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“Next time it’ll be in a theatre,” stated a random friendly last Saturday evening in the pint-sized Sullivan Hall deep down on Manhattan’s Lower East Side.

Filled with equal amounts tie-dye and anticipation, the 300-person club was straight-up sold out for a performance by the John K Band. Helmed by former Dark Star Orchestra and current Furthur lead guitarist John Kadlecik, the band plays sporadically in-between Furthur dates mostly in a small radius around Kadlecik’s home base in Maryland. The laid-back ensemble, filled in by part-time jammers Larry Joseloff on bass, Paul Grepps on keyboard, Nathan Graham on drums, Lizzy Friel on backing vocals and Kadlecik’s wife Katie Gaughn on percussion, is perfectly suited to give the guitarist the room he needs to ply his trade in the spotlight.

With a tip of the hat to one of the city’s most famous transplanted residents, the set started with the late-era Lennon world weary jingle, Nobody Told Me. It was a quick start, setting the mood for the familiar yet slightly tweaked grooves that would fill the perfumed club air for the next couple hours. Dipping into his solo repertoire for the next two tunes, Kadlecik showcased his vocal talents. While critics might say his voice lacks distinct elements that would make it instantly recognizable, there is no denying the raw emotion and power that he conveys in song. He serves the material and he does it well. A welcomed Phish cover, The Wedge, barreled through next and clearly the crowd delighted in the familiar refrains and the dance-happy boogie. To be sure, the band itself had a palatable Phish-feel all night. A four-piece with additional percussion, Kadlecik handles rhythm and lead guitar, à la Trey, and the Joseloff’s jaunty bass lines are not unlike Mike Gordon’s work. What followed was a couple of little known Robert Hunter penned gems, American Spring and It’s Alright. By way of introduction, Kadlecik noted that the songs were “probably the heaviest lyrics Hunter has written in the last ten years.” Who could disagree, really? While the Bard’s words still hung in the air, the opening riff from Stir it Up signaled a new gear, shifting the load right into the Motown classic (and Primal Dead stalwart) Second That Emotion. Tight and practiced, Kadlecik clearly reveled in calling the musical shots. The crowd was amped, to say the least. Let’s face it, when the guy in front of you is wearing a Hot Tuna jean jacket you pretty much know you are in for a real good time.

With the Jimmy Cliff classic (oh, yeah, and Jerry Band staple) Harder They Come kicking off the second set the jam was on. With plenty of road for exploration, Kadlecik took the wheel. While some might ponder the existential consequences of a guy sometimes referred to as “Fake Jerry” covering a song in the same manner that The Man himself covered it, the dancing bones and happy souls at Sullivan Hall didn’t tumble down that particular wormhole. When the oft-derided Vince Welnick late-Dead era song Long Way To Go Home followed it up, no one batted an eye. It is clear that Kadlecik embraces his place in the expansive Grateful Dead universe and pays proper homage to the entire cannon. With a tight curfew (another band was on at midnight, Kadlecik himself said as he packed up his own gear), the back-end of the second set featured the Hunter/Garcia classic They Love Each Other followed by a largely instrumental medley that culminated in an aching Sing Me Back Home, Merle Haggard’s plaintive tribute to the humanity of a condemned man. Well, Johnny K nailed it and in doing so he couldn’t help but to bring to mind the early 70’s versions of the ballad that every deadhead knows by rote.
With Furthur rolling again at the beginning of April, it’s not known how much care or attention The John K Band will receive this year. If it does remain a side-project though, at least it’s a worthwhile one.

John K Band setlist, 2-11-12, Sullivan Hall, NYC
Set 1: Nobody Told Me, What’s Become of Mary, Sister Smiles, The Wedge, American Spring, Its Alright, Stir It Up, 2nd That Emotion


Set 2: Harder They Come, Way to Go Home, Seen Love, The Business, They Love Each Other, Desert Trance>YMMV>Sing Me Back Home

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Rebirth of Landmark Roots Music Venue Marks a New Chapter for

San Francisco Bay Area Treasure Founded Nearly 25 Years Ago

The much-anticipated Sweetwater Music Hall – a community gathering place and live music venue dedicated to bringing back the Sweetwater’s musical legacy to Mill Valley – is set for a soft opening this January. The opening of Sweetwater Music Hall marks a rebirth of the landmark roots music venue and Bay Area treasure founded by original owner Jeanie Patterson nearly 25 years ago.

