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Other Onces Still have it~
In every show by the Grateful Dead and the band's various offshoots, the thrills come when the old bolt-popping jalopy hunkers down for its periodic bursts of streamlined speed.
At the sold-out Furthur Festival at the Shoreline Amphitheatre on Friday, the Other Ones -- the remaining core members of the Dead, guitarist Bob Weir, bassist Phil Lesh and drummer Mickey Hart, along with five new band mates -- managed those thrills a handful of times. They also ran on fumes for stretches.
The highlights had come much faster and more furiously last month, at the widely anticipated unveiling of the Other Ones' lineup at the Warfield. With critics and diehards alike gushing over the ensuing tour, the group was free to relax in its Shoreline homecoming, the first of two weekend dates closing out this summer's Furthur excursion.
Having retired the Dead after the death of guitarist Jerry Garcia in 1995, Weir, Lesh and Hart have reunited in the guise of the Other Ones, adding longtime cohort Bruce Hornsby on piano, Hart associate John Molo on a second drum kit and Dave Ellis of Weir's side project Ratdog on saxophone. In Garcia's absence, the Other Ones carry a guitar tag team comprising veteran session player Mark Karan and Garcia acolyte Steve Kimock of the Bay Area group Zero.
At Shoreline, the group's set list was almost entirely different from the one that lit up the Warfield crowd. That was good news for those who scored tickets to both shows -- a sizable group, judging by Friday's proliferation of the green T-shirts sold at the debut. Only Hornsby's showcase on ``Scarlet Begonias'' and Lesh's ``Box of Rain'' were reprised.
Though the 3-year-old Furthur is nominally a ``festival,'' this year the Other Ones have commandeered its spotlight. The new-generation hippie band Rusted Root closed its early set by leading a jam on the Rolling Stones' ``You Can't Always Get What You Want,'' and a barroom- tight Hot Tuna wrangled with such crowd-pleasers as Jimmy Reed's ``Baby What You Want Me to Do'' and the classic rag ``San Francisco Bay Blues.'' But it was the Dead survivors whom the graying longhairs and scruffy young travelers had come to see.

THREE HOURS STRAIGHT

Forgoing the family-style jam that marked the first two Furthur Festivals, the Other Ones began just after 8 o'clock and played a spacious three-hour set without interruption. Opening with ``Dark Star'' and the joyous ``Hell in a Bucket,'' the band moved into a ``Scarlet''-based jam that borrowed at one point from another Stones song, ``Can't You Hear Me Knocking.''
Of the original Dead triumvirate, Hart was the most animated, mugging during his quasi-rapping vocal turns. His maniacal grins, all eyebrows and Vuarnet sunglasses, stood in marked contrast to the grim expressions etched on the faces of Weir and Lesh.
More important, however, were the signs of comfort and growing confidence shown by their sidekicks. Karan and Kimock stood toe- to-toe on several occasions, the burly Karan beaming like a bowler on a hot streak and the slender Kimock closing his eyes and mouthing his guitar notes.
Ellis' presence was of particular note, following a Warfield performance that had been obscured by a mixing problem. His tenor playing on ``Hell in a Bucket'' and a new, Pianist Bruce Hornsby with the Other Ones at the Furthur Festival.
African juju-style Hart number was inspired, and he blew rumbling notes on a mounted baritone sax during the set's centerpiece jam.
That extended segment, unfortunately, was interminable. Lasting well over an hour, it included elements of ``Bird Song,'' ``Let It Grow'' and Santana's ``Black Magic Woman/Gypsy Queen,'' among other things.
Much of the audience was seated by the jam's conclusion, but a trio of Dead favorites brought them back to their feet. Hart led the band into a calypso-flavored version of ``Uncle John's Band'' with a simulated steel- drum intro, and Lesh earned cheers for his ``Box of Rain,'' improving on his wobbly rendition at the Warfield.

ENDING ON A HIGH NOTE

Closing the evening, Weir threw himself into ``Good Lovin' '' with such zeal that he broke an uncharacteristic smile. It was the right sort of high note on which to end, and in lieu of an encore the band sent its fans into the night with a recording of the late Roy Rogers' ``Happy Trails.''



