
Furthur sometimes sounds like a Steely Dan version of the Dead. But as the band threads a delicate musical needle, it becomes clear that it is more creatively original than any of the previous post-Garcia Grateful Dead formations.
Bob Weir (on Phil): "Decades of playing together led us to learn how to intuit each other and know where each other is going. I could get to wherever Phil was going and be there with a little surprise for him. And he could it for me. And these things can happen in such intuitive ways that it's just fun. We wanted to take that and run."
GW: "Did you make a conscious decision to reverse course by bringing in John from the Dark Star Orchestra?"
Bob Weir: "Not really. I understand why it would appear that way, but people told us John was great, so we had him out to play with us. And as well as he could play the Jerry stuff, it was actually just as important for us to make sure it wasn't all he could do. He can play Jerry chapter and verse or go off in new directions, and he is certainly not a mimic. He's fast on his feat, so he can hear what we're up to, grasp where we're headed and be waiting."
GW: "Are you surprised at the overwhelming positive response from Deadheads, ioncluding some old naysayers who have tsk-tsked every group since Jerry died?"
Weir: "I'm not surprised. When we all got together and started playing, we realized we had new places to go. This outfit is a little faster on its feat than previous ones, but to be fair to the Dead, it doesn't come with the same expectations, so we have more room to work. Like I said, that's the gist of why Phil and I wanted to work together but not in the context of being the Dead. We constantly throw curveballs at each other, and that's what we really wanted to do."
Kadlecik: "What's remarkable is the degree to which both Bob and Phil are still really focused on being present in the moment with improvisation. They truly are masters, and they will not settle for something being good and sticking with it or be afraid to try something completely new. It's very inspiring. It's easy in live music to go on autopilot; those curveballs Bob talks about are ways of keeping each other away from that. Sometimes any of us might be feeling a little off, and we try to prod each other to dig deeper. Sometimes for me that can mean almost going into an internal trance, a prayer to your muse to plead, 'Please give me something.' <laughs>"
GW: "Can you give a specific example to illuminate Bob's overlooked contributions?"
Kadlecik: "There are many, but a good one is 'Scarlet Begonias,' which has really intricate arrangements between Jerry and Bob's parts. It's a very unique approach, and the deepest roots of the style are in the poly-rhythm of African drumming, where five people can play similar-sounding things and everyone's voice is heard. In that kind of setting, it doesn't hang together if I throw something completely different in there. There's a pretty short list of really successful two-guitar teams, and Bobby and Jerry are high on it. They came up with some of the best arrangement ideas that ever happened in rock and roll. To my ear, it is hybridized between bluegrass music and Coltrane's classic quintet arrangements."
GW: This is the longest running post-Grateful Dead collaboration. Is it an ongoing band?
Weir: "Oh, yeah. I'm not sure we're going to do four tours a year. Next year we might do three, because we don't want to run ourselves out of gas. But what I'm here to do is play, and I think Phil feels the same way as well. And we're really happy with this band we've got together here."
Kadlecik: "Bob and Phil have a very unique, interlocking style, and it's amazing to observe onstage every night. One thing that has been really fun and endlessly interesting has been the experience of writing new material with these guys, which we have been doing since our very first show."
GW: Some of this material is being worked on with lyricist Robert Hunter. Could it lead to a Furthur studio album?
Weir: "We do not have any plans to record, but I don't see any reason not to head that way."
GW: The Grateful Dead never had set lists and they rehearsed inconsistently. This band has specific set lists for every show and has had extensive rehearsal time. The result is a much more polished sound. Is there as much room in Furthur for spontaneity as there was in the Dead?
Weir: "Of course there is. Rehearsal only makes spontaneity easier and better, but it's not as different as you and many others think: it's still complete 'will of the wind' with Furthur, and the Dead practiced more than we had a reputation for. Also, we spent so much time onstage that we all knew where we were headed."
Weir (on his musical relationship with Phil): "We're poised for anything and very confident, but I'm not sure 'relaxed' is the right word, because the beauty of this thing is that we're always trying to push and prod each other in different directions and to new places. I'm part of a bigger picture, and hopefully it's nothing you can think your way through. It's something you have to feel. We don't know exactly what we're going to do next, and that's the fun part."