Podcasts about tea leaf green

Join us for an in-depth conversation with bassist, composer, and musical explorer *Reed Mathis**, whose resume reads like a roadmap through the avant-jam universe. From **Jacob Fred Jazz Odyssey* to *Tea Leaf Green**, from **7 Walkers* with Bill Kreutzmann to **Electric Beethoven**, Mathis has continually pushed the boundaries of improvisation, composition, and collaboration. We talk about: Balancing the freedom of JFJO with the structure of Tea Leaf Green Playing Carnegie Hall with Marco Benevento Reinterpreting Beethoven with a full improvisational band Stories from the road with the Rhythm Devils, Mickey Hart Band, and Billy & The Kids His evolution as a solo artist, writer, and bandleader Whether you're a jazz head, a Deadhead, or just into genre-blurring musicianship, this one goes deep. Support the Channel: If you enjoyed this please follow, like, and subscribe @allthatjampod on IG, FB, and Twitter - www.allthatjampod.com - Subscribe - leave a review - tell a friend. Merch: https://t.co/QgtAisVtbV All That Jam is brought to you by Executive Producers Amanda Cadran and Kevin Hogan. Produced and edited by Amanda Cadran and Kevin Hogan. Mixed and Mastered by Kevin Hogan. Original Music by Aaron Gaul. Art by Amanda Cadran.

In an insightful discussion on the "Tales from the Green Room" podcast, Reed Mathis provides host Dennis Strazulo and listeners with a detailed preview of his upcoming podcast series “The Gifts of Improvising” which debuts January 29, 2024 on the Osiris Media Podcast Network. Reed opens the door to a new, profound exploration of the role and challenge of artists as they navigate improvising the music of their heroes and legends, analyzed in detail during discussions with fellow musicians throughout 12 introspective episodes. Reed delves into the dynamics of the jam band scene and the authenticity of spontaneous musical creation. Previously connected with iconic projects like Jacob Fred Jazz Odyssey and Tea Leaf Green, and with artists including Steve Kimock, Billy Strings, and Bill Kreutzmann, Reed shares the conception and evolution of his podcast with refreshing candor and excitement - describing it not merely as an exploration of improvisation but as a spotlight on the reenactment versus innovation debate within music. Listen as Reed challenges the norm of merely quoting musical heroes and urges a portrayal of personal truth through music. The essence of his message is about fostering a space where musicians are encouraged to "play themselves," offering a raw reflection of their true, creative essence rather than adhering strictly to established templates.The soon to be released series features an impressive roster of musicians, each bringing their unique experiences and insights to light, including: Joe Russo, Marco Benevento, Steve Kimmock, Adam McDougald, and Jay Lane taking a deep dive into musical philosophies and personal anecdotes that reveal much about these beloved names in music.“The Gifts of Improvising” also includes a touching homage to Phil Lesh, featuring reflections from Natalie Cressman, Elliot Peck, and Grahame Lesh - a moving tribute to Lesh's indelible impact on both Mathis's own career and the broader music landscape. Enjoy this discussion as Reed muses about the art and joy of truly improvising in anticipation of his podcast release.Linkshttps://www.instagram.com/reedmathis/https://www.facebook.com/reed.mathis.5/http://www.youtube.com/@reedmathis4623https://www.osirispod.com/podcasts/ MusicLazyLightning55a YouTube Channel: Reed Mathis' Electric Beethoven - 10/26/16 - MP WilliamsburgPhoto by Stefanie Atkinson Schwartz  

