Interesting news just in on this subject seems worthy of a re-post.

With the recent success of Cadillac Records, Ray and Dreamgirls, it’s not surprising that news has broke of an upcoming Jerry Garcia biopic now in development for the big screen.   Let’s hope the upcoming film does justice to the larger than life rock and bluegrass American icon and care is taken in telling the story of his early days before he transformed The Grateful Dead into one of rock and roll’s legendary bands.

Having seen Jerry and the Dead twice and meeting Jerry personally back in 1993, I can say with conviction that the man was probably one of the most “human” rock gods we’ll ever see. This is what Bob Dylan had to say upon learning of his death in August 1995:

“There’s no way to measure his greatness as a player or a person. I don’t think eulogizing him will do him justice. He was that great–much more than a superb musician with an uncanny ear and dexterity. He is the very spirit personified of whatever is muddy river country at its core and screams up in the spheres. He really had no equal…There are a lot of spaces between the Carter family, Buddy Holly, and, say, Ornette Coleman– a lot of universes–but he filled them all without being a member of any school. His playing was moody, awesome, hypnotic and subtle.  There’s no way to convey the loss. It just digs down really deep.”

If the film is done well it will be refreshing to see the story of Jerry Garcia in San Francisco before the Warlocks and the dizzy days of the Grateful Dead.  And — if these music related biopic films succeed in accomplishing anything other than box office recipts and DVD units moved, hopefully they serve to document the music and the creative personalities that brought the music to the world.  As more and more of our musical icons disappear, whether they be jazz, country, bluegrass or rock and roll, it’s important to tell the stories so that future generations of music lovers will discover them.

Here’s Jerry and the Grateful Dead at Winterland San Francisco in 1974

Tonight, it would be Cochon, a short cab ride or a 15 minute walk from my base in the French Quarter on Royal.  Dining solo, I was escorted to a seat at the kitchen bar overlooking the line and the wood burning oven – pure theatre and ample entertainment for the evening as it turned out.

The restaurant features clean lines with wood paneling and subtle lighting offset by an exposed brick wall on the opposite side.  After surveying the crowd, I noticed none other than Peter Buck and some comrades at a nearby table; R.E.M. were supposedly holed up in New Orleans recording their follow up to Accelerate this spring.  A Kentucky Bourbon and soda seemed to be in order and was shortly dispatched to my place setting.

While chatting with the couple to my left I noticed the wood fired oven being stoked and filled with steel platters of oysters; a local specialty, roasted oysters on the half shell are not to be missed.  Later in the week I experienced roasted/broiled oyster nirvana out in Metairie but that will have to wait for a follow up post..

I kicked off this meal with the highly regarded fried Rabbit Livers served on crisp toast with a tingling pepper jelly on the side.  No more than about 5 perfect parcels of joy, these babies delivered on the promise and were as light and fluffy as a She & Him track.

I snacked on a corn biscuit in between courses and continued to marvel at the execution and orderliness of the line in front of me.  The expediter called for countless orders and his crew delivered with precision and passion.

Countless orders of fresh fried pork cracklings made their way to newly arrived tables; bringing smiles to all around.   This IS a feel good place; might have been the bourbon but for a short hour or so it seemed like the early days of the BP disaster were still far offshore.

The night’s special entree arrived in front of me; it seemed like a foregone conclusion that I would have at least one pork product this evening and I opted for the bone in LARGE rib chop with equal parts tenderloin and strip-loin; pretty much a massive Pork Porterhouse.   This chop was sourced from an heirloom ‘free range’ pig of outstanding provenance and delivered a knock out punch in flavor and all around goodness.

Regrettably, I opted out for dessert but vowed to try the Lemon Buttermilk Pie on my next visit.

Five Stars — Not to be missed if you are in New Orleans.  Menu here..

Overcast skies gave way to an illuminating night of music at the legendary Red Rocks Amphitheatre just west of Denver.  Red Rocks amphitheatre is about 20 minutes due west of downtown Denver and is nestled in a natural park amid the foothills of the Rocky Mountains.  Without a doubt, this is the best outdoor venue I’ve ever encountered in my 28 years of concerts.    The sight lines were incredible, the natural bowl of this amphitheatre literally carved out of the mountain and hills.  Ample leg and seat room with no confining ‘airline’ seats were a welcome surprise.

