Mike's Blog

jambase gramercy theater nyc show review

Tue, 01 May 2012 08:30:30 GMT

Thanks so much for the stellar review jambase!

http://www.jambase.com/Articles/91639/The-Jam-Stampede-with-John-Kadlecik-NYC-Review

Words by: Chadbyrne R. Dickens | Images by: Suzy Perler

The Jam Stampede with John Kadlecik :: 04.16.12 :: Gramercy Theatre :: New York, NY

John Kadlecik, widely known lead guitarist for Furthur and co-founder of Dark Star Orchestra [check out his official site for more info], effortlessly proved to a small, loyal crowd on Monday evening at the The Gramercy Theatre in Manhattan, that he is a guitar tour de force. Following a set of solo acoustic rarities and covers, he joined in with old friends from the Zen Tricksters days. Comprised of veteran stalwarts, the headlining act, The Jam Stampede, booked this Monday night excursion to euphoria on Furthur’s off-night from an extensive run at the Beacon Theatre for good reason. The timing of the gig afforded us the opportunity to witness Kadlecik open the night with an acoustic set, and wait with baited-breath in the hope he would take advantage of this opportunity to sit-in at this special Grateful Dead tribute performance.
Having recently caught a solo John show at Sullivan Hall, I knew what to expect from the opener. John’s sweet and clear voice delivered one eloquent song after another. Naturally, the crowd arrived in hopes of another Grateful Dead love fest, but he did not immediately answer their call. After a fresh take on a couple obscure Robert Hunter covers, the crowd was so entranced by his waxing musical deliver that John ribbed them, “Wow. It is so, so quiet in here!” John’s voice is crystal clean and clear. If Pigpen’s voice conjures up Thunderbird, John’s is a smooth flowing Molson Golden. Transitioning into a gentle rendition of Dylan’s “Visions of Johanna,” a tune the Grateful Dead covered a few times, the pleased audience, recognizing the sounds of a familiar tune, sang along to the parts they knew while growing visibly animated. Although John chose specific songs from his soul, it was obvious from the audience, although satisfied, that they were anticipating even more.

Naturally, when one buys a ticket to hear John, who predominantly performs with the most famous jam outfit in history, one wants to witness what they perceive to be his most pronounced skill. Watching John play an entire set of mellow acoustic tunes is similar to a man being invited over to Megan Fox’s house only to play Scrabble. One is so excited to hear John jam that is takes time to accept his subtle solo performances, regardless of how good a Scrabble player he may be. Placed near the back end of the opening set, highlights included John Lennon’s “Watching the Wheels” and a surprising, tasty rendition of Phish’s “Fast Enough for You.”
Recharging between sets, I found JK straddling a doorway alone, savoring a few recharge moments before unleashing his fury on us. Knowing he has a very unique place on the music scene, he plays some of the most beloved songs in musical history with a band that has no equal in terms of passionate fan following. Naturally, I asked what many of my peers wanted to know:

“With the vast Furthur catalog at your disposal, what song is the one you are always most chomping at the bit to play?”

He reflected for a moment. If John’s reserved delivery yet often quirky speech aren’t reminiscent of John Denver, his bespectacled face hiding an innocent, boyish face certainly is. He replied matter of factly, “Whatever song is next.” Even after all the years and all the shows, he simply relishes the chance to shred his guitar with his innate prowess, picking on the strings with some old friends, all onstage buoyed by his presence. Kadlecik shared how he feels fortunate, due to his success as the lead guitarist for Furthur, to have an opportunity to play a setlist of songs of his choice that are not always Grateful Dead related because he may not otherwise have the chance to do so if not for his notoriety in recent years.