Music News: Pink Floyd and Joni MitchellIn this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music. Chapters00:00 Post-Election Reflections: Music and Cannabis08:29 The Grateful Dead's Musical Legacy14:48 Exploring the Lyrics: To Lay Me Down21:59 Music News: Pink Floyd and Joni Mitchell37:06 Weather Report Suite: A Musical Journey43:10 Second Set Highlights: Mississippi Half-Step and Beyond49:36 Marijuana Research: Substitution Effects51:24 Cannabis Use Among Young Adults56:13 Florida's Marijuana Legalization Initiative01:05:01 Cannabis as a Tool for Opioid Harm Reduction01:11:10 Strains of the Week and Cannabis Culture Larry's Notes:Grateful DeadNovember 11, 1973 (51 years ago)Winterland ArenaSan Francisco, CAGrateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive Happy Veteran's Day  A very famous show from a very famous year.  Many feel 1973 was the peak of the band's post psychedelic era.  Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run.  In 2008 the Dead released the box set:  “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.  This was the Dead's second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band).  The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set. Today's show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band.  They were on fire for these three days.  A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights. Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness.  It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”  INTRO:                                 Promised Land                (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)                                                Track #1                                                0 – 2:10 "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965. Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth. Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time". Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band's last show ever in 1995.  Among those deeply touched by Chuck's genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us. The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation. A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it. This version really rocks out.  I especially love Keith's piano which is featured prominently in this clip. Played:  430 timesFirst:  May 28, 1971 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 1:                    To Lay Me Down  (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee                                                Track #6                                                2:21 – 4:20 David Dodd:  “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.” Well, first—wouldn't we all like to have a day like that! And, second—what unites these three lyrics, aside from the fact that they were all written on the same day? Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,' ‘To Lay Me Down,' and ‘Ripple,' all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.” “‘To Lay me Down' was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace' and ‘Ripple'—the second day of my first visit to England. I found myself left alone in Alan Trists's flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down' were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw's Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.” Garcia's setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia's voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia's alone. I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What's interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead's performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979. So, in terms of story, what can be discerned? The short version, for me: even if it's just for a day, even if it's just once more, even if it's just one last time—it's worth it. It's golden. It's home. This version is really great to listen to.  Jerry's voice is still so young and strong.  And the group singing works really well.  Jerry's also kills it with his lead guitar jamming. Released on “Garcia” in 1972 Played:  64 timesFirst:  July 30, 1970 at The Matrix, San Francisco, CA, USALast: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA MUSIC NEWS:                                                           Music Intro:                       Brain Damage                                                                                    Pink Floyd                                                                                    Pink Floyd - Brain Damage (2023 Remaster)                                                                                    0:00 – 1:47             "Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4]             The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.             The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.             The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999. David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon' and ‘Wizard of Oz'On Thursday, November 7, 2024, Pink Floyd's David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York's Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend's stop by the late-night talk show, he spoke with the program's host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.“You said that you think it's your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour's comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.” Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour's 2024 release–harnessing the conversation to the artist's preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician's 60-year tenure in the spotlight.“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour's humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There's no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there's these strange synchronicities that happen.” Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I'll call them coincidences.”  Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival.  More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023 3.    Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz's 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene's five decade ride.  The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green).  “Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries. As an added distinction, and play into the birthday angle of event's surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist's post on Instagram, where he noted additional inclusions as TBA.   SHOW No. 2:                    Weather Report Suite Prelude  (out of China >Rider/Me & My Uncle/Loose Lucy                                                Track #14                                                3:10 – end                                                   INTO                                                 Weather Report Suite Part I  (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break  - 16 songs                                                Track #15                                                0:00 – 1:03 David Dodd:  This week, by request, we're looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards. The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it's one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2. Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I'm guessing that's where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974. The song addresses the seasons, and their changing mirrors the the singer's state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There's something very hopeful buried in the song's melancholy. Is that melancholy just a projection of mine? I think there's something about Weir's singing that gets at that emotion. Loss, and the hope that there might be new love. Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times. Released on Wake of The Flood in 1973. WRS Prelude and Part I:Played:         46 timesFirst:  September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USALast:  October 18, 1974 at Winterland Arena, San Francisco, CA, USA SHOW No. 3:                     Mississippi Half Step Uptown Toodeloo  (Second Set Opener/into Big River/Dark Star)                                    Track #17                                    3:17 – 4:55 Released on Wake of the Flood in 1973. Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show. Huner/Garcia special.  Great story.  Great lyrics:  “what's the point of calling shots, this cue ain't straight in line.  Cue ball is made of Styrofoam and no one's got the time” Always one of my favorite songs to hear in concert.  ½ Step>Franklin's were especially fun as a one two show opener punch. Played:  236 timesFirst:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO MJ NEWS:                 INTRO MUSIC:       Willin'                                                Little Feat                                                Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.                                                0:10 – 1:32                                                1977 "Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists.          George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus. The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem.  And of course, he asks for “weed, whites (speed) and wine” to get him through his drive. 1.      Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals 2.     Why Florida's Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support 3.     Marijuana Has ‘Great Deal Of Potential' To Treat Opioid Use Disorder, Study Finds, Predicting It'll Become More Common In Treatment 4.     Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales Strains of the week: Sub Zero - Sub Zero is a potent Indica-dominanthybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience. The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain's therapeutic properties. Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste. Extract:             Dulce Limon – hyrbrid sativa dominant            Pineapple Fizz – slightly indica dominant hybrid strain SHOW No. 4:                    Dark Star  (Mind Left Body Jam)                                                Track #18                                                34:45 – end This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.Fun to feature one of the band's thematic jams every now and then.  The truly improvisational side of the Dead and their live performances.  Played:  9 timesFirst:  October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USALast:  March 24, 1990 at Knickerbocker Arena, Albany, NY, USA                                                 INTO                                                 Eyes of the World  (into China Doll/Sugar Mag as second set closer)                                                Track #19                                                0:00 – 2:25 David Dodd:  “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973. (I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!) Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself. In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it's possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song.  The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses.... One of my all time favorite songs, Dead or otherwise.  A perfect jam tune.  Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses.  First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros.  We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention.  I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes.  Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes.  Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand. This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set.  Any '73 Eyes will leave you in awe and this one is one of the best. Played:  382 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast:  July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO  OUTRO:                               And We Bid You Goodnight  (encore out of Uncle John's Band/Johnny B. Goode) 3 song encore!!                                                Track #25                                                :40 – 3:03 The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight. The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England. I got to see it the first night at Alpine Valley in 1989 (the Dead's last year at Alpine) and it really caught the crowd off guard.  Great reaction from the Deadheads.  Kind of a chills down your spine thing.  I was with One armed Lary and Alex, both had been with us at Deer Creek right before.  Lary stayed for all three nights but Alex had to take off after the first show.  Great times.  Played:  69 timesFirst:  January 26, 1968 at Eagles Auditorium, Seattle, WA, USALast:  September 26, 1991 at Boston Garden, Boston, MA, USA  Thank you for listening.  Join us again next week for more music news, marijuana news and another featured Grateful Dead show. Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.   .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

