John K. (Kadlecik) was doing a solo run at Terrapin, and he reached out to Jay Lane and Reed Mathis and myself and said, ‘Hey, I’m doing this gig here, I’m going to do a solo first set, how about an electric second set?
That’s the beauty of it.
Did I hear correctly that Jeff Chimenti was playing Brent's keyboard for these shows?
The next day we came out, we didn’t really have another set to do, but as I recall, we played the first song or two that we’d done the day before, in the same order.
The year before I’d seen television coverage of the second Clinton inaugural, and I remember thinking, ‘Hey, there’s Johnnie Johnson, hey, there’s Dave Ellis, hey there’s Jay Lane…” Playing with Bobby meant learning his sound and his style of playing, because he’s really got one of the most unique approaches to rhythm playing ever – he’s like an orchestrator in there. Did I hear correctly that Jeff Chimenti was playing Brent's keyboard for these shows? We’re in it, and the crowd is with us.
I’ll be playing 90% Dead tunes. And we just kept immersing ourselves in the catalogue – I had no idea, my god, the depth and diversity of the repertoire. A completely unsubstantiated tidbit a buddy told me last night. And with the catalogue of the Grateful Dead, plus all of classic rock, basically, I found Phil’s thing very appealing.
Sometimes conceptually they might have exceeded their musical abilities, but through ambition and pure desire and guts, they got there so many times that I became a fan of the band. And my phone got busy. Once we started touring on the jam band scene – Robert Randolph opened up the gateway for our style of music – we (The Lee Boys) hit the festival scene very heavy. There was a certain charming, funky magic about the Ventura County Fairgrounds, a soulfulness that made even the Grateful Dead’s demanding road crew not grumble too much about the crust of mud once deposited on the stage by the preceding day’s dirt-track race. I met Mike (League, of the jazz-jam Snarky Puppy, and also producer of Roosevelt’s new CD Being out of the church scene, we didn’t know any bands outside of the church. I’m still learning, you know, it’s still a challenge. I love “Sugaree.” “Franklin’s Tower” is awesome. Jeffrey Chimenti's Reputation Profile. Even Josh Redman was in there, a host of guys. I remember we were playing at the Roxy in Hollywood and these two guys I played basketball with in my unemployed days told me that it sounded like we were going to go into a Dead tune, and sure enough—that was a winning moment for us, and kinda accidental, out of necessity.
He’s done more for drums and drumming than most —through the books, and accumulating an incredible collection and his knowledge of it. Jeff Chimenti Biography; p>Sign in / sign up and request update access to the Jeff Chimenti page. I got to spend a handful of years around him steady, and just seeing the relationship between him and Steve Parish and Robbie Taylor, that side of things, what those guys went through, and what they did for their side of the business, it taught me a lot.
So the challenge of what he’s going for, trying to work into that, working together, which became the understanding of how the Grateful Dead worked, how they were six individuals that formed one piece.
In school, I picked up on the song “Sugaree,” but I didn’t know where it came from. It’s about improv, and you can’t play improv without some kind of feeling.
BAD 1 - 2 POOR 2 - 3 FAIR 3 - 4 GOOD 4 - 5.
A completely unsubstantiated tidbit a buddy told me last night.
And I hear the band, and I get what they’re doing conceptually—they have some songs, but they’re stretching out—but the audience, to me, was so intriguing. That was my first experience of, ‘Wow, I’d like to be able to play for these people because they seem to have a very broad appetite for music, whether it’s psychedelic, folkloric’—I didn’t completely understand it, of course, but ‘I’d like to be able to play for these people some day.’That was my first sort of swerving into the Grateful Dead. Like I said, I understood conceptually where they were at. 2001 was like my “butterfly” show, coming out of the cocoon.