Finally, Jam Stampede took the stage and immediately plunged into the familiar repetitive E and D chord exchange of “The Other One.” A veteran line-up with recent experience playing gigs like Brooklyn Bowl and Sullivan Hall, Wayne Scheller (keyboards), Tom Circosta (guitar), Klyph Black (bass), Dave Diamond (drums), and Mike Mizwinski (guitar) contagiously and confidently took over the Gramercy Theatre so effectively even the grumpiest curmudgeon would be compelled to tap a foot in unison. After a pass through the first verse, the band instantly reversed gears by slowing down and segueing into a solid “Morning Dew.” It was during this song, and guitarist Miz’s guitar demonstration at the conclusion, that I was converted into a true believer in this band. The crescendo was so intense, involved and inspirational that I was instantly impressed with the talented musicians surrounding the stage.
The set progressed with familiar grooves, highlighted by a tightly conceived and melodious “Unbroken Chain”, complete with the requisite improvisational noodling after the second verse. Lizzy Friel, lead singer of the well-respected Jerry tribute act Reflections, joined the band to provide luscious harmonies on numerous songs. Having recently become engaged, Lizzy exuded a radiant glow which only facilitated better vocals during her guest turn.

There are 324 Grateful Dead cover bands in the U.S. according to www.gratefuldeadtributebands.com, which included those quality outfits I have seen like Reflections, Ship of Fools, Splintered Sunlight, Wig Jam, Dead Sessions, Reckoning, Cosmic Charlie and Dark Star Orchestra. By the end of this entertaining and engaging evening, I was convinced that I’d just witnessed the most rewarding tribute experience. Jam Stampede tackles each and every number with an altered angle offering a unique take on timeless classics. Rather than replicate and spit out versions as a Jerry wannabe act, the band utilizes the Grateful Dead’s song structures as a foundation or starting point to then explore the vast musical landscape around it. By accentuating new and original points within a tune, varying the chord structure, and even changing the crescendo spots, they effectively maintained interest from an audience who remained surprised at a show where one has heard and sang along to all the songs so many times previously.

Three members of the band played with one another with the old school jam outfit The Zen Tricksters, and the chemistry still translates well. All the players are masters of their domain, lifelong veterans who respect their craft and put forth the due diligence necessary to play this music right. Mr. Black, the bassist set up center stage, with the physical appearance of Ron Wood meets Peter Wolf upon first glance, but ultimately one can hear and see more of a reincarnation of Rick Danko. Despite the band being comprised of such quality players, it was Mike Mizwinski’s virtuoso guitar work that was the impetus for most of the crowd talk between and after sets. I don’t doubt that anyone in attendance now acquainted with Mizwinski would ever pass up an opportunity to see him ‘own’ his guitar with such authority, passion and skill again. Not a household name yet, but without question, Miz has the chops to be a superstar.
Having witnessed the first set’s talent, people were angling for a better view, competing for a closer spot near the stage in anticipation at the start of the second set. “Help > Slip > Franklin’s” was a tight and energetic place to start. John Kadlecik had graced the stage for numerous songs throughout, and watching as he often leaned back to allow Mike to take over the patented Jerry solos was reminiscent of a baton being passed. The music was so energetic and together, even the usually mundane “Playin > Uncle John’s” pairing took on an interesting dynamic due to the band playing with a mutual purpose and connection, with Lizzy again joining to add to the myriad of voices, which collided in a wonderful harmonic melting of sounds. However, it was the encore of “Bertha” that culminated a most surprising and special night of celebration amongst old friends. JK and MM alternated spots to improve, inspire and demonstrate each other’s virtuoso guitar work.