We're extremely excited to have Reed Mathis as our guest on No Simple Road this week! After cutting his teeth in Jacob Fred Jazz Odyssey and Tea Leaf Green, bassist extraordinaire Reed Mathis established himself in the Grateful Dead world with membership in Billy & The Kids, The Rhythm Devils, Mickey Hart Band, Steve Kimock Band and the Golden Gate Wingmen. We catch up with Reed to talk about his upcoming show at The Chapel in San Francisco where he'll be performing a one-night-only presentation of music and improvisation, honoring, celebrating, and revisiting Bob Dylan's "Oh Mercy!" and "Time Out Of Mind" masterworks, the importance of legacy, the Billy & The Kids shows at Red Rocks, what Bill Kreutzmann has taught him and shown him, how experiencing life too intensely has manifested for him, the genius of Bjork, and a ton more!For tickets to this Saturday's show at The Chapel CLICK HEREFor all other news, show announcements, and more head over to www.reedmathis.comRemember to hang out after the conversation with Reed to catch up with the No Simple Road crew!NEW!!! No Simple Road Intro Music Performed and Created By ESCAPERFREE SHIPPING from Shop Tour Bus Use The PROMO CODE: nosimpleroadFor 20% off Sunset Lake CBD PROMO CODE: NSR20 For 25% off Electric Fish Lights PROMO CODE: NSR OTHER MUSIC BY AND USED WITH OUR GRATITUDE AND THE PERMISSION OF:CIRCLES AROUND THE SUNOUTRO MUSIC BY AND USED WITH OUR GRATITUDE AND THE PERMISSION OF:CHILLDREN OF INDIGONo Simple Road is part of OSIRIS MEDIA. Osiris is creating a community that connects people like you with podcasts and live experiences about artists and topics you love. To stay up to date on what we're up to, visit our site and sign up for our newsletter. Osiris works in partnership with JamBase, which connects music fans with the music they love and empowers them to go see live music!Support this show http://supporter.acast.com/nosimpleroad. See acast.com/privacy for privacy and opt-out information.

