Old Shiel - Old Shoe and Sean Shiel - Ace Bar 5/10/12

“What the world needs now is another folk hero, like I need a hole in the head” is a phrase penned by the Cracker on “Teen Angst,” but covered by the likes of acoustic artists such as Keller Williams. In my opinion today’s scene could use a lot more genuine ones than seem to get produced. Sean Shiel is one of those genuine folk singers. But he is a throwback as well. In addition to Williams, one is drawn to compare his guitar prowess and silver voiced lyrics with the likes of Leo Kottke and Michael Hedges. Only Shiel doesn’t loop. Which is amazing considering the complexity that spews from his lone guitar.  

I caught up with Shiel before the show at Ace Bar this past Wednesday and asked him how things were doing lately with good weather finally upon us. He explained how along with the festival season gearing up he was going to the Canopy Club the next day for a show. Truly great folk players get that way by accumulating shows and experimenting with their audience. Shiel is a seasoned road veteran. Which meant that Ace Bar with his friends from Old Shoe on the last Wednesday of their residency were about to get a treat. 

Opening with a cover of “Ain’t No Use in Tryin’”by Trampled by Turtles, Shiel in his trademark bandana warmed the crowd with his tune. Then he quenched his whistle with a nicely positioned PBR located near the mic stand. Fully hydrated he launched into a darker Xavier Rudd flavored song he named “J.W. and The Hustle” which he told us was about a certain unnamed FGC member. Somewhere in the refrain I thought I heard remnants of Australian group John Butler Trio. No didjeridu however simply a man and his guitar.  A downstate rebound relationship number called “Novocain” had a distinct hoe down feel which got my foot stomping. Shiel strung together a nice medley of tunes to round out the set with “Captain Dance”, “No Better Time”, “Coming Around”, “Rail Spike”, “The Grind”, “Perfectly Free”, “Flight.”  All delivered to the room with an “awe shucks” type nonchalantness that was endearing and never seemed forced.  Shiel delved into what certain songs were about, when he wrote them, and gave a run down of where he was headed next.  Then he reached down to that mic stand and took a shot that started a group social and got the room’s audio senses limber for the full band experience in Old Shoe that followed.  

Set I: Beer, Sweet Melinda (John Denver), The Most Difficult Thing Love, Mojito (slow), Ragweed Jones, Jack Straw, V

Set II: Michigan, Scarlet Begonias*, Joe’s Song, Day Rains Night, Breathe > Let Yourself In > Breathe

E: Eastbound and Down

Key: *with Mikey from Sisters and Brothers

Old Shoe goes on hiatus from Ace Bar for the summer to work on some new material and gear up for Summer Camp and their own Shoe Fest.  However, they left us on a high note with a menagerie of best known favorites from their lakeside residency. The time at Ace Bar has served the band well allowing the members to organically grow their sound and develop a tight knit fan base. It seemed like an accumulation of supportive friends were on hand to have one last romp before breaking out the camping gear later this month.  

The band went on later in the evening and started it off with a twist. Usually sandwiched mid-set the Chicago based folk rock quintet opened with “Beer.” The refrain bounced and Paul Priest’s lead guitar twang led nicely into a first time played John Denver cover “Sweet Melinda.” A rare configuration of “Mojito” off the bands self titled 2009 album was refreshing to hear for loyal listeners use to hearing it in a more conventional format. The rousing “Ragweed Jones” into a Grateful Dead cover in “Jack Straw” into “V” was a nice bookend to close the first set. 

“Michigan” led things to begin set two before a friend of the band helped channel a double dose of Dead with “Scarlett Begonias.”  Drummer Mikey Schroeder is no stranger to Ace Bar as his band Sisters and Brothers perform every Thursday, and it was nice to see him sit in behind center. Noticeable in “Joe’s Song” and “Days Rain Night” was the bands collective confidence to go to the brink and bring it back together without feeling forced.  You can’t get better than Pink Floyd in the magic hours shortly before last call.  Robinson lead on “Let Yourself In” which was fit snug between an hauntingly played “Breathe” as sang by Joe Day and Priest.  Not wanting the residency to end quite so soon the crowd chanted for one more song and received it in “Eastbound and Down.”  The quick number from the 1970s satiated everyone’s appetite for Old Shoe.  Though Ace Bar will be silent of their tunes for a time they’ll be at Summer Camp Music Festival in just under two weeks.  I know their “camping” stage set at 7:30pm will be on my list of must see acts.  

