I first visited the Joyous Lake in a somewhat unconventional manner in the summer of 1979. I was sixteen, and unable to secure entry to a sold out Pat Metheny Group gig, so a friend and I snuck onto the now non-existent screened porch behind the stage and listened to the band from there. Of course that old venue is now unrecognizable, but the current incarnation has emerged as an incredibly beautiful establishment with detailed woodwork and art from the town’s abundant supply of artisans.
U-Melt hit the revamped stage in front of a sadly sparse audience (Woodstock on a Thursday night is not what it used to be), but lived up to their name by liquefying those who were there with a molten hot evening of music. The first set began with “Air,” and the rhythm section consisting of George Miller (drums, vocals) and Adam Bendy (bass, vocals) immediately laid out an infectious groove that would launch a tasty improvisational jam that spread to “Kelly Kay.” What began with a Bendy bass excursion, Rob Salzer (guitar, vocals) punctuated with intricate guitar licks. But “Send” and “Tomorrow My Friend” proved U-Melt is more than just improvisational instrumental jams, offering thoughtful lyrics delivered with emotional vocals by Zac Lasher (keyboards, vocals). Lasher then laid out a moody piano melody to begin “Go,” a song that began as a ballad, displayed some fiery interplay and spiraled back down to a ballad once again. The Bruce and John Hornsby song made famous by Huey Lewis, “Jacobs Ladder,” rolled into a bluegrass beat driven romp, before “Through the Prism” closed out the first set with a stylish flourish.
The fusion jazz–funk inspired “Infectious Groove” began the second set, providing some tight and intense drumming by Miller, reminiscent of fusion bandleader drummers, Chad Wackerman, Andrea Marcelli, and Dan Brubeck. Harmonies soared through “Different Things” until the band melted into one being during an epic version of “415,” another tune loaded with beautiful harmonies, as well as mood swings, tempo changes, mesmerizing rhythms, and amazing guitar playing by Salzer. “Hey Bulldog,” a song that features an aggressive beat, was the most straight-ahead rock-and-roll offering of the evening, and led to the stirring piano of “Song Behind the Time.” This time, the piano and guitar interplay launched fine guitar solos by Salzer and a piano solo by Lasher, which cruised nicely over the tight rhythm of Miller and Bendy. They then closed out the set with “The Eternal Groove” and the groove was thick and peppered with explorations into many styles of jazz and funk including a splash of Latin rhythm.
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