With the intensely loyal Grateful Dead fan base, it is sacrilegious to offer up any true analysis or constructive criticism about any aspects of a show. If one suggests anything negative about the Dead, one is ostracized with a dunce cap in the corner without water. However, we all know that nothing delivers absolute perfection. Cognizant of the high quality jamming by Furthur, having seen over 100+ shows with Garcia, I remain challenged when forced to separate the current incarnation to the epic heights they once managed to attain. It’s similar to someone dating a beautiful 20-year-old lover. They may still love this person at age 60 for all the right reasons, but most likely won’t feel the same passion they did for them at 20 because the older version is simply not as alluring when the two ages are juxtaposed. Perhaps this latest round of Furthur shows best demonstrates that point to any old school Head. When witnessing Jam Stampede attack the same songs with renewed vigor and a fresh, renewed energy and approach, one can’t help feeling as equally passionate at this $15 gig as at a $200 Furthur one. Just because no one named Weir or Lesh is onstage it doesn’t mean they can’t deliver epic versions of the songs those legends have played hundreds of times for decades.
I vividly recall occasionally spotting a bumper sticker on 80s Dead tour that simply stated: “The Fat Man Rocks.” Although meant in endearing levity, I never accepted this misguided attempt at humor. Chastising another about weight, even if one respects them, never demonstrates good taste. Intelligent men know that if you mention any similar remark to your girl, you are destined for a night in the dog house. Similarly, I never could comprehend how anyone so blatantly competent and proficient would consistently garner the moniker of “Fake Jerry.” Considering that “Fake Jerry” could never be a proper label anyway, as there is no mortal presently strumming a guitar who can approach the talent and icon status of Garcia, ultimately, it was a catchy, cute if not an accurate moniker. After this intimate showcase of guitar talent, I discovered first hand there is a John and a Mike, and fortuitously for those in attendance, they are both very real originals in their own right.

John Kadlecik Setlist
Down to Eugene, Givin' Me the Business, Yellow Moon, American Spring, It's Alright, Visions of Johanna, The Light That Has Lighted the World, Watching the Wheels, Seen Love*, Sister Smiles*, What's Become of Mary*, Fast Enough for You*, Illegal Smile

* - with Lizzy Friel on harmony vocals

Jam Stampede Setlist
Set I: Other One > Morning Dew > Box of Rain*# > Simple Twist of Fate# > China Cat > Rider* > Unbroken Chain# > Other One > Deal*

Set II: Help > Slip > Franklin’s > Playin*# > Uncle Johns*# > Playin*# > Lovelight# > Bertha#

# with John Kadlecik
* - with Lizzy Friel on harmony vocals

Tri-State Indie: Acoustic Artist of the Year!

Tue, 28 Feb 2012 15:20:00 GMT

with the help of all of our amazing fans I had the pleasure of taking home the Tri State Indie award for- Best Indie Acoustic Artist of the Year -last night. THANK YOU ALL SO MUCH who voted! here is a little video from the award ceremony:

http://www.youtube.com/watch?v=PXwht_LICAY&context=C35db254ADOEgsToPDskI0_8rgdjekijh7rXUzNzut

upward and onward
-Mike

here is their website : http://www.tristateindie.com/

'East Hope Avenue' review by New Classic Music for Tomorrow.com

Thu, 02 Feb 2012 03:15:49 GMT

http://newclassicmusicfortomorrow.wordpress.com/

FEB
1
MIZ East Hope Avenue
Posted on February 1, 2012 by newclassicmusicfortomorrow
MIZ East Hope Avenue

MIZ East Hope Avenue is an excellent blend of Rock, Country and folk into a wonderful sound of modern music. Folk without being bland, rock without being heavy and country without being stuck in the present or present. Blending these three styles into a modern amalgamation of sound. When you listen to music you search for your connection to the song, with MIZ you find it easily. With a sound rich and full much in the tradition of great artist like The Band, MIZ is the modern hope for a sound that seems forgotten in time but yet resonates down through the years of history like a beacon of hope to those who are lost in the world of charted music with its hype and lack of talent. October Skies open this CD with its harmonica playing against a rich melody. This song captures the full force of MIZ and takes the listener down a familiar path that feels safe and warm. The vocals are just different enough to make them inviting.