Rob talks with bass virtuoso Reed Mathis about growing up in a non-Grateful Dead environment and catching on to it later in life.  He talks about learning the music as he begins to play with members of the Dead and extended family and how its spirit has influenced him in all facets of his musicianshipWe pay tribute to Elizabeth Cotten  in the Black Music Moment, finish our talk about the Wall of Sound in the Sarno Music Solutions Breakdown, and talk with Joni Bottari of the all female band Brown Eyed Women Support the podcast via Patreon or a one time contribution at PaypalSupport the show (https://www.patreon.com/themusicplays)https://paypal.me/themusicplaysGrateful SweatsSubtle and Unique Dead Inspired GearSarno Music SolutionsProducing the finest musical instrument audio gear, designed and hand-built in St. Louis, MissouriBlue Jade Audio MasteringSt louis’s primary audio mastering service since 1999The Authenticity AcademyGet in touch with your authentic self. Offering you online courses and private coaching.Support the show (https://www.patreon.com/themusicplays)Support the show (https://www.patreon.com/themusicplays)

"Let’s kick off the month of March with warmer days, longer nights and these huge jams from well loved jam rockers like Pigeons Playing Ping Pong, Karl Denson’s Tiny Universe and Tea Leaf Green. Discover a new live one from Papadosio. Plus, studio jams spanning influences from reggae to grunge and also from jazzy to pure rock and roll. 00:00 - Intro 02:08 - When It Breaks - The Freeway Revival 07:15 - Live Live Live - Lucy Woodward 10:52 - Mic Break 11:46 - Paradigm Shift - Papadosio 24:19 - Bullseye Blues - American Babies 28:03 - High as Five - Pigeons Playing Ping Pong 33:54 - Mic Break 34:26 - Just Remember - Karl Denson’s Tiny Universe 44:13 - Penny Saved - Tea Leaf Green 48:59 - Mic Break 49:53 - 2am - Slightly Stoopid 54:44 - Everywhere I Go - Pimps of Joytime 58:09 - Mic Break 58:55 - Finish "

Thank you for tuning in! See you all tomorrow.Festival Circuit: New Orleans. We're excited to announce a new series that will premiere in June, despite the cancellation of the Jazz Fest. We hope you'll tune into this five-episode series.New Music from Tea Leaf Green. This is the start of a bunch of new music coming your way in the next couple of weeks. This article comes from JamBase, with a new track, “Shelter,” the opening track from Destination Bound, the first TLG album since 2013's In The Wake. The album comes out today! Langhorne Slim and More on Politics of Truth. New episode out today, where Bob Crawford talks to CNN's Chris Frates about the 2020 campaign and politics during coronavirus. Bob also talks with his old friend Langhorne Slim, about personal and professional challenges brought on by this crisis.1pm ET—Travis Book of The Infamous Stringdusters Live! Brought to you by Blue Ridge Outdoors Magazine, Travis will be live streaming some tunes to you from the company's Facebook page. He'll also tell some stories about his love of the outdoors and more. 8pm ET—Under One Roof: A Benefit for North Carolina Artists. North Carolina Arts Council, ComeHearNC.com and CLTure present Under One Roof, a livestream benefit concert for North Carolina artists. The event will feature North Carolina musicians spanning multiple genres and generations, including Ben Folds, Jim Lauderdale, Steep Canyon Rangers, and more. See acast.com/privacy for privacy and opt-out information.