A local venture that will be comprised of multiple investors including Bob Weir (Grateful Dead, Furthur) and other longtime supporters of Patterson’s club, the Sweetwater Music Hall is a state-of-the-art nightclub and café that will not only present nationally recognized top-quality entertainment but also will provide a comfortable home venue for local and emerging talent to perform and experiment. Through its intimate setting, the club is designed to be both a neighborhood hangout as well as a world-class entertainment destination employing cutting-edge Meyer Sound and streaming video technology capable of bringing exceptional live events to broader audiences.

“For years, the Sweetwater was the place many of us local and visiting musicians headed to when we were looking to play for fun,” said Weir. “Well, our clubhouse is back – and it belongs to all of us. Woo hoo – Mill Valley finally has its playpen back! Here we go…”

Located in the Masonic Hall at 19 Corte Madera Avenue in Mill Valley, the Sweetwater Music Hall will offer food, drinks and live music for all ages, including national and local headline musical acts; Open Mic Mondays with Marin County keys player Austin DeLone; as well as other types of performances and private events. The club also will offer residencies and master classes with accomplished artists beginning on opening weekend.

In addition to entertainment, the Sweetwater Music Hall will include a full-service restaurant and on-site catering led by renowned chef-restaurateur Gordon Drysdale (Pizza Antica, Café de Amis), who will offer artfully crafted, fresh, locally sourced and organic fare. At the soft-service café, initial orders will be taken at the counter and served by staff; subsequent orders may be placed tableside. While initially focusing on evening and happy hour fare, it is expected that by spring the Sweetwater will introduce breakfast and lunch, patio dining and musical Sunday Brunches featuring fresh-squeezed juices and super-premium coffee from Stumptown Coffee Roasters.

Over its nearly 25-year history, the original Sweetwater hosted performances by artists including Weir, Carlos Santana, Clarence Clemons, Elvis Costello, Gregg Allman, Huey Lewis, Jerry Garcia, Maria Muldaur, Sammy Hagar, Richie Havens and many other musical luminaries. In 1992, BBC Television shot a documentary at the club featuring Bonnie Raitt, John Lee Hooker and Ry Cooder. That same year, Hot Tuna recorded two live albums at the Sweetwater. The new club intends to carry on this storied tradition.

Sweetwater Music Hall’s Live Music Calendar

Sweetwater Music Hall’s opening month includes outstanding musical collaborations; guitar-slinging rock ‘n roll; old-school funk, Latin, reggae and R&B; global funk; acclaimed singer-songwriters; fun for the whole family; and the return of a rollicking community favorite, including:

Friday, January 27: The Outlaws

Born to the blue-collar port city of Tampa, Florida, in the early 1970s, The Outlaws established themselves as premiere players in the phenomenon that came to be known as Southern Rock. Driven by the band’s high-powered, guitar-driven country-rock and three-part harmony, The Outlaws’ earliest hits include their AOR classic, “Green Grass and High Tides,” as well as “There Goes Another Love Song.” The band’s 1980 cover of “(Ghost) Riders in the Sky” was their biggest single chart success, reaching #31 on the Billboard Pop Singles chart. Today, The Outlaws are at the threshold of a new era, with original singer/songwriter/guitarist Henry Paul and original drummer/songwriter Monte Yoho, Chris Anderson, Billy Crain, Randy Threet and Dave Robbins. Doors at 7 p.m., show at 8 p.m. Tickets: $31.50

Saturday & Sunday, January 28 & 29: Steve Kimock plus Special Guests

Steve Kimock is widely regarded as the quintessential musician’s musician. For nearly four decades, Kimock has been inspiring music fans with his transcendent guitar speak. While one can say that his genre is rock, no one niche has ever confined him. Instead, through the years, he’s explored various sounds and styles based on what’s moved him at the time, whether it’s blues or jazz; funk or folk; psychedelic or boogie; traditional American or world fusion. Every Kimock show is a fresh exploration of expansive jams and euphoric grooves — and whenever this master collaborator with deep Bay Area musical roots comes to town, magic is in the air. Doors at 8 p.m., show at 9 p.m. Tickets: $40 in advance; $42 at the door