Dave Weckstein

Old Shoe and Goose Doctor - Ace Bar 5/2/12

Old Shoe with their weekly residency at Ace Bar this past year has brought some of the best local jam talent from around the region to the cozy confines of Fullerton St, and made it accessible to those that love to do the hump day boogie.  They’ll be taking a well deserved rest as they gear up to work on new material and prepare for the summer festival season right around the corner. 

The bill for the second to last installment of Old Shoe’s residency brought with it a decidedly nursery rhyme type feel.  As I found out it was in name alone because right from the get go you could tell the lyrical content and musicianship were more complex than the average toddler could handle.  

Set: Nabowah, Specimen B, Born, Robot Sounds, Caught in the Mud, King Keenan

Goose Doctor’s musicians have played together for years bassist Greg Iteen recently explained to me while standing over a campfire.  Hailing from DeKalb, IL the band had their debut performance only a few months ago at the glorious House Cafe.  I checked out a video from that performance and compared it to what I heard last week in person and must admit that watching this band on a small pixelated screen doesn’t compare to seeing them live in the flesh.  It’s a lost in translation thing that occurs with some jam bands.  

After opening with a fun little indian themed tune called “Nabowah” that distorted nicely and showed off synthesized notes of both Pink Floyd and Umphrey’s McGee flavor the band switched into a full spring time fervor on the rightfully titled “Born”. Fresh lyrics fueled a connection with the season in which we dwell.  Noticeable was the dueling groove between Iteen on bass and both guitars as wielded by Tom Stach and Howard Shaw. As the song went into end jam mode it built up power cord wah pedal infused progressions that seemed to pause and then start back up on the same measure.  A slight jazz titled jaunt could be felt on the opening of “Specimen B” with Scott Paiser dropping in a nice solo on keys.  There is a lot to take in on each song Goose Doctor plays.  Composition wise they deftly change tempo and timing to give the listening an experience that really pulls together a full array of musical delight.  Tom Stach on guitar, behind a magnificently coifed beard, leads on vocals and along with the rest of the gang crafted a progressive rock gem on “Robot Sounds.”  Listening closely to the lyrics one captures influences ranging from Beck to Bowie…but with a jam twist.  It’s quite groovy and refreshing.  Spacey cosmic fills led wonderfully into each verse as the Doctor transitioned into “Caught in the Mud” which again drew influence in a new beginning and had a spring type feel.  Leaving the audience wanting more the band closed with an epic and spirited “King Keenan.”

It will be interesting to watch the music of Goose Doctor grow.  The band has the chops to dabble in some unique areas of the jam genre.  Very glad I got to see this act in its infancy as surely they’ll begin to become more cohesive as the gigs start to add up.  

A few years ago Old Shoe was in Goose Doctor’s, ahem, vintage footwear attire.  Now they’ve built up a loyal fanbase that travels with the band to festivals and regional shows alike.  Scheduled on the horizon the band will play their first Summer Camp Music Festival as they take an hour set (7:30-8:30) on the “camping” stage Saturday May, 26th.  They’ll also play Rock Falls, IL at The Cooler for the first time this upcoming Saturday May, 12th.  

Set I: Mouth of the Lion, Michigan, Eyes of the World, Let Yourself In, Beer, Ragweed Jones, Eastbound and Down

Set II: The Most Difficult Thing Love, Twist, Joe’s Song, Woodstock

I’ve been to just about every Old Shoe Wednesday since the inception and can attest that like the light show displayed this residency has helped the group grow in leaps and bounds.  The vocal range that Joe Day adds to an already solid repertoire in Robinson and Priest allows for the band to wade into some rarified waters when it comes to picking new material to test out. 

Old Shoe pulled two new songs out during the first set in “Mouth of the Lion” which was written a few months ago, and in name alludes to the mouth of lying, however the track did not make it to the new album.  The band has built up such an extensive catalog of songs that some must wait for another day to be unearthed.  Timing after all is everything.  “Michigan” another new song transitioned into the Grateful Dead cover “Eyes of the World” with Joe Day lending vocals.  “Let Youself In” the title track of the groups second album roused the late evening leaners and hoopers before “Beer” started sending non subliminal messages to tip your local bartender.  Robinson belted “Ragweed Jones” that bounced nicely into a cover of Jerry Reed’s “Eastbound and Down” which Joe Day danced on the keys and showed off his Alaskan pipes to closed the set.  Paul Priest sang the 60s flashback induced “The Most Difficult Thing Love” before the band covered Phish’s “Twist.” Joe Day excelled in a self titled instrumental number.  Woodstock yet another road only classic not on an album song closed the evening.  

