Bob Weir Tour 2023 – “With the Grateful Dead, if they do it right, they can be part of the conversation two or three hundred years from now,” says Bob Weir. (Jay Blakesburg)
If you listen to hundreds of bootleg recordings of Grateful Dead concerts, one of the few constants is guitarist Bob Weir’s stage banter. At the slightest tie, he called a break, joked, or told everyone to “step back.” One more step back! ” While his contributions to the band’s sound were not as universally evident as Jerry Garcia’s, he was always a central conduit between the Dead and the Heads, symbolizing Garcia’s status as the band’s enigmatic figure.
Bob Weir Tour 2023
The divine honor plan for Garcia is flatly rejected by Weir. “I don’t have it,” he said by phone from a printing office in California. “That’s basically what killed him,” Drót said. He was disgusted, and rightly so. When he himself experiences this kind of idolatry, he dismisses the thought, “I’ve seen where this leads. This is a lesson from losing a friend. However, Hero Pooja fits Weir awkwardly
Bobby Weir & Wolf Bros Featuring The Wolfpack
Still, in the nearly 30 years since Garcia’s death, Weir, now 75, has brought the Grateful Dead’s music and fan base into the 21st century. Accepted – only on your own terms and in your own way. Along with John Mayer and original drummers Bill Kreutzman and Mickey Hart, he fronts the stadium group Dead & Company, where the Grateful Dead left off in 1995 in favor of psychedelic bombast and wide-group improvisation. In 2018, Were formed Wolf Bros., a more agile quartet with keyboardist Jeff Chimenti, bassist/producer Don Wass, and drummer Jay Lane that operates as a country band with a mixed jazz sensibility. De Weir is most excited about his collaboration with composer and arranger Gianarlo Aquilanti for the Grateful Dead score, which debuted with the National Symphony Orchestra at the Kennedy Center in October.
“It really completes the picture,” says Ware. People respond.” Rather than the band simply providing color for Weir and his orchestra, Aquilanti sought to create an arrangement that seamlessly integrated both elements, including the improvisational members of the band. parts of the score that allow the conductor to play until he is ready to move on, and other parts that present the orchestral players with chord patterns that they can play at will. Elsewhere, Aquilanti folds in harmony and melody, from live recordings to string compositions, subtle interpretations of Garcia’s solos or Phil Lesh’s bass lines. “I took the spirit of the Grateful Dead and spread it throughout the band,” says Aquilanti, “so the band can’t stand on the sidelines. You have to be on the front lines.”
Ware took the stage at the Kennedy Center on Oct. 5, his bow tie slightly crooked. As fans began to gather in the streets to dance to “China Cat Sunflower”, ushers tried to usher them back to the venue, to no avail; Sometimes institutions like NSO and Deadhead clash with each other, each with their own rules and customs. Wier positioned himself so that he and director Steven Reinecke could be in constant communication and the Wolf Bros wouldn’t be behind him. It was a new environment for music and community, and it was, with all the hard edges and electricity that such a situation can produce. “When the band hits your back, it’s like catching a monster wave,” Weir posted on Instagram the next day. Judging by the audience’s reaction, they felt it too
Sammy Hagar And Bobby Weir Announce 2023 Acoustic 4 A Cure Benefit Concert ::antimusic.com
Halfway through the second set, Wire put down his guitar and arranged “Into the Day,” a song Garcia wrote and debuted in 1993, two years before his death. Wire has embraced it over the past decade, playing it more often than Garcia, slowing it down and relying on the song’s original aspirations. With only the band behind him, Weir sang about the poetic nature of aging; The whole house was silent “My offering to this song is as simple as it is powerful,” he said. “So I just focused on that, got out of the way and let go of the character.” He feels that there is a great mystery in this character, which frames youthful exuberance with “the wisdom of years”.
In his book “Improvisation: Its Nature and Practice”, guitarist Derek Belle writes that the Grateful Dead are unique among rock bands because “their changes are based on anticipation”. The venerable Grateful Dead of 1974 sound very different than they did three years later in 1977, and fans still follow them to this day, cataloging the changes and embracing each new phase. This works well for Weir, who is free to experiment with projects like orchestral demos and follow his muse from minute to minute. “If we go out and try to establish a routine, like the same thing night after night, I’ll do maybe two or three shows and then I’ll go completely crazy,” he says. “Sometimes it’s a good idea to repeat yourself. but it’s not very easy for me.”
The centrality of change and evolution to Weir’s ethos allows him to reflect on how this fits into the wider realm of history, which seems increasingly urgent as he grows older. “I try to imitate what I understand,” he explains, “and that time is a human construct, a marker we put on things that aren’t necessarily there. His mind is on the next tour, but also on how his music will be remembered and lived by those who are yet to be born. “With the Grateful Dead, if they do it right, they can still be part of the conversation two or three hundred years from now. So that’s my criteria when I have to decide what to do with a tune or a song or what to do with the business side. What’s next? “
Bob Weir And The Wolfpack
The near future holds some surprises Next year, Dead & Company will play their last summer tour before disbanding, which Ware says will allow them to “party a little bit with the show.” There will likely be more to come, including a February performance of the Atlanta Symphony Orchestra’s orchestral arrangement, which Ware says will include several new elements and perhaps even more new songs. Once the Wolf Bros. sat down with Miles Davis Quintet bassist Ron Carter, waiting for this kind of interview: “I think we can bring the jazz element back into country music, and I think I could be the guy to do it.”
While rehearsing with the NSO for a recent concert at the Kennedy Center, Weir noticed that the band provided all the color and complexity he’d played on Grateful Dead guitars in years. It’s fun and challenging to break away from that vibe and offer just the bare minimum for the woods, brass, and strings to carry what I’ve indicated. “Well, I guess it’s a metaphor for life,” he adds after a pause.
The spatial and creative agency of the band is a new challenge for Wedding, but certainly in the tradition established with friends over the past 60 years. The cycle of renewal and rebirth that characterized the Grateful Dead throughout their existence, and that Ware continues over the years, is about understanding the music’s ever-new context and creating something new to suit them. As Ware looks forward to what’s next: the next jam, the next project, the next phase of the music he’s dedicated his life to, he’s acting like any good improviser: mostly on faith. “I’m not any younger than I used to be,” he says.
Bob Weir Live At The Fillmore Detroit On 2023 02 26
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