This week on the show we have Ross Taylor from the funk jam Band SOAP, a staple in the thriving Twin Cities music scene. Soap has become a favorite on the festival circuit, performing at Summer Camp Music Festival, 10,000 Lakes Festival , Wakarusa Music Festival, Big Wu Family Reunion, Bella Music Festivals, Prairie Grass Music Festival, Shoe Fest, Wookiefoot’s Project Earth and Shangri-La Festival, as well as sharing the stage with notable acts and performers, such as Tea Leaf Green, Zach Deputy, Bernie Worrell from the Talking Heads, The Motet, Rebirth Brass Band, Hot Buttered Rum, Wookiefoot, Kinetix, Jon Wayne & The Pain, Heatbox, Steve Molitz and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Former friends-of-the-show Tooth Lures a Fang stole Phasmids' drummer. This episode, Jonathan fights Zach Starkie — possibly to the death — to win back John "K-Cups" Kathman's loyalty and re-establish Phasmids' indie dominance. Cheap puns and random references abound. Catch Tooth Lures a Fang on 9/14/19, at MOTR, with Human Heart (Cincinnati) and Zip-Zapp! (Cleveland).PLAYLIST HIGHLIGHTS: Tooth Lures a Fang, Mammal Dap, Native Roses, and Tea Leaf Green, plus new music from Human Heart, Zip-Zapp!, Phasmids and MOBROS.

Bassist Reed Mathis, formerly of the Jacob Fred Jazz Odyssey, Tea Leaf Green, the 7 Walkers, The Rooster Conspiracy and his newest and awesomest project, Electric Beethoven (Whose latest tune, "The Fifth," can be listened to and purchased HERE)pops in for the first official Color Red Records Wednesday here on the Rex-A-Vision Podcast. Mathis is a serious, life long student of the form and I was delighted to get to learn from his extensive musical knowledge and I think this is one of the best chats yet! Big ups to the Color Red record label for helping with this and partnering up for a series of Wednesday chats with folks like Reed and so many more to come! Dig it!

Part two of our New Year’s Eve planning! Last week we scoped out NYE plans with the String Cheese Incident, Leftover Salmon, Gov’t Mule and Yonder Mountain String Band. This week we’re checking in with the Motet, who’s got a four-night run on the Northeast in four different cities, and STS9, who plays four nights in Denver, Colorado. Plus, Bay Area rockers Tea Leaf Green spend New Year’s Eve at home in San Francisco, and moe. brings the party to Rochester, New York. Tune in to get all of the good party details! Jam Session is now available in Spotify - https://open.spotify.com/show/4xXAJ7kzY3Nls919PiKorX 00:00 - Mic Break 01:09 - Fool No More - The Motet 06:07 - No. 6 - Moon Hooch 11:20 - Go Away - Mike Gordon 16:30 - Mic Break 17:11 - Penny Saved - Tea Leaf Green 21:58 - Blas - Arjun 29:30 - Western Sky - Dangermuffin 31:49 - Mic Break 32:27 - Empires - STS9 41:08 - No Apologies (Falcon Punch Remix) - Big Gigantic ft Natalie 46:21 - Mic Break 47:06 - Billy Goat - moe. 56:40 - Looks - Umphrey’s McGee 59:46 - Finish

Bryan or BBryan as I know him, has seen a lot of it, if not it all.  When it comes to Musicland, hes been around.... When we met 15 years ago he was working for the Disco Biscuits and I was touring with Tea Leaf Green, I would never have assumed then that he would be part of my team now - or that I would even have a need for a team lol. Bryan is largely responsible for the successful debut of Sexposé in Buffalo, NY.  He also just returned from a week on a cruise boat with New Kids on the Block.  We have a lot to catch up on, join us!