One more Wednesday at Ace Bar will occur 5/9 with Sean Shiel opening for Old Shoe.  It’s promising to be quite the send off to Summer Camp as i’m told to expect the band in rare form.  Stay tuned for a review in the coming days.   

-Dave Weckstein

FULL COURT PRESS TWO ~ 4.26.12 The Abbey Pub Chicago, IL

FEAT MEMBERS OF UMPHREY’S McGEE, DTM, Strange Arrangement, FGC, Math Games, Kick the Cat, The Coop, Old Shoe, Groovetron, The Rub, and Land of Atlantis.  

I love it when randomness happens and a plan comes together.  I thus was delighted when I checked my iPhone to see that the second installment of Full Court Press was tonight.  Super Jams are great and representative of what can be achieved on a whim when you mix together the right ingredients.  You get to see classic songs performed by some of your favorite musicians in a truly collaborative setting.  Abbey Pub with all its history of good music was packed to the rafters pretty much from jump street with the certainty of local jam scene royalty in attendance.  Whippersnap was also just around the corner and the merch table looked sweet in the blacklight.  Numerous flyers told me to vote for some guy dressed in a Lebowski get up for Summer Camp Counselor.  I thought that was a good sign and ordered a “white russian”.   What started early at Abbey ended late (or depending on your take early) for me at Carol’s at 4am observing friends “Bust A Move” with a little karaoke.  Be sure to check that out right below this article.  Without any more chatter here were the lineups and set lists.  (Please Note: Band 1 will be updated shortly) 

Band 1 9:30-10:05

Groovatron Andy Dumaresq (drums)

Strange Arrangement Kevin Barry (bass)

Strange Arrangement Joe Hettinga (keys)

The Rub Chris Lathrop (guitar)

Groovatron Nick Ferrer (guitar)


Band 1 Highlight:

Band 2 10:15-10: 50 p.m

Old shoe Joe Day (keys, vox)

Digital Tape Machine Marcus Rezak (guitar)

Strange Arrangement Kevin Barry (bass)

The Coop Jacob Barinholtz (perc)

Strange Arrangement Steve Sinde (drums)

Played: Debra (Beck), One and Seven (Soulive), Up On Cripple Creek (The Band), Techo Jam

Band 2 Highlight:  Joe Day’s vocal range on “Debra” was on full display.  I may have witnessed panties flung toward the stage.  Old Shoe just busted out this awesome cover of Beck off his Midnight Vultures release.  Check this Ace Bar version out.  Also fitting was the groups choice to pay tribute to a great one in Levon Helm with “Cripple Creek”.

Band 3 11:00-11:35

Strange Arrangement Joe Hettinga (keys vox)

Strange Arrangement Jim Conry (guitar, vox)

Family Groove Company Janis Wallin (bass, vox)

Strange Arrangement Steve Sinde (perc)

Family Groove Company Mattias Blanck (drums)

Land of Atlantis Nikola Djorovic (guitar)

Played: Shape I’m In (The Band), Stratus (Billy Cobham), and Get Down On It (Kool and the Gang)

Band 3 Highlight:  Conry sang spiritedly with another The Band gem in “Shape I’m In”. as Janis Wallin attracted the usual amount of notoriety for her prowess on bass and vocals (and later that evening karaoke - see video below this article). Few knew the cool multi-faceted talents of Ms “Ice” Wallin.   

Band 4 11:45-12: 30 a.m.

Umphrey’s McGee Joel Cummins (keys) 

Umphrey’s McGee Andy Farag (percussion)

Kick the Cat Chris Clemente (bass, vox)

Digital Tape Machine Marcus Rezak (guitar)

Math Games Greg Fundis (drums)

Played: Crossroads (Cream), Cissy Strut (The Meters), Sex Machine (James Brown)

Band 4 Highlight:  Can I say everything here and you guys not give a hoot?  Okay, well DTM’s guitar player is rigawdamndikulous plain and simple.  Combine that with UM members freshly amped off a secret concert earlier in the day and the lengthy jams were where it was at.  Those going to Summer Camp should be safe and bring another pair of pants.  You’ve been warned.  

