Lesh helps give festival mix of old and new

By Bruce R. Miller, Journal staff writer

If you thought Phil Lesh's old friends were good, you should have heard Jackie Greene.

Fronting Phil Lesh and Friends for Saturday in the Park, Greene was the festival's biggest find -- a marvelous musician who could play just about any instrument, sing like a dream and still keep the Grateful Dead legacy alive.

Lesh? He looked like the proud mentor, letting Greene rock out on just about everything. Lesh dished up plenty of his bass riffs and sang a few back-up choruses. But his real talent lies in spotting others' and spotlighting them to the max.

Unlike Mike Love, he's not interested in duplicating the old sound. He's keen on seeing it morph in different directions.

That's what Park faithfuls got this year -- a fascinating mix of old and new.

The BoDeans, who opened for Lesh, offered up plenty of the sounds we've come to associate with the 18-year celebration. Songs like "Closer to Free" recalled an earlier time and gave the audience a touchstone of sorts.

While "The First Time," a cut from the new album, "Still," sounded old school, it wasn't quite the "Texas Ride Song," a rousing piece that got the crowd jumping. "Good Work" followed nicely, prompting Kurt Neumann to admit, "We're about as old as you get." He and fellow BoDean Sam Llanas traded lead throughout and in "Everyday" even threw in a tip of the hat to "Light My Fire."

Neumann got a little edgy talking about a woman who used to dance naked in her window, but the song it inspired, "Fadeaway," left an impression. The two still sound great and worked well on the bill -- particularly since the day was filled with "all kinds of energy," as Llanas put it.

Eclectic was more like it. The lineup ran the gamut.

And Phil Lesh and Friends just added to the discovery process.

Deadheads expecting a bunch of covers were probably shocked to hear so much of Greene's work. But, like Ryan Adams, another protege, he was worth the listen.

Lesh referenced his "monkey" analogy (to refer to the torch passing) and did some pretty neat work on a bass that was lined with blue lights. He beamed, too, whenever Greene opened up.

The young singer had a John Mayer quality without the breathiness. He did great work with "Deal" and partnered well on "Ball and Chain."

The headliners' set featured more lights than we've seen in the past and some setting tricks that made it seem like this was an Orpheum show, not a Grandview Park offering.

Surprising? That's what keeps Saturday in the Park fresh. Just when you think you know what it is, it changes.

Sort of like Phil Lesh.

Hail to the King, who rocks Saturday in the Park

By Bruce R. Miller Journal staff writer


You can't say Santana, Buddy Guy or any of the other Saturday in the Park headliners were pretenders to the throne. But, come on, B.B. King?

The talent doesn't get better than that and, on a breezy Saturday night in Grandview Park, the blues legend demonstrated why he's the man -- the one who taught opener Dickey Betts a few things about playing the guitar.

"I'm a blues singer that tries to play guitar, too," King told one of the largest crowds in the festival's history. In "A Blues Man," he said he could sum up what his 60 years in the business have been like: "I've been around a long time ... I'm a good man ... and good things come to those who wait."

Sitting on a chair, his faithful guitar Lucille in his lap, King was like a traffic cop, directing attention to members of his band as they offered up their solos. He wasn't shy about working the crowd, either, cupping his ears to get a louder audience response, waving his arms to get the faithful to rise.

Dressed in a patterned shirt (with pockets big enough to hold a parkful of picks), King gave ample credit to the talented musicians around him and was able to shake, rattle and roll from his perch. "That was good exercise for an 81-year-old," he said, after shimmying during "When Love Comes to Town." He made a point of identifying the song's writer -- Bono -- and pimped the crowd about his group. "You do know U2, don't you?" The song's intro -- a series of "yeahs" -- got the old King blood pumping and the guitar riffs flying.

"He can't stand up and play no more," King said someone in the audience was bound to say. "You just about right," he offered, admitting he had diabetes, his knees were bad and he couldn't remember much anymore. A ruse? You bet.

King had more energy than men a fraction of his age and his voice was still strong, his playing impeccable.

Earlier, Betts paid tribute to King, indicating he was honored to be on the same stage as a man who had taught him so much. To prove as much, Betts and Great Southern performed more instrumentals than you could count featuring an awful lot of impressive guitar licks. He had a guitar "circle," in fact, and two drummers to bring home the goods. While most songs gave everyone in the group ample opportunity to shine, it was clear the best was Betts. While his voice wasn't the strongest (it often drowned in a sea of percussion), his guitar work towered.

"Can we have an attorney up here," he joked at one point. "We don't have an act. We usually play until we get tired."

