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Watching The River Flow: On Tour With Phil Lesh And Bob Dylan (Relix Revisited)

The show the next evening at Cornell University’s Barton Hall in Ithaca, New York also yielded a different twist, as Phil and Friends not only included Derek Trucks and Warren Haynes, but Hot Tuna’s Jorma Kaukonen on guitar. Besides being the smallest venue on the tour, Barton Hall holds many fond memories of what is considered to be one of the greatest Grateful Dead shows of all time, May 8, 1977. The surrounding area also includes such historic Dead venues as Harpur College, the site of another historic show on May 2, 1970, and the Broome Country Arena in nearby Binghamton.

Barton Hall is an ancient place that hasn’t changed a bit since 1977. Because of its historical significance to Deadheads, this show proved to be the toughest ticket with legions of ticket-less Heads, fingers held high, some with $100 bills, searching in vain for that all elusive “miracle ticket.” Adding to the frigid mix of driving snow and bitter cold, the venue had one small doorway through which every person had to enter.

Once inside, the arena contained a spongy surface very conducive for dancing. The security consisted solely of students wearing some snappy-looking Bob Dylan and Phil Lesh and Friends T-shirts, giving the event the air of a psychedelic sock hop.

Despite the fact that the show had been sold-out way in advance, it was barely one-third full by the time Phil and Friends took the stage. Jorma Kaukonen plugged in between Trucks and Barraco, and during the show’s opening jam, was unobtrusive, content to allow Haynes and Trucks to lead the charge. “Eyes Of The World” was serene in its majesty, picking up considerably into a thunderous “Caution Jam” that wove magically into “Mountains Of The Moon.” The hall provided a surreal echo, as the drums and music bounced back toward the stage. Kaukonen finally stepped out during Haynes’ “Soulshine,” delivering a breathtaking guitar solo before diving headfirst into the old Pigpen-era Dead classic, “Mr. Charlie.” The “Cold Rain And Snow” that followed was appropriate, and the interesting jam that ensued drove into “Goin’ Down The Road Feelin’ Bad.” “We Bid You Goodnight” was heartfelt as the room’s acoustics added to the a cappella tune. During the band introductions, Phil acknowledged, “It’s great to be back in a place that has so much historical significance for all of us.” For Trucks, this was his last appearance of the tour, as his own band was scheduled to hit the road.

Bob Dylan continued to seek out some gems from his considerable songbook and favorites, performing a seldom played “Tomorrow Is A Long Time,” “Cat’s In The Well,” “Señor,” “I Want You” and “Money Honey,” a song that had previously never been performed. “Señor” was superb, with Larry Campbell playing a wonderful fiddle solo and Dylan adding some rich, full blasts from his harmonica.

If Cornell University was full of childhood exuberance, the show at Wittemore Center on the University of New Hampshire campus in Durham, New Hampshire, was sobering in contrast. The show was delayed for nearly an hour as campus police, assisted by New Hampshire State Police, converged en masse to bust anyone in the parking lot that was vending. The crackdown prevented the doors to the venue from being opened as all the security was focused on the parking lots.

Inside the crowded arena, police waded into the center of the crowded floor to bust possibly hundreds people for smoking illegal substances. Such police action has not been seen in a docile concert setting since the early ‘70s at Nassau Coliseum. Viewing the constant dragging out of fans from the crowd cast an eerie pall on the proceedings as the police, in some cases, brought their handcuffed suspects through the backstage and dressing room areas.

The fans that did manage to see the show were rewarded with a wonderful selection of songs. The opening jam was more conservative in structure than previous shows, but was no less satisfying. Kaukonen and Haynes sparred like old prizefighters as Lesh, Barraco and Molo provided a solid launching pad for them to shoot into space. The performance of “Attics Of My Life” was astonishing as Barraco, Lesh and Kaukonen hit their mark vocally on this inspired Grateful Dead classic. The set focused more on the songs than jams as Kaukonen’s version of Jimmy Reed’s “Big Boss Man” and Haynes’ working of Howlin’ Wolf’s “Smokestack Lightning” gave the set a definite blues feel. Also outstanding was Kaukonen’s “Good Shepherd,” which was executed perfectly. The inclusion of “Get Together” was masterful in its newfound execution, and “Blue Sky” featured soaring guitar work by Kaukonen and Haynes that was a marvel to hear.

Dylan’s set also provided more gems as the talented songwriter continued to deal aces from the bottom of the deck. Breaking out another tune—“Duncan And Brady”—to open his portion of the show, Dylan’s “Girl From The North Country” was weepy and potent in its delivery. Peppering his set with such nuggets as “Desolation Row,” “If You See Her, Say Hello” and “Just Like Tom Thumb’s Blues,” with the seldom performed “Rock Of Ages” and “Down By The Cove,” Dylan revealed that he is an artist at the top of his craft. His band was tight, and his guitar playing was fast and furious. He ended songs on a dime with one backward glance towards drummer David Kemper. Nevertheless, it can be safely said that both the Dylan and Lesh camps were glad that the tour didn’t end in New Hampshire.