�1999 San Francisco Chronicle� 		The Living DEAD!!
Who are they...DMB 1.x BIOGRAPHY :) Cool news
-------------------------------------------------------------The oldest member of Dave Matthews Band at 38, Carter Beauford has been playing jazz drums since his childhood. His father played trumpet in a jazz band, and it seemed natural to Carter to play music. After playing the drums in college, Carter abandoned his first love for his second love, teaching history. But he soon went back to music. He signed on with a fusion band called Secrets, which lasted from 1984 to 1990. The band amassed a huge following on the Virginia jazz circuit, including one South African expatriate named Dave Matthews, who was very fervent in his support of the band. After the band dissolved, Carter went to California to try out for the Arsenio Hall Show. When he failed to land the spot, Carter came back to the east coast and landed a job on pianist Ramsey Lewis's BET jazz show, "Bet on Jazz". In January of 1991, Carter moved back to Charlottesville, playing random gigs and driving into Washington to tape the BET show. When Matthews heard Carter was back in Virginia, he decided to approach him about making the demo tape he had been dreaming about.
Carter uses Yamaha Recording Custom Series drums and Zildjian cymbals.
Stefan Lessard was only 16 when approached by Dave, Carter, and LeRoi in 1991. But at that young age, he was already a very well respected bass player in the jazz circles of Virginia. Though his original instrument
was the upright bass, he converted to the electric bass for the band. Sometimes, though, he'll pull out the good ole upright for a show or two.
Stefan plays a Guild Acoustic Bass, a Warwick Dolphin Pro 1 Bass, and a Warwick Dolphin 6 string Thumb Bass. He uses Trace acoustic RAH 600 SMX amp with a SWR SM 900 to power two 1044 4x10 Trace Elliott
speakers and 2 1524 T2x15 Trace Elliott speakers.
Dave Matthews was born in South Africa in 1967. His family moved around the world a lot while he was young, explaining his unique accent. He finally settled in America. Without a high school diploma, there wasn't much he could do. He got a job as a bartender at Miller's, a Charlottesville, Virginia jazz club, and dreamed of starting his own band. He decided to make a demo tape of some songs he had written over the years. He and his manager, Ross Hoffman, approached his favorite jazz players to accompany him. He approached LeRoi Moore and Carter Beauford first, two musicians that he respected greatly. They were invited to his house to listen to a few songs he had recorded. They really liked them and decided to make a tape together. Dave's talent was so raw that before he and Carter got together, he didn't know what a time signature was.

Dave plays a Gibson Chet Atkins Solid Body Guitar with D'addario Medium Gauge Nickel Bronze strings. He uses a Trace Acoustic TARPIR acoustic preamp which feeds Mackie Microseries 1202 Mixer followed by a Clark-Teknik NIK DN332 equalizer powered by a Crest FA1201 power amp with 2 wave force 1201 speakers. He keeps it all in tune with a Korg DT-1 pro tuner.
LeRoi Moore and Carter Beauford were the first to join Dave in 1991. LeRoi plays many different saxophones on stage for Dave Matthews Band. Before joining Dave Matthews Band, LeRoi played jazz at the many night spots in the Charlottesville-Richmond area. LeRoi, like Boyd, was trained in the classics, one reason for the band's sometimes classical sound.
Leroi plays a Haynes closed hole C foot flute, a Yamaha Soprano saxophone, as well as a Selmer Alto Saxophone and Selmer Mark 6 Series Tenor Saxophone.
Boyd Tinsley was a classical violinist until 1985, when he switched over to rock and roll. Since then, he has defined the rock 'n' roll violin. Before joining Dave, Carter, LeRoi, and Stefan, Boyd played with a few local outfits. He had his Boyd Tinsley Band, which he continued to play with until 93, and he played with Down Boy Down, an acoustic duo that played fraternity parties and college bars around Charlottesville. After jamming with the boys on the demo tape, he approached Dave and Carter and said, "I like what you're doing, I like your sound, so I'm going to quit my other bands and join you guys." Recently, an offshoot of the old Boyd Tinsley Band has formed, calling themselves Underfoot. Boyd has been known to jam with them
from time to time.

Boyd plays a Moggini Copy violin and a French violin with Schnicker bows. This summer he used 2 Trace Elliot 200 Concert Series Amps. His pedals include a Boss Digital Delay, Boss Octave, and Boss Reverb.
Peter Griesar was the original keyboardist and harmonica player in Dave Matthews Band. He joined the band briefly after its inception and played with the band until mid 93. By all accounts, he left on good terms. The only contact made with him since his leaving ended in him saying that he was happy with his decision to leave the band. He didn't like the rock and roll touring life style and when DMB began to tour away from Virginia, he got out. Dave has said many times that the parting with Peter was amicable and that they are still friends. Peter wrote People, People and Dave has mentioned possibly recording that song.
Tim Reynolds is a guitarist and good friend of the band. He and Dave have played together for longer than DMB has played together. Tim plays on each CD, making him, for all intents and purposes, the sixth band member. He often joins the band on tour when not touring with his band, the TR3. Rumors have circulated since the band's inception that Tim would one day join the band, but nothing has ever become official.
Trey Anastasio- Lead singer/guitarist for the band Phish. Joins DMB on 2/24/95 Roseland Ballroom, NYC and 1/26/95 Burlington, VT.

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