To prove as much, Betts and company filled 90 minutes with stuff like "Seven Turns" and "Hoochie Kootchie Man." His set was as mellow as Southern rock gets -- as cool as the afternoon breeze and a nice appetizer before the main course.

Before King took the stage, his band (filled with more instruments than most big bands) played a couple of numbers (which, oddly enough, seemed like sound checks before the leader arrived), then made way for the royal arrival.

Generous to a fault, King wasn't afraid to give credit to anyone and didn't skimp on the hits. His voice was still strong, making something like "Why I Sing the Blues" resonate. At the end of just about every number, he let Lucille get the final word. She came, through, too, helping King prove he wasn't just a blues singer who tries to play guitar. He's an entertainer of the highest form.

For Saturday in the Park history, it's nice to know the King finally was in our house of blues.

Long may he live.

BB King and Company Draw Record Crowd to SITP

6 bands performed at the 17th Annual Gateway's Saturday in the Park last Saturday, and all were phenomenal, but in the end BB King stole the show on Saturday night. A record crowd and perfect weather paved the way for the King of the Blues, who took the stage at about 9:20pm and played until 10:45pm, offering up a set of blues standards, his most famous hits, and a ton of wonderful commentary. King appeared to be genuinely appreciative of the 25-30,000 person crowd, and was full of energy during the entire set, during which he continuously danced in his chair.

Dickey Betts and Great Southern offered up a searing set right before King, and Betts passed up the chance to perform a well deserved encore out of deference to King. Betts mentioned King often in his set. JJ Grey and Mofro tore it up earlier in the day, as did ReBirth Brass Band, Sarah Borges and the Broken Singles, Damon Dotson and Mount Suzuki. Record crowds and perfect weather made this Saturday in the Park memorable, and the fireworks that started just as BB took his final bow made this one of the most incredible nights in Midwest music history.

King may be 81, and some may wrongly discount his live performances, but if you were there on Saturday night you were part of something special; a show in which attendees, organizers and performers all were in perfect sync for a few hours that left us all in awe of the power of live music. -db

Black Crowes return to Sioux City!!!

Great News and you heard it here first...The Black Crowes are comin back to Sioux City to the Orpheum on Sunday, September 24th. You may remember that they headlined SITP last year. Showtime and opening act are still TBA, but tix will probably go onsale on Aug. 19, and we will try to arrange for a presale exclusively for Saturday in the Park fans. This will be a great great show!

Article in Lincoln Journal Star

Local View: 'Can't do' attitude to blame for July Jamm's demise

BY TISH THOMAS
Friday, Jul 21, 2006 - 12:12:31 am CDT

The first weekend of July, I had a wonderful time with my boys and several friends at the umpteenth annual Saturday in the Park in Sioux City, Iowa. This event featured great live music — Chuck Berry included — a great location at one of Sioux City’s numerous city parks, excellent food vendors (or bring your own) and free admission.

I wondered, “Why can’t Lincoln do this?”

Believe me, the relaxed, comfortable park setting was truly a wonderful alternative to the summer heat of downtown Lincoln pavements at the very soon-to-be defunct July Jamm. And this recurring event most certainly hasn’t run its course, as July Jamm was recently described by the Updowntowners.

“So why can’t Lincoln do this?” I asked several Lincolnites who annually attend the Sioux City event. The answers ranged from “I have no idea — too bad they don’t” and “Because it’s not downtown” to “Because Lincoln is always too worried about liquor control.”

I remember Lincoln taking years, if not decades, to finally follow suit with almost every other city in the country, and approve sidewalk dining. Why? Because the city and the Lincoln Police Department could focus only on a reason why it couldn’t happen — the possibility of liquor control being a potential problem. I’m not aware of any problems with alcohol served by Lincoln’s sidewalk cafes today, now that they’re finally allowed. And there were certainly no apparent problems with alcohol control at the well-monitored “beer gardens” at Sioux City’s Saturday in the Park.

Why can’t Lincoln do this? We have Pioneers Park, Holmes Lake, Oak Lake and Antelope Park. So it certainly isn’t because Lincoln doesn’t have a great location.

I suggest there is a much more entrenched reason why Lincoln can’t mimic the success of a city less than half its size. It’s the continuing “can’t do” attitude that has permeated Lincoln city government for too many decades.

Whenever any new ideas are suggested or attempted in Lincoln, it seems that the bureaucratic attitude and response from City Hall always begins with reasons to restrict rather than promote. “We can’t do that because it doesn’t benefit downtown Lincoln.” Or, “There might be a liquor control problem,” or any number of less than valid reasons, rather than any legitimate attempt to promote good ideas for the betterment of the greater Lincoln community. Ask any developer who has attempted a project in Lincoln, or any entrepreneur who’s had to face Lincoln’s City Hall.