Having seen Petty and the Heartbreakers during one of their residency sojourns at the Fillmore in San Francisco back in 1997, I wasn’t sure I needed to see the band again.  But, the chance to catch them on the cusp of releasing a new album coupled with the fact that this Red Rocks gig would be the opening night of their new tour, I decided to bite and picked up two tickets in the 10th row with surprising ease on the Ticket Master website.  I had also seen Petty on the Full Moon Fever tour in the cavernous old Chicago Stadium, a muffled and somewhat hazy memory from 1989.

This time, Petty and band opened with a cavalcade of rock and roll legendary hits including Kings Highway, Free Fallin’,  Breakdown, I Won’t Back Down and You Don’t Know How it Feels.  Petty introduced Breakdown as the band’s first real hit back in 1976 off their debut album and reminded the crowd that living and working in Los Angeles in the mid 1970’s was a surreal experience – from what he could remember. 

Mid-set, Petty calmed the crowd and informed everyone to be patient while they debuted several new tracks off the upcoming Mojo.  The band, particularly Mike Campbell, settled into several incendiary blues jams with Campbell channeling Jimmy Page on two of the new excellent songs.  

Petty, the ultimate ‘reserved’ front man, sporting a shag haircut and cropped beard,  expressed sincere thanks after almost every song and promised ‘wall to wall’ hits soon to come after the Mojo mini-set.  As promised, more hits followed including a strobe laden Don’ Come Around Here No More and Refugee.  Runnin’ Down A Dream closed out the three song encore with American Girl reserved for night two in Denver, June 3rd.

The Opening act was none other than Joe Cocker.  I wasn’t sure what to think after seeing him just the week before wheezing through his trademark Beatles cover song on American Idol.  What a difference a week makes I guess.  Cocker produced goosebumps as he summoned the guttural growl and scream of Woodstock-past with an excellent set including standouts Feelin’ Alright, You Are So Beautiful and With a Little Help from my Friends.  

As Cocker thanked the crowd, the sun began to set over the back of the stands with the moon obscured by the night clouds.

(Photo below courtesy of tompetty.com)

The Cherry Cricket has been around for at least 60 years and has withstood the changes that time brings in the best way.  The changes that they’ve made are by and large welcome: multiple large LCD TVs to watch the sports event du jour while devouring a juicy burger, air conditioning and an assortment of fine cheeses to place on top of your burger.  Several local micro-brews are available on tap and world class shopping for the yuppies are just steps away from this neighborhood anchor.

Unfortunately, this isn’t a ’sleeper’ establishment, it’s gaining a national following after a recent Man vs. Food episode and the burgers here regularly place in the top two burgers in Denver between the two competing city mags, 5280 and Westword.  It’s just a perfect pit stop for a weekend day but be prepared to wait some extra time if you’re trying to secure a patio table.  If you’re OK with loud volumes and the aforementioned TVs on full tilt,  you’re likely to stroll right into a comfy table or booth inside.

Recommended:  The Cherry Cricket 1/2 lb. burger with provolone, sauteed mushrooms and mayo on the side.  Rare.

Osteria Marco is a winner in Denver.  I’ve hit this place three times in the last month and I’m hooked.  They do everything well – from house cured meats and in house aged cheeses to outstanding pizzas and a great casual downstairs room and bar. 

Under the guidance of Frank Bonnano, this restaurant hits the sweet spot between sophistication and unpretentious fine dining.  The user friendly menu begins with formaggi & salumi selections, both house crafted and imported and then branches out to include ample small plates, salads, creative paninis and the previously mentioned pizzas – the Rapini Za is out of this world BTW.

Looking for unique cocktails incorporating ginger beer or bacon infused bourbon?  Check.   How about some cured meats and home made sausages?  Check.  Some type of Pork Belly presentation?  Check.

Word has it that Bonnano is preparing to open a fourth Denver restaurant this summer; this time we’ll get his take on casual French/American country fare.  I’ll be there.

Mystery to Me.