Sunday, January 29: Master Class with Steve Kimock

Bring your guitar and get ready for a rare opportunity to learn guitar technique from Steve Kimock in an intimate setting. Participate in hands-on instruction as the prolific guitar master discusses his approach to the instrument and some of the theory behind his technique. Limited seats are available for this very special event! Doors at 1 p.m., master class at 2 p.m. Tickets: $67 in advance; $77 at the door

Monday, January 30: Open Mic Monday

A much-cherished Sweetwater tradition is back! Open Mic Monday returns to downtown Mill Valley at the Sweetwater Music Hall, hosted by Austin deLone. To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.

Monday, February 6: Open Mic Monday

To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.

Wednesday, February 8: “Wednesday Night Live” with Mark Karan and Special Guests

Best known for performing with the extended Grateful Dead family, Mark Karan’s soulful blues-based vocal stylings and inspired guitar work hit that sweet spot where rock meets R&B and country, then is blended with the soul of New Orleans and spiked with reggae, folk, funk and whatever else the muse might bring. At “Wednesday Night Live,” Karan will explore new material and approaches with drummer Dave Brogan (ALO); bassist Joe Kyle, Jr. (The Waybacks); Danny Eisenberg on keys (Mother Hips, Ryan Adams); drummer Billy Lee Lewis (Tommy Castro, Roy Rogers, Jemimah Puddleduck); new friends Robert Powell and David Phillips on guitars, pedal steel and dobro; and surprise guests. Doors at 7 p.m., show at 8 p.m. Tickets: $8 in advance, $10 at the door

Sunday, February 12: YouthRock the Rebuild

Youth musicians from YouthRock the Rebuild (YRR) will host a concert to celebrate the return of Sweetwater Music Hall. The fun family event will include performances by Marin-based youth bands and vocalists. As a service organization, YRR is committed to raising money to support important causes. Proceeds from this concert will be donated to Kiddo! to help keep music and the arts as an integral part of our schools. Doors at 4 p.m., show at 5 p.m. Tickets: $15 in advance, $20 at the door

Monday, February 13: Open Mic Monday

To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.

Friday, February 17: The 21st Annual Mardi Gras Mambofest with Rhythmtown-Jive and Special Guest Bonnie Hayes

A special Louisiana musical package of original music and selected covers of New Orleans R&B, funk, swamp-pop and marching brass tunes by a top-tier dance combo of Bay Area players who have worked with the likes of Earl King, Frankie Ford, Dr. John, Zigaboo Modeliste and Leo Nocentelli of The Meters, Lee Allen, La Vern Baker, Queen Ida, Sly & The Family Stone, Allen Toussaint, Commander Cody, Jesse Colin Young and Boz Scaggs, to name a few. Featuring: Tim Eschliman (vocals, bass), Ken “Snakebite” Jacobs (bari-sax), Mike Rinta (trombone), Michael Peloquin (tenor sax, harp), Kevin Zuffi (piano), Jimmy Sanchez (drums), and special guest Bonnie Hayes (vocals, keys). Doors at 8 p.m., show at 9 p.m. Tickets: $15 in advance, $17 at the door

Saturday, February 18: Dan Bern with Common Rotation

Singer-songwriter Dan Bern is joined by friends and collaborators Common Rotation for a special West Coast tour stop at the Sweetwater Music Hall. While Bern’s musical tales receive comparisons to those of Bob Dylan and Woody Guthrie, most recently Bern has focused much of his talent and sharp wit on writing songs for movies and other projects. He composed songs for the Jake Kasdan/Judd Apatow spoof Walk Hard: The Dewey Cox Story, starring John C. Reilly, as well as for Apatow’s Get Him to the Greek, starring Russell Brand and Jonah Hill. L.A.-based Common Rotation’s modern folk-rock features a melodic blend of acoustic guitar, trumpet, banjo, harmonica and cajon. Doors at 8 p.m., show at 9 p.m. Tickets: $22 in advance, $24 at the door

Monday, February 20: Open Mic Monday

To sign up, email openmic@swmh.com on Mondays after 3 p.m. Doors at 7 p.m., show at 8 p.m.