Band 5 12:40- 1:25 a.m.

Family Groove Company Janis Wallin (bass)

Digital Tape Machine Joe Hettinga (keys)

Math Games Greg Fundis (drums)

The Coop Jacob Barinholtz (perc) 

Strange Arrangement Jim Conry (guitar)

Digital Tape Machine Marcus Rezak (guitar)

Played: Peg (Steely Dan), A Go Go (John Scofield), Look-Ka Py Py (The Meters), and Cheap Sunglasses (ZZ Top)

Band 5 Highlight: Loved me some Meters “Look-Ka Py Py” which showcased some funk FGC as well as DTM’s Joe Hettinga dazzling us with some nifty keys.  Conry tore it up on some crazy guitar solo’s to leave the crowd breathless, and sweaty.  Maybe that was just me.  

I’m sure that the next Full Court Press will be even more epic.  But with festival season upon us I think they’ll be plenty of super jams to quench my thirst.  Be sure to grab tickets for your favorites soon.  UM will be at Hangout 5.18, Summer Camp 5.25-5.27 and Wakarusa 6.1-6.2 before Bonnaroo 6.7-6.10

Most of the other acts seen during the evening will be at Summer Camp in addition to more local festivals including Widow’s Peak 5.18-5.19, Whippersnap 6.19-6.21, and Shoe Fest 9.7-9.9 

Old Shoe w Zmick and members of Sexfist - Martyrs’ 4-26-12

Set: Rhett, Beer, Ragweed Jones, Debra (Beck), V, Welcome Home, Let Yourself In, No Quarter (Led Zeppelin), Woodstock, Day Rains Night, Joe’s Song, Sunflower, Big River*, On Your Way Down*, Shadow of a Man(Sexfist)*, The Weight*$, Goin There*$

Key: *with Allen and Chuck of Sexfist, $ with Brad of Zmick

Old Shoe took its weekly roots music extravaganza to a slightly wider open space in Martyrs last week for a “Rock the Earth” charity benefit show.  Friends Zmick and members of Sexfist also joined in to make it a progressive jam rock bluegrass Shoe Fest pre party jamboree.  The night started off with Zmick shredding sound waves through time with some music off their most recent upcoming release.  Brad Miller and crew were actually quite kind to give away free EP’s at the merch table!  These guys just know how to play and want Chicago to get in on it.  They are ready to break out with upcoming outdoor gigs at Summer Camp Music Festival 5.24-5.27, Stranger Danger Music Festival 6.23-6.24, and Whippersnap Music Festival 7.19-7.21.  

Matt Robinson told his fanbase earlier that day that his group Old Shoe just had a stellar practice and he was rested and ready to represent what Shoe Fest is all about.  Robinson’s didn’t haircut his way through a couple band favorites before pulling out a recently released rabbit out of the hat with Joe Day leading vocals on Beck’s  “Debra”.  “Days Rains Night” and a free and easy “Sunflower” led nicely into the Grateful Dead’s “Big River” and Allen Toussaint’s “On Your Way Down” with Chuck Oakton and Allen Elwood of Sexfist picking and a bowing to provide stringed electric accompaniment.  As fresh as Old Shoe was feeling the Sexfist boys showed they were true road warriors after just landing at O’Hare from a whirlwind European tour.  Chuck lent vocals on a Sexfist tune “Shadow of a Man” before what I thought was the highlight of the evening occurred in a super jam tribute of “The Weight” by The Band.  

Shoe Fest is releasing tickets and announcing artists for their 2nd festival held at beautiful Stonehouse Park in Earlville, IL.  Upcoming Old Shoe shows can be found by clicking SHOE. After the next two Old Shoe Wednesday’s 5.2 and 5.9 the band will put a hiatus on its weekly residency at Ace Bar to work on new material and rest up for a busy summer touring schedule.  


