Gathering of the Vibes: Seaside Park, Bridgeport, CT 7/21-7/24/11

For more than 15 years Terrapin Presents has been hosting a festival which features music and art, originally created in hopes of connecting Deadheads in the wake of Jerry Garcia’s death. After the guitarist’s 1995 death, Deadhead businessman Ken Hayes decided to keep the practice of the sub-culture alive by organizing an event to gather, celebrate, and remember the music and philosophy of the tradition, eventually coining the term “Vibe Tribe” for the supportive scene-sters. And throughout the years, despite the absence of the icon, the Grateful Dead community has continued to embrace the yearly gathering to pay homage to the art and music of the legendary band. Every year each remaining member of the Grateful Dead brings their current musical projects to perform for the dedicated crowd. The weather was hot and trying as temperatures reached record heights of more than 100 degrees, but this didn’t stop festival-goers from braving the heat in lieu of more cushy accommodations. It seemed like the more trying the conditions became, the more intense of an internal reward was experienced by all who stuck it out.

For any assembly of the like, location plays an incredibly important factor. For the last 16 years, the ‘Vibe Tribe’ has been held at six different venues throughout New York and Connecticut. In 1999 and 2000, The Gathering of the Vibes was first held in Bridgeport Connecticut’s Seaside Park. Established by Bridgeport’s circus mogul, PT Barnum., he had hoped that "When the hand that now pens these lines is stilled forever, and thousands look… across the water to Long Island shore and over the groves and walks and drives of the beautiful grounds at their feet, it may be a source of gratification and pride to my posterity to hear the expressions of gratitude that possibly will be expressed to the memory of their ancestor who secured to all future generations the benefits and blessings of Seaside Park."

Most will agree that Barnum’s vision is actualized by the vibrant gathering of people from many walks of life that come to share the gratification he spoke of. And although the historic urban setting on 370 acres of oceanfront park space seemed ideal for the festival location, over the next few years Bridgeport’s parks commission worked on a restoration and renovation project for Seaside Park which forced promoters to search out other venues for the festival. In the years that followed The Gathering of the Vibes moved to a number of locations around New York, but eventually returned to Bridgeport in 2007 for what has become its home turf every year ever since

As for the music. the first two nights were the substantial throwback celebration nights of the festival’s origin. It started a tributary-like theme that wove through many performances for the rest of the weekend. Thursday night’s opening ceremonies were elegant, like a bell in the night, the first words rang out clear over the boardwalk, “Look for a while at the China Cat Sunflower,"  underneath the full moon that was rising. This magical moment was an excellent choice by Dark Star Orchestra, the band that pays tribute to the Grateful Dead catalog with respect that is both beautiful and sincere. Each member really seemed to play and sing with earnest dedication -filling each portion of the collective sound, and doing it wholeheartedly.  It was an especially classy evening for all in observance because they were graced by the fun radiating energy of Donna Jean Godchaux, former Grateful Dead member. Her demeanor was bright and warm, and so was her soulful vocal style. It looked like she was having an especially fun time with them and gave their already replica-crafted set an original authenticity.

Big Sam’s Funky Nation was a treat even in the scorching afternoon sun that was reminiscent of the band’s Louisiana roots. Sam, the big band funky leader man, drove the band on with his big voice and his nimble trombone. These guys did some really cool stuff; sampling soulful southern renditions of popular Kanye West, Lady Gaga, Gnarls Barkley, and for their version of “Get Low”, they asked the audience to do just that. We got low, low, lower –til we were almost totally sitting down… But then we were back up again and “Big” Sam Williamson took us back to the party.

Also on Friday night, original Grateful Dead members Phil Lesh and Bob Weir were joined by the likes of guitarist John Kadlecik formerly of Dark Star Orchestra, drummer Joe Russo, keyboardist Jeff Chimenti, Jeff Pehrson, and Sunshine Becker –daughter of the infamous Jerry Garcia, for what has been described as “one of the most successful post-Grateful Dead ventures to date”. Furthur was the pinnacle Grateful Dead legacy tribute of the weekend and they couldn’t have picked a more soul-wrenching, joy-emoting, bittersweet-hallelujah setlist. Including classic tunes like “St. Stephen,” “Sugar Magnolia,” and “Dire Wolf,” the band played on the heartstrings of the die-hard dead-heads with sweet sincerity. When asked, fellow vibe-tribers commented on a few particularly moving versions of a number of songs. The reflective ballad “Stella Blue” was an especially poignant moment for some, while others favored the get-down grooviness of “New Minglewood Blues.” Weir’s voice still bears the same inflection it always has. Familiar and quirky, it has elements of a strong spirit and soft tone. These anthems were joined in chorus by dancers and hula hoopers alike, each person out there was having a unique and personal experience.