Fleetwood Mac Live in 1973

McVie, sorely missed on the two most recent Fleetwood Mac reunion tours, is now retired in the English countryside but her legacy looms large over the long and storied career of the band.  She has, to date, appeared on all but two albums, either as a member or as a session musician.  Any questions about the soul and depth of McVie’s compositions and writing skills should be answered with a listen to Mystery To Me’s final track, Why.  Hmmm, I’m getting carried away about McVie and I set off to shine some light on Welch and Bob Weston.

Here’s a 1976 version of Why with Lindsey Buckingham adding some tasteful guitar stylings.

Bob Welch was a pure bred Californian who helped to convince Mick Fleetwood and John McVie to move the band from England to California back in 1971.  Welch, who later had big success as a solo artist after bowing out of Fleetwood Mac in late 1974, is best known for his nimble guitar work, fine songwriting and a somewhat geeky persona with large oversized glasses and a tendency to wear a  fedora.

It can be argued that Welch’s contributions to Fleetwood Mac were pretty profound, he was instrumental in moving the band toward a more pop-based California sound, laying the groundwork for Buckingham and Nicks who would essentially replace him in 1975.

Welch was mysteriously snubbed by the Rock and Roll Hall of Fame and Fleetwood Mac when the band was inducted in 1998.  Welch had this to say about the affair:

“I’m really disappointed about being overlooked by Fleetwood Mac. It basically comes down to the fact that they don’t like me anymore.  “I guess they can do what they want. I could understand it if I had been a sideman for a year. But I was an integral part of that band for five years. I put more of myself into that band than anything else I’ve ever done.”

Full props to Bob Welch who wrote several standout tracks for the band including Sentimental Lady, Hypnotized and Bermuda Triangle.

Bob Weston had a short lived stint with the band but helped stabilize the band’s sound after the departure of previous guitar god Danny Kirwin.  He would famously be fired for having an affair with Mick Fleetwood’s first wife during the band’s 1973 tour.

Fleetwood Mac – circa 1973 (With Bob Welch & Bob Weston)

Never a dull moment for Fleetwood Mac, whatever the incarnation of the band may be..

Bob Mould’s first solo album, was composed during the year following the dissolution of Hüsker Dü back in 1988. Released in the spring of 1989, Workbook presented a clear departure for Bob Mould after severing ties with Grant Hart.

The album picked up immediate airplay on Modern Rock stations across the country fueled by an infectious bit of jangly Byrd-esque power pop on the single, See A Little Light .  But that song belies the overall mood of the album; closer listening of songs like Wishing Well and Poison Yearswould provide the true spirit Mould set out to document – disgust, despair and catharsis.

Poison Yearsslowly builds to a climax as Mould recounts ‘poison years that are now just a memory’, seemingly clearly referencing the rancorous final year or two that Husker Du trudged through.   Later in the song, Mould states that ‘treason is the reason for his poison years’ as he slowly adds layers of acoustic and churning electric guitar to the track.

Buoyed by an excellent backing band featuring Golden Palominos drummer Anton Fier, Pere Ubu bassist Tony Maimone and cellist Jane Scarpantoni, Mould delivers a career best solo effort out of the gate.

For all the doom and gloom present in the lyrics, the music and melodies on most of these tracks transcend the emotional scrapheap and oddly offer glimpses of brilliant sunshine and the feeling of fresh air.  The opening track, Sunspots, is a jazz inflected instrumental that seems more likely to be found on a Pat Methany album.  Scarpantoni’s cello is featured on several tracks while Mould does bring out his Strat to great dyanamic effect on many of the songs.

Three short years later, Mould would form Sugar, the power pop combo that burned fast and bright for a few years before Mould moved back to solo efforts.  The July 1992 Cabaret Metro gig still ranks as one of the loudest musical events I have ever witnessed; the subtleties of the Workbook album were long gone and Mould’s candy blue Strat was put into overdrive as the band burned through Copper Blue two months before its release in its entirety.

A recent sun splashed Sunday afternoon at Birkdale presented a perfect opportunity to indulge in one of the best cigars available on the planet right now: the Padrón Family Reserve No. 45.  Released in two versions (natural and maduro) with one size (six inches with a 52 ring gauge), this exulted cigar celebrates the 45th anniversary of Padrón Cigars.

After staking out an outdoor table at a local Starbucks next to a gas patio warmer, I carefully surveyed the scene for cigar disafficiondos before slowly torching up my pricey No. 45.  The cigar features a decadently dark hued wrapper, encompassing fine reserva Nicaraguan tobacco, reportedly aged for at least 10 years.