Our final High Sierra Music Festival interview is with the incredible Reed Mathis. After cutting his teeth in Jacob Fred Jazz Odyssey and Tea Leaf Green, bassist extraordinaire Reed Mathis established himself in the Grateful Dead world with membership in Billy & The Kids, The Rhythm Devils, Mickey Hart Band, Steve Kimock Band and the Golden Gate Wingmen.We talk backstage with Reed about his view of Beethoven, finding balance, staying inspired, and giving everything you have to The Muse. This is an insightful and especially deep interview you won't want to miss.Head over to reedmathis.com for tour news, music, and info!!!***Leave us a 5 star review on Apple Podcasts, Stitcher, or Google Play so more of us can find out about the show and this thing grows into a juggernaut of love, and laughs, and exploration of this long strange trip we call life***JOIN THE NO SIMPLE ROAD FAMILY! Become a Patron through Patreon.com You can give as little or as much as you'd like and earn our everlasting appreciation and assist in realizing the vision of our collective. Angels will land on your pillows and whisper lullaby's to you and sing you to sleep when you decide to make the plunge. Ryder says he will personally oversee delivery of said Angels. OR... you can give a one time gift to us on through PayPal using nosimpleroad@gmail.com So, it's all up to you now...Speaking of Family...**HUGE SHOUT OUT TO THE HIGGS for the amazing Intro Music!!!Check them out at: thehiggsmusic.comCheck out our Patreon at:No Simple RoadFollow us on Instagram: @nosimpleroad and remember to #nosimpleroad your pics, videos, merch, streams, whatever...Drop a "Like" and subscribe over on our YouTube ChannelNSR YouTube ChannelOutro Music by: The Chilldren of Indigocheck out this amazing video created exclusively for NSR!Check out their YouTube ChannelNo Simple Road is part of the OSIRIS PODCASTING Family. Osiris is a growing community of music and culture podcasts, connecting music fans like you with conversation, commentary, and music. Check out osirispod.com to see more of our family of podcasts. See acast.com/privacy for privacy and opt-out information.

Bass player extraordinaire, multi-instrumentalist, composer, and band leader Reed Mathis is a true artist, whom unapologetically has much to say both with his instrument and without. Reed spent 15 years exploring the outer realms of improvisation and composition with progressive jazz/rock/groove band Jacob Fred Jazz Odyssey which he co-founded in 1994 with pianist Brian Haas. Reed went on to join the San Francisco jam/rock band Tea Leaf Green with whom he also composed and produced records for, over a 6+ year tenure. He's also toured and recorded with many artists as a sideman including Bill Kreutzmann (Grateful Dead), Mickey Hart (Grateful Dead), Steve Kimock, Marco Benevento, Robert Walter, Page McConnell (Phish) and many many others. He now leads his own group, Electric Beethoven which takes Beethoven's symphonies, expands the forms, adds improvisation and presents them in a rock and roll electric dance context. Reed is a wealth of musical and historical knowledge. In this episode we discuss many different topics including how he approaches improvisation with his band, how Beethoven's music can be traced to New Orleans music and the Roots of Rock n' Roll, why he has at times struggled fitting into the Grateful Dead music playing scene, and much more. Please enjoy! www.ReedMathis.com

Bay Area cities expand employment protections for ex-convicts; a conversation with legendary prankster Mal Sharpe; Hear Here: Astor Lee finds community in an ancient Chinese art; San Francisco's Poet Laureate Alejandro Murguía reads his poem "16th and Valencia," and local band Tea Leaf Green.

I spent some quality time with Cochrane from the drum section, and we explored life on tour, live vs. in the studio, and why Tea Leaf Green will always be a band of bruised romantics.  Sigh.