Bob Weir was also seen this weekend performing with the Levon Helm Band. Famous for his Midnight Ramble Sessions, Helm has performing with an ensemble to emulate his sessions at The Barn on his home turf in Woodstock, New York.  Helm has overcome a particularly difficult battle with throat cancer, which took his voice for a while. He has since regained his voice and, joined by daughter Amy on vocals, taken his showcase act to events such as this, embracing the old folk traditions, creating one-of-a-kind performances with guest appearances by the most world class musicians.  Weir’s place in this set was an easy natural fit. One version, done primarily a cappella, of “Attics of My Life” was beautiful and delicate.  A light-spirited version of "Deep Elem Blues" was another stand-out moment, Helm this time on mandolin. This song is an old traditional and it seemed like a good choice for the jam, and a lot of setup for improvisation -both vocally and instrumentally.

Saturday was just intense as Jane’s Addiction was explosive. They really know how to make an entrance, opening the set with a theatrical curtain drop which revealed the band in all their glory… addicting indeed. They were joined by two flying leather-clad go go-booted air dancers that undulated over the band, suspended on wires from the high scaffolding of the main stage. Perry Farrell’s enigmatic performance commanded allure. His straight-forwardness as a front man was fascinating and peculiar. Along with drummer Steven Perkins, and guitarist Dave Navarro, these three had an already amazing chemistry already existing together.  Now joined by TV on the Radio’s Dave Sitek on bass, this band’s performance defined a threshold between mighty soaring anthems and sultry sinful delight. Farrell gave a bottle of liquor he had been sipping on to an audience member, he followed it with an attempt at a reassuring comment, but “believe it or not, I don’t have Hep-C” was somehow not as much a comfort as he may have hoped, but it was a unique moment and it stirred up the crowd.

Big Gigantic was a big hit on the Green Vibes stage as this saxophone and drum duo from Boulder Colorado (with some electronic production) was an amazing experience for the late night dance party, and even though the day’s extreme heat had a wearisome effect on so many of us, the overall audience reaction was energetic and enthusiastic. As the beats hit, the primal instinct to dance was undeniable.  Using hip-hop samples, and making hot remixes of select Kanye West and Aloe Blacc hits, the crowd rode the build-up-and-release waves that these guys  had gotten down to a science. A sound science, and every time they swung into a new groove, the moving bodies of the audience visually reflected the subtle nuances of the layered trance-techno, hip-hop, rhythmic-yet-somehow-still-organic sound.

All the while, the Ferris wheel kept going around… Primate Fiasco contributed to the sub-scene by bringing their Americana String-Brass Band to the carnival and the lighted square beside the sea. The crowd gathered around the fire dancers moving to the funky folk band. It was a primal moment of the night and a gypsy crowd gathered around to join in the amusement.

While Furthur was keeping the Grateful Dead repertoire alive in a classic sense, the other original members of the Grateful Dead, the innovative and creative drumming duo Mickey Hart and Bill Kreutzman really knew how to please crowds on Sunday when they brought their drum-driven project, The Rhythm Devils, to the stage for some new renditions of old favorites like “Sampson and Delilah,” “ Eyes of the World,” “Franklin’s Tower,” and “Scarlet Begonias” –just to name a few. This dynamic team re-vamped the band norm by bringing double drums to the rhythm section of the Dead. Now they are taking that concept a step beyond their previous incarnation, as they team up with Steve Kimock, Keller Williams, and Reed Mathis  for what was (and still is) an intoxicating infusion of Dead songs with an all-star lineup amidst a more percussive drive.

Later that night and closing out the festival was the John Butler Trio, which also includes Nicky Bomba on drums and percussion, and Byron Luiters on bass.. Listening to them was compelling and could best be described as tribal drumbeats meet a dancing bass and guitar. The guitar floats while the bass simultaneously grounds the music… At one point John Butler lead the audience in a creative, challenging, call-and-response portion of a song which captivated the weekend-weary audience and lifted spirits, a noticeably rejuvenated crowd. His desire to make music that promotes free feelings is well-executed in this Australian blues and roots rock. These guys finished up the festival main stage and left people in a good energized state of mind as we all headed back to our packed cars, and then, ultimately, our lives… the weekend was over.

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