Cornmeal, Hot Buttered Rum, Family Groove Co 4/20 The Vic Theater Chicago, Illinois

The Vic Theatre, a luxurious five-story vaudeville house, opened as the Victoria Theatre in 1912 and took three years to build.  It took just a hair north of five hours Friday evening for Cornmeal, Hot Buttered Rum, and Family Groove Company to bring it down.  Whether you fancied funk groove brick, or newgrass chicken pick, on a day that surely becomes misremembered in haste this night wouldn’t be soon forgot.  A festive crowd in full holiday fervor filed past gleaming golden banisters down the tiered aisles to the stage.  It was showtime at the Victoria, and it seemed everyone wanted to be front row center for the special occasion.   

Family Groove Company aimed high and made everyone proud with a nod to recently departed drummer Levon Helm in a cover of The Band’s classic “Ophelia.”  As Jordan Wilkow (keyboard) channeled the gentle 1970s Arkansas soul on vocals, Mattias Blanck (drums) truly had the best seat in the house.  He was able to simultaneous take in quite a sight I imagine; with his trio of musical peers fronting what appeared to be dancing jam molecules personified.  As the pit party bounced off one another in a frenzy, they seemed ready to ignite when Adam Lewis (guitar) raged a bluesy solo on “Hold Fast to the Line.” A trippy transition occurred on “Professionals Here,” off Models and Metrics (2008), which was a rocket man composed Harry Chapin toned ballad about as Jordan prefaced, “fighting crime on acid”.  Noticeable during “Wrath of the Solids>One Eye Dreaming” section was the 10 year Chicago outfits ability to musically communicate seamlessly with one another.  Jordan dedicated Steely Dan’s “Josie” to the audience which demonstrated why the Library of Congress dubbed the 1977 album Aja as culturally, historically, or aesthetically important.  The tight set rounded out with a packed house getting a treat with the energetically composed “Every Time You Shake It” before the finale off The Charmer (2006) in “Byron’s Got the Time.”  Janis Wallin (bass) made certain the crowd was primed for action as she deftly kept pace with Lewis’s long solo that left fans properly stretched out for the marathon of bluegrass that followed.  

A few years back I heard of the next eco conscious ensemble Hot Buttered Rum by learning they converted their tour bus into a “Bio Bus” that ran on waste vegetable oil.  The Bay area quintet brought real left coast energy to the Midwest busting out of the gate with “Working Man” while bathed in a red light district type glow.  Evident from the beginning was the versatility of Aaron Redner (fiddle), Erik Yates (banjo, dobro, flute) and Nat Keefe (guitar) as all three lent vocals in addition to having a wide range of instrumental dexterity.  “Swing and Sway” showed off the lyrical ability of each while keeping up a breakneck pace.  On this Paul Simonesque number you could really hear the world musical training instilled in Keefe.  Running into a fan from Colorado in line for beer, I could tell why he made the long trip to see these guys.  Aaron infused a rockabilly feel on mandolin and fiddle, while clad in bright orange splatter designed trousers, as he crooned the rocky mountain flavored saga “Missoula to Miami.” The seasoned road veterans have a knack for the gift of gab on stage that you can tell translates into a nice dynamic when confined to tight quarters along a lonesome stretch of highway.  Musing that Cornmeal was backstage stealing their booze Erik plucks a banjo and Nat launches into The Mother Hips original “Do it on the Strings.”  Mother Hips guitarist Tim Bluhm, as producer on the band’s latest 2011 release Limbs Akimbo, has had a profound influence on HBR’s lyrical focus and songwriting.  Bryan Horne (acoustic upright bass) provides backup vocals on “Like the French” which takes everyone to the far off land of love as fiddle and guitar solos duel. Tossing the banjo behind his back, Yates, an accomplished wind instrument player, adds a Jethro Tull inspired flute playing spice to the foreign flavored recipe.  The wanderlust themed set brought it back home with Keefe reminding everyone of the rich immigrant jig culture the land of Jameson had on Chicago with the fiddle tune “Banished Set.”  This lively bar room brawl shanty evoked images of the coming to America movie “Far and Away.”  With an “if it ain’t broke don’t fix it” geographical attitude, they brilliantly put a bluegrass spin on U2’s “Where the Streets Have No Name.”  Janis Wallin from FGC sat in on bass for “Desert Rat” off Live in the Northeast (2007) and received “we’re not worthy” Garth Campbell like praise from Hot Buttered Rum.  This was the first sit-in of the night and only a foreshadow of what was to come.  Drummer Lucas Carlton strapped a washboard around his torso and soloed (yes, washboard solo!) on “Fruit of the Vine” before the group kept him front and center whisk broom a strumming with the Beatles Abbey Road recorded “I’ve Just Seen a Face.”  Apparently something was in the water with songs dedicated to doing occupational or recreational activities while on LSD.  Keefe and crew, long time baseball enthusiasts who just took in the game earlier at Wrigley Field, charmed the Cubs contingent performing Todd Snider’s “America’s Favorite Pastime.”  This song was about that fateful day on June 12, 1970 when famously Dock Ellis pitched a no-hitter for the Pittsburgh Pirates while on a “mental road trip”.  They followed up the tale by performing bluegrass icon Bill Monroe and the Blue Grass Boys’ “Blue Night.”  Looking around the audience, I saw old souls and young alike rejoicing and singing along during the Grateful Dead’s “Bertha.”  As the set closed with “Blackberry Pie, Way Back When> The Crest, Angeline the Baker>Cindy” I was glad I caught the tail end of this cross country tour, and excited to find out what the future holds in store for HBR as well.  Clearly this is a group that is gaining momentum which played perfectly into the night’s homegrown final bluegrass laced powerhouse.