Wednesday, February 22: “Wednesday Night Live” with Mark Karan and Special Guests

Ace axe man/signer Mark Karan (RatDog, Jemimah Puddleduck) explores new material and approaches with drummer Dave Brogan (ALO); bassist Joe Kyle, Jr. (The Waybacks); Danny Eisenberg on keys (Mother Hips, Ryan Adams); drummer Billy Lee Lewis (Tommy Castro, Roy Rogers, Jemimah Puddleduck); new friends Robert Powell and David Phillips on guitars, pedal steel and dobro; and surprise guests. Doors at 7 p.m., show at 8 p.m. Tickets: $8 in advance, $10 at the door

Saturday, February 25: Vinyl

Marin County’s favorite funky sons, Vinyl is the rare sort of band that can meld funk, Latin jazz, dub and reggae without coming across as pale imitators of the style of the moment. Instead, Vinyl can alternately sound like the best live funk, Latin, reggae or dub band you’ve heard in ages — and occasionally, all at the same time. Instead of going for flash or gimmicks, Vinyl brings it with fierce musicianship and zesty abandon, proving you can have both substance and style. It’s an approach that has made the band favorites of the festival circuit, but the best place to experience them is on the dance floor of a hot, sweaty indoor venue. Doors at 8 p.m., show at 9 p.m. Tickets: $15 in advance, $17 at the door

The Venue
The first floor of the 107-year-old Masonic Lodge No. 356 in Mill Valley underwent an extensive renovation and has been transformed into a live music venue and café evoking the deconstructed elegance of a grand old home. Arriving at Sweetwater Music Hall, guests will walk through a courtyard and enter the café through four black French doors flanked by two courtyard lanterns. The café features an open kitchen and espresso bar, with classic French bistro tables and café chairs as well as a U-shaped pistachio-hued banquette. Walls dressed in exposed brick and warm camel color frame the space, while three chandeliers hang languidly from the high ceiling.

Moving into the music hall, guests are welcomed by an inviting ambience marked by a blend of comfort, rawness, beautiful touches and hidden acoustics. Guests may choose between standing room or seating options that include a long deep burgundy velvet and leather-tufted banquette; cocktail tables and chairs in black and brass; generously sized drink ledges that double as seating; and at the back bar, elevated seating that provides great sight lines across the music hall. Walls cloaked in antiqued burlap wallpaper with stenciled gold transition seamlessly to the coved ceiling, which reveals exposed wood joist and pin-spot lighting at its center. Sound panels are fashioned as decorative wall panels, while Moroccan wall sconces, black casework and black drapery accent the space throughout. Those who frequented the original Sweetwater venue may notice two memorable pieces of artwork: two much-loved mermaid paintings that have been retrieved for display at Sweetwater Music Hall.

Sweetwater Music Hall supports the San Francisco Bay Area Musicians Fund, the regional chapter of Sweet Relief Musicians Fund. A portion of all ticket sales will be donated to the non-profit charity organization, which provides financial assistance to all types of career musicians who are struggling to make ends meet while facing illness, disability or age-related problems.

Tickets for all shows will be available at http://sweetwatermusichall.inticketing.com.

For bookings, please contact General Manager KR Holt at booking@swmh.com or info@swmh.com.

For more information, please call (415) 388-3850 or visit www.sweetwatermusichall.com or the Sweetwater Music Hall’s Facebook page at: www.facebook.com/pages/Sweetwater-Music-Hall/174766919255146

Sweetwater Music Hall
19 Corte Madera Ave

Mill Valley, CA 94941

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One Man Gathers…
Furthur @ Madison Square Gardens
11.10.2011

Furthur MSG
The tie-dyed lights of the Empire State Building towered over the Midtown crowd of finger out-stretched devotees and travelers interspersed with undercover hippies, paddy wagons and New York’s Finest, indicating that something just like a Grateful Dead show was happening at Madison Square Garden this particular Thursday night.

This year that something is called Furthur. Bob Weir and Phil Lesh’s latest kick at the can has been touring for more than 24 months and has played more than 150 shows in that span. John Kadlecik (late of Dark Star Orchestra) takes the helm as the lead guitarist (not-so derisively known as Fake Jerry to some) and the band is rounded out by the exceptional keyboardist Jeff Chimenti and Octopus rhythm machine, New York’s own, Joe Russo (Benevento/Russo Duo).  Inside the same walls that housed fundamental runs in Grateful Dead lore, including an emotional Fall 1990 stand that many believe was a late high-water mark for the band, expectations were high.

