Kansas Crimson

Crap.

https://variety.com/2024/music/news/phi ... 236191200/

Dang. Went straight to the dark star thread about it, then saw this.

Glad I got to see him by chance one summer fest in Milwaukee

I’ve never understood why people liked that band. Just sounds like noise to me.

less a Phil memorial and more just Dead talk, but...

Bruce Springsteen's take:

yup, Phish opened with Box of Rain

JKLivin wrote: ↑Fri Oct 25, 2024 6:28 pm I’ve never understood why people liked that band. Just sounds like noise to me.

As I say too often, to each their own.
Here is where I have a problem with your post. "That band". What band are you referring to? I ask because Phil Lesh didn't just perform with the Grateful Dead.
As far as the "just sounds like noise". Ok, I can accept you feel that way if you are referring to a song or two or three or four or five or whatever, you have heard them perform. I can not accept that if you listen to the following few songs and come away with they all just sound like noise to you....
I'll give you some variety.

Phil got a bit of a bad rap/rep in the past decade or so. I think a big part of that was his wife.
Regardless, it was great that he was performing music until close to the end of his life.
I mentioned this on the Dark Star thread.
His first cousin Carol was one of my grade school music teachers. She was proud of him and proud of being his cousin. I am sure he was proud of her too. She had a very strong influence on me. Introduced me to various instruments and the joy/s of playing them. I was and will always be a big fan of the Lesh family.
RIP Phil.

Bobby Weir
@BobWeir
At the age of seventeen, I listened to the John Coltrane Quartet, focusing on McCoy Tyner’s work,
feeding Coltrane harmonic and rhythmic ideas to springboard off of - and I developed an approach to guitar playing based off of it. This happened because Phil turned me on to the Coltrane Quartet.
Early on, he also introduced me (and us) to the wonders of modern classical music, with its textures and developments, which we soon tried our hands at incorporating into what we had to offer. This was all new to peoples’ ears.
Igor Stravinsky’s work wasn’t news to me at that point, but what he did & how he did it were ongoing topics of discussion for Phil & I - and boy, did I ever grow.
Concurrent with all this was the ongoing conversation about the things (ideas) we present outside of music and the effect it would have in shaping the world around us - let’s just say Phil wasn’t particularly averse to ruffling a few feathers. We had our differences, of course, but it’s not platitudinous to say that that only made our work together more meaningful.
Our conversation & interaction will last, at very least, ‘til the end of my days.
The Muse gives us the people & tools to work with. Where we go with that work emerges from somewhere between our intuition and her inspiration. It’s a process always cloaked deep in Mystery
and at its best, the Mystery is forever lasting after its rendering. *Look out of any window…* has that ring to it.
Meanwhile, given that death is the last and best reward for a life *well and fully lived*, I rejoice in his liberation.

https://www.nytimes.com/2024/10/25/arts ... hotos.html

Phil Leah’s life in pictures