Cornmeal showed their appreciation immediately for its loyal fanbase of Chicago, the place where the bluegrass side project started in 2000.  You could tell many friends from the weekly Wednesday residency era were in attendance.  I chatted with a few personally before the show began, who told me while it was hard to slip backstage at larger events to meet their friends, the band has earned its stripes with a relentless touring schedule that spans most of the year.  Apparent from the ear to ear grins each of the band members display as they play is how much they love to make each performance an experience for the listener.  Looking over the set list, it seemed they planned something extra special as a thank you for all those local early adopters.  "We’re proud of where we’re from, and it’s a payback for all those people that supported us when there were four people in the room," guitarist Kris Nowak said.  

Wavy Dave Burlingame on banjo took the lead on vocals for “Trouble Gonna Find Me” and “Coming Back Home” during which I thought I detected a Grateful Dead tease.  Allie Kral’s fingers moved like lighting over her fiddle’s neck  as gracefully she bounced and swang in step to “I Need a Little Help,” with Dave and Kris trading verses on vocals.  Each musician had their own trademark stance or musically inspired o-face on stage.  While Allie’s naturally smitten with the audience, Dave adopts a wide-footed stance, as Kris kicks and stomps in a hoe-down type yeehaw fashion.  JP Nowak, high atop his drumming post, never stopped smiling as he expertly exhibited wondrous paradiddle chops without missing a beat.   Chris Gangi often grinning looked skyward as he held his svelte stand-up bass like one holds a lady during a waltz.  The comfort and stage presence of the collective group makes it that much easier for them to appeal to fans of all experience levels.  

After well-wishing and helping get the crowd singing “Happy Birthday” to their manager Ian Goldberg, they brought back a bluegrass West African feel with Paul Simon’s “Slip Slidin Away” off Negotiations and Love Songs (1988). Then the lights went dark and spotlighted solos while circular yellow images adorned the Vic Theatre for “Black Smoke Rising” as Allie went to a wicked haunting ethereal level.  It was at this point where it was apparent my legs were physically exhausted but still they continued to move and twitch as if they had a mind of their own.  Feeling like a work out in each song you can forget Zumba or whatever the kids are doing these days.  With an almost theater like atmosphere to their performance they kept that bluegrass freight train rolling down the track to “Swing Town” by Steve Miller Band.  Everyone around me lent vocals on the chorus as the familiar intro of “oh-woah-aye-oh-aye oooh” got everyone in the mood to come out and dance.  “Girl with the Short Brown Hair” closed a crazy second set as the appreciative honky tonk crowd let the band know they still had beer left to drink.  The band told them to drink up and came back with HBR and Jordan Wilkow of FGC backlit by a bright green stage for their first encore of “Who’s Got the Reefer.”  With peaceful loving bouncing buffalo like fans dancing in the crowd, the second encore featured a badass dobro guitar solo by Erik Yates as well as Wilkow playing the melodica for another dose off Paul Simon’s Graceland with “Know What I Know.”

Gratefully exhausted, the crowd dispersed into a brisk Chicago evening like dust in the wind.  Very loud dust.  Simply stated there is a lot of competition amongst this genre of music lover on “420,” but this triumvirate of improvisational giants showed collaboration is the purest form of creating something new and special.  

Dave Weckstein