Lincoln’s continued poor efforts from City Hall and its “can’t do” attitude was quite well reflected by the recent Angelos Angelou report card which was highlighted by many C’s and D’s. Even the overrated A’s were qualified by still needing many improvements that remain lacking.

Lincoln leadership needs major changes in attitudes if it wants positive change for the community. So only when Lincoln elects a visionary mayor and a City Council that truly focus upon promoting and instilling an attitude of “Lincoln can do” rather than “can’t do” — an attitude that starts at the top and filters all the way down — can Lincoln stop victimizing itself and really expect any significant improvement from our excessively restrictive “can’t do” city government.

So goodbye, July Jamm. We’ll probably be in Sioux City again next summer. And Omaha. Or anywhere that caters to the entire community at large, rather than special interest events in Lincoln with its limiting and “decades late” efforts at preserving and promoting downtown, and its “you can’t do that” attitudes from City Hall.

Tish Thomas is a Lincoln businesswoman.

Who would you like to see at SITP???

We would love to know who you would like to see play the festival next year. Please post comments here with any suggestions you may have, both for headliners and bands earlier in the day, and we will try to oblige...thanks.

Bruce Miller's Review of SITP

REVIEW: Neville Brothers an inspired move

By Bruce R. Miller Journal staff writer


Say what you will about recycling headliners, but getting back the Neville Brothers as headliners of Saturday in the Park was an inspired move.

Hot again (thanks to the work they've done with the New Orleans relief effort), they had the charisma -- and a deep catalog of hits -- to appeal to a wide variety of music lovers. While their set started slowly, it picked up steam with "Fever" and never cooled off.

Surprisingly, Chuck Berry didn't phone it in, either.

The 79-year-old rock legend rolled through some 18 songs during his 45-plus minutes and managed to include a little duck walkin', too.

Unlike the Nevilles, Berry didn't take any chances at the start. He opened with "Roll Over Beethoven," slid into "Hail! Hail! Rock 'n' Roll" and offered up enough hits to please even the most hardcore fan. "While I'm still kickin', I'm going to still be pickin'," he sang. "I don't hope it will end too soon."

The fans obviously don't either. They encouraged him throughout the early evening and roared when he got to Johnny B. Goode. True to rock form, Berry managed to include "Sioux City" and "Iowa" (pronounced "ah-oooooo-waaaaah") into at least two songs. When he got to "My Ding-a-ling," the faithful were practically giddy. The song didn't quite have the Berry snap (some of the lyrics were a little rocky) but the chorus came through loud and clear. Dressed in a red sequined shirt, he was like a beacon on the stage, flashing a ray of light just about everywhere he went.

For his last number, Berry got a group of girls to join him on stage and dance. Twelve or so made it, answering Berry's question, "Is everybody happy?" with more than a few choice moves.

The Nevilles, meanwhile, started slowly, offering up an extended instrumental introduction before getting down to business. While Aaron handled the power ballads (and astounding covers), Cyril took hold on the blues numbers. Both facets gave their stage time the range Saturday in the Park needs.

Aaron offered up "Don't Know Much" early on (surprising, considering it's one of those songs most bands save for an encore) and followed it with "Everybody Plays the Fool."

For good measure, he threw in a medley of "Stand By Me," "There Goes My Baby" and "Cupid."

Brother Art made like a church organist with his keyboard work; Brother Charles wailed on the sax.

Whenever Aaron (the tambourine player, in case you're keeping score) took a rest, Cyril took over and bridged the gaps. While he didn't have his brother's heart-breaking falsetto (could he be related to the Marleys, instead?), he did have the soul to make songs about New Orleans resonate. Singing about the blues and the city he loves, Cyril brought home the heartache he and other Louisiana residents have felt.

Following it up? Aaron with "Ain't No Sunshine," yet another song with new meaning.

It was like that all night -- songs we've grown to love under different circumstances took on a different hue at this year's event.

While weather threatened to curtail the fun, the heat broke and the rain stopped before the headliners. The night was comfy; the music, comforting.

What more could Saturday in the Park lovers want?