Receiving nods of encouragement from a vicarious onlooker  toting a freshly brewed Venti, I slowly began to enjoy the cigar and couldn’t believe the rich, intense notes of cocoa and espresso, followed by a slightly spicy finish; but all well rounded and incredibly smooth.  The firmly pressed tobacco burned very evenly and at a luxuriantly slow pace allowing nice coils of smoke to waft by soccer moms and yuppies buried in their Sunday Observers.

Similar to a fine Pauillac or a nuanced Miles Davis or Steely Dan album, I didn’t want this experience to end.  The cigar put my old smoke of choice, the Montecristo Habana Number 10 to shame.  And this is definitely not an experience that should be rushed, you should plan on having at least 45 minutes to set aside while smoking this cigar.  It simply deserves your undivided attention.

This is a cigar that is definitely worth finding and they are not plentiful by any means, the shop where I purchased mine actually limits purchases to only 2 per customer and doesn’t offer box sales at this time.

In a word, sublime. . .

You call yourself a music lover, music consumer or better yet, a true aficionado? Are you in London or planning a trip there sometime soon? Jaded Londoners need not continue reading but those who have not been to Abbey Road and the famous “zebra crossing” should add it to their itinerary.

You see, the famed Abbey Road studios are reportedly up for sale by it’s cash-strapped and over-leveraged owner, EMI records. This old Georgian house in north London ranks up there with Graceland, The Whisky A Go Go, Motown’s old HQ and Memphis’ Sun Studios as ‘hallowed ground’.

The Beatles recorded 95% of their recorded output here, including the classic Abbey Road album which features the band casually crossing the road in front of the studio during a mid afternoon tea break.

Legend has it that the album was set to be titled Everest but the lads couldn’t be bothered to travel to the Himalayas for a photo shoot. The iconic album cover was the first not to feature the name of the album or the name of the band. In hindsight, those 7 or 8 photos taken that day seem quaint given today’s PR machine world of choreographed photo opps and behind the scenes DVD extras.

Let’s not forget that Pink Floyd laid down Dark Side of the Moon here also, which begs the question, why is this place not already a protected heritage site in the UK?

Walking across that street is a surreal experience and is something that every music lover should do. Steps away is Abbey Road Studios and the graffiti festooned walls surrounding the garden out front.

Make your plans now.  Take the tube to St. John’s Wood and walk north about 10 minutes, you’ll be glad you did.

And remember, the love you take is equal to the love you make.

Pete Townshend and Roger Daltrey soldier on with help from a brother, the son of a Beatle and others sharing the common cause of continuing to breathe life into a band called The Who.  This  Super Bowl performance proved there is still life and vitality in the now age-less songs that Townshend originally penned decades ago.    Hard to believe it but these guys were also at Woodstock over 40 years ago.

Have they aged?  Yes, certainly;  Townshend no longer bounces up and down and smashes his guitar and Daltrey’s voice now shows distress on higher registers but these guys can still manage to bring it and deliver a quality performance.

Cynics may say this isn’t really The Who anymore now that Moon and Entwistle are no longer on the stage and with us.  Others say no, Townshend and Daltrey have every right to  perpetuate the legacy of the band and can still deliver in a young man’s game.  One couldn’t help the irony last night though as Townshend, all of 64 years old, belted out Teen Age Wasteland on cue during BabaO’Riley .

Townshend can do what he likes these days; being the genius that lived and breathed virtually every iconic song in their canon and set them to flight through his windmilling right arm.    Daltrey, the golden voice no longer what it was still manages to deliver justice to Townshend’s songs like no one else could.

And they do seem intent on staying the course, Daltrey is currently on a solo tour to keep the rust away from his wind pipes while Townshend has reportedly hit another creative spark that could possibly result in a new Who album later this year.

I’m sure there may have been some casual observers in the crowd and at home who recognized two of the set’s songs as current themes to two different CSI crime shows on CBS and probably had no idea who these blokes were.

Looking to dig deeper into The Who? Check out the following:

1. The Kids Are Alright (Special Edition)

2. Who’s Next (Deluxe Edition)

3. Amazing Journey: The Story of The Who 3-DVD Exclusive Edition