Furthur MSG Setlist

Sugar Magnolia kicked things off and set the tone for an expected light-hearted romp through the songbook. While the opening strains were muddied, the sound goblins picked it up early and by the time we were ringing that bluebell everything was crisp. The positive vibrations continued as Phil steered the train through that archetypical Scarlet Begonias bass line. Here, Kadlecik took over vocals and delivered the words, in unison with the crowd, with confidence. The band was tight, too tight perhaps, as they ran through the familiar anthem with minimal diversions. The cheerful sing-along vibe continued through Bobby’s take on Ramble on Rose. The much anticipated, “Just like New York City” line was flubbed, but isn’t that part of the charm?

Teresa Williams

The first couple of Levon Helm’s Midnight Rambles Larry Campbell and Teresa Williams were then introduced, continuing a tradition of MSG guests that includes Mick Taylor, David Murray and Warren Haynes.

Larry Campbell

The pair added a welcomed bit of country honk to Tennessee Jed and Uncle John’s Band with Williams’ genuine twang and Campbell’s violin. After the guests’ exit, the band veered into Eyes of the World with Chimenti grabbing the spotlight, always playing within the rhythm’s parameters, adding flourish on his grand piano in measured servings. They did it right, allowing the song room to breathe life into the crowd who were by then counting their good fortune that all things Grateful Dead didn’t end in the Summer of 1995. The groove subsided more or less into the melancholy of So Many Roads. A searching ballad that felt a bit crow-barred into the set. The end of the beginning was Box of Rain. Some of the more literal amongst us wondered if the overcast skies outside had finally opened up, while most just enjoyed Hunter’s evocative words sung in that idiosyncratic drone.

While setlist junkies might surmise that the first set was actually “very second set”, with a long Eyes and Uncle John’s not to mention a Scarlet Begonias, the first chords of the Shakedown Street second set opener reminded all that the tried and true structure of a Dead show still has gravity. Simply put, the second set is for jamming.  The groove was in place as the band began to live up to their nom de plume and take songs to places they haven’t yet been. Veering into uncharted territory, there was nothing in the extended Shakedown Jam that sounded anything remotely like “a Grateful Dead cover band,” the most scathing epitaph hurled at any new iteration of the band.

Phil Lesh

With Phil calling the shots, everyone got their licks in; Bobby piercing with jagged a-symmetrical rhythms while Kadlecik plied his trade inside the always becoming soundscape. The rhythmic framework firmly established by Lesh and Russo gave the others sturdy footing upon which to two-step.  Things were getting heavy by the time Bobby summoned Cowboy Neal and plowed The Other One’s post-psychedelic ground only to uncover that more-than-a-song St. Stephen.

After a complete stop came Unbroken Chain. A lovely piece that, made all the better by a finely structured jam smack dab in the middle, bled into The Wheel. Another soft-anthem that brings the listener face-to-face with the Dead’s core appeal, Hunter’s poetically furnished fatalism – if the thunder don’t get you, the lightening will – welded to an uplifting swirl of musical invention.

The crowd now at full boil was then left to simmer by Weir’s take on the second late period Hunter/Garcia ballad of the evening, The Days Between. While the band did its best to aurally match the dark intensity of the lyrics, Weir’s delivery lacked and the once engaged crowd devolved into chattiness. Sensing the need for a shot of adrenaline, Williams was soon back on stage leading the blues standard Keep Your Lamps Trimmed and Burning. While sufficiently raucous, the diversion from the canon did perplex. Safe familiarity returned with Fire on the Mountain, as if closing the Scarlet loop from the first set, followed by a Sunshine Daydream that was, let’s face it, a sweetly inevitable conclusion. The Attics of My Life encore was soulful and reverential, greatly assisted by the duo of backup singers along with Campbell and Williams.

The lights broke the spell. The crowd slowly remembered that they were, in fact, in the middle of a basketball arena. Elated and rejuvenated nonetheless, everyone melted back into the night. Of course, no show can be perfect. Any performance worth a damn has moments of confusion and just plain weirdness. It has never been about absolute perfection; it’s always been and still remains a work in progress, just like us.

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