SITP vs. SF Jazzfest, a drub match...by Robert Morast

BELOW IS AN ARTICLE FROM THE SIOUX FALLS ARGUS LEADER LAST WEEK, WRITTEN BY ROBERT MORAST. ROBERT'S A GOOD GUY, HOWEVER I AM GUESSING SINCE HE WROTE IT AROUND HIS BIRTHDAY, HE MAY HAVE BEEN TOO FAR IN TO THE CELEBRATION WHEN HE PUT THE PEN TO THE PAPER. WE'D LOVE TO SEE YOUR COMMENTS, AND ARE HAPPY TO SEND THE BEST ONES ALONG TO ROBERT. OR YOU COULD CC HIM ALSO AS HIS EMAIL APPEARS BELOW:

Blow by blow, JazzFest drubs Saturday in the Park
By Robert Morast
rmorast@argusleader.com
June 22, 2006


Sioux City's Saturday in the Park outdoor concert bills itself as "the upper midwest's premier music festival."

And while that's far from being true - Minnesota's WeFest and the 10,000 Lakes Festival both put it to shame - the annual event has been the best music festival in our Sioux-centric part of the world.

Compared to its closest competition, Sioux Falls' JazzFest, Saturday in the Park has a history of scooping up the talent before JazzFest could book it (Buddy Guy, Shemekia Copeland, etc.) and has brought in acts that appeal to people outside the blues and jazz mafia (The Black Crowes, Michelle Branch, Brian Setzer).

Basically, if these two free festivals charged for tickets, Saturday in the Park has been the one worth spending your scratch on. That changes this year because JazzFest is finally better than its Sioux City counterpart.

The power shift isn't parade-worthy. But it's worth noting simply because JazzFest has been such an easy target for criticism in recent years with repeat acts (the Neville Brothers, Tommy Castro) and names that didn't inspire excitement (the Neville Brothers, Tommy Castro).

But is it really better than what Saturday in the Park will offer on July 1? Yes. When JazzFest fills Yankton Trail Park on July 14-15, the talent level will be impressive.

You don't believe me? Check this out, a blow-by-blow grudge match between the two festival's top six acts. The first artist in each battle is fighting for Sioux City, the second for Sioux Falls. Let the guitar picks fly:

The Neville brothers vs. Medeski, Martin and Wood

The Nevilles have the name recognition, and they're built like football players. But this battle isn't about reputations or fist fights, it's a face-off between MMW's funky, white-boy jazz and the soulful, spicy R&B that the Neville's have been peddlin' for years. In the end, MMW's layered, faux-'70s groove displaces the tired Nevilles' act.

Winner: MMW



Chuck Berry vs. Mavis Staples

Mavis, I love that you can belt out a spiritual with more emotion than all the Lutherans in Minnesota combined, but you have nothing on Mr. Chuck Berry. Let's put it this way: A world that never witnessed the magic of Berry's duck walk or his monster rock classics like "Maybeline" and "Johnny B Goode" is probably a world where every rocker packs the punch of Pat Boone.

Winner: Chuck Berry



Carbon Leaf vs. Buckwheat Zydeco

In the battle of zany names, Buckwheat's zydeco-flavored accordion music has more snap than anything Carbon Leaf can hurl our way. And, "hurl" is the operative word, as most of the Leaf's material sounds like regurgitated dude rock.

Winner: Buckwheat Zydeco



New Monsoon vs. Hubert Sumlin and the G.E. Smith Band

Pitting New Monsoon's hodgepodge of world music against Sumlin's visceral acoustic folk blues is like comparing styrofoam to dirt. One is essential to life, the other is synthetic filler for suburbanites. Though, this is only a blowout matchup if Sumlin plays his acoustic guitar. On the electric, he's not as compelling or moving.

Winner: Hubert Sumlin



Devon Allman's Honeytribe vs. Albert Cummings

Initially, Honeytribe's live album sounds stilted and stale - or like every other blues rock band formed in the past decade. But at times, Allman blows fire like Nickelback's Chad Kroeger high on the blues. Meanwhile, Cummings is choppy, but occasionally comes off like a cross between ZZ Top and David Coverdale. In the battle of rock-influenced blues guys, Cummings' borrowed edge cuts deeper.

Winner: Albert Cummings



Cowboy Mouth vs. Shemekia Copeland

Copeland can blow fiery, soulful blues like few others and she has enough range to knock you back or put a mellow mood in your mind. Still, Cowboy Mouth's alt-rock intensity is overpowering. It knocks the Copeland and her belt-it-out style to the ground

Winner: Cowboy Mouth

If you're counting, that's four of six battles won by JazzFest. People reading this in Sioux City, might assume I'm biased. That's not the case. The truth is,

JazzFest finally stepped up and gave us its best lineup in years. Let's hope it gets better in 2007.

Robert Morast turns 30 today. He is accepting gifts from strangers. Reach him at 331-2313 or rmorast@argusleader.com.

Welcome

Welcome to the Saturday in the Park Fest Blog. Happy posting...