There is some fine playing and picking on this CD as well. Pen Y Bryn Road has a slight Celtic feel but may have more in common with a band like the Pogues without the Irish accent on the vocals. New Morning Sky is a modern love song that treads the land of Jackson Browne. The music is easy to listen to filled with excellent arrangements, a bit of soul and country mixed with pop. Miz is a blend of sounds that bring back the golden era of music for most baby boomer’s. Those magical years of the sixties to the early seventies when music made a dramatic change in direction this is the backdrop that MIZ pens his odes to. The days when the Rolling Stones dabbled in country, when music was played by musicians. A time when artist might play three or four different styles of music on their record.

Waste of Time is country rocker much in the vein of Nitty Gritty Dirt Band and MIZ pulls it off effortlessly switching direction without notice and taking us down a path we remember from long ago. There are folk rock songs, singer songwriters odes, there are country rockers and sappy pop and its all MIZ. Reach out right now and play Heels of the Day, New Morning Sky, Waste of Time all are new classics for today. If you like Gov’t Mule, Greg Allman, Jackson Browne, The Pogues you’ll most like enjoy the sounds of MIZ New Hope Ave CD.

Filed under Uncategorized and tagged Celtic, Country Rock, Folk, The Band, Jackson Browne, songwriter, Irish, Pogues | Leave a comment

October Skies

Fri, 27 Jan 2012 15:50:00 GMT

I used to work as a valet at an upperclass hotel in York Pennsylvania. It was one of the many jobs I worked while living in York and trying to get my life together….it's the only one I stuck with and the only job I ever worked at for longer than a year. When the winter months would come, things would slow down a bit and the job became pretty laid back. We were actually allowed to read while on the clock, and sometimes I even used to bring my guitar and sneak in some practicing. Our little valet both had a one way mirror in it, so I could see cars pulling in (or if anyone from staff was coming) but they couldn't see me. I got hooked on a few books while working there, one was Anthony Kiedis 'Scar Tissue'…love that book, read it twice. Another book that a friend gave me was Hazrat Inayat Khan "The Music of Life". A very, very profound read. One day while I was walking through the upstairs of the Martin Library on East Market Street, I saw a book called- October Sky sitting on a special 'featured' stand in the non fiction section. I immediately felt drawn to read it for no particular reason whatsoever.. I didn't even know what it was about. Over the next month or so I read the story of Homer Hickman and his struggles between following his intuition to do what inspired him (build rockets, work for NASA), or to listen to what everyone else (teachers, authority, the collective conciseness of the town where he lived) thought he should do (which back in those days, in that part of West Virginia, was to work in the coal mines) and I somehow related. I started fiddling around on the Takamine acoustic guitar that I was playing at the time, and came up with the basic idea for the song 'Octobers Skies'. As with most of my songs, the lyrics where penned with a mostly 'stream of consciousness' style of writing. Most of the time I will write a song and then months or even years will pass before it will finally dawn upon me what the true meaning behind the song actually is. It started as a very slow song, I rarely played it, and it stayed that way for quite some time. You can hear the slow version at www.archive.org from the live WVIA sessions at Sordoni Theater on 10/11/10 (when I pulled it out of hibernation) done three piece with Kris Kehr on baritone mandolin and Freeman White on piano. One day during band practice at the house I lived in on Pen Y Bryn Drive, we decided to see what the song felt like with the tempo sped up a bit. It was Freeman White, AJ Jump, Kris Kehr, Bill Stetz, and myself (a particularly good line up of musicians indeed!) and we decided to have Kris kick off the tune with harmonica. I never thought the song was going to end up on East Hope Avenue, let alone, be the opening track, but when the whole band kicked in with Kris's harmonica screaming and moaning, something just felt good. It felt great. We decided to get into the studio and get it recorded asap. I give huge props to the musicians at the practice that day and their enormous contribution to this song for letting it grow into the (feel good, windows down, sunny day, opening track of the album) song we know it to be today. And also to Bret Alexander for getting a fantastic sounding version worked out in the studio. When I think of the opening lines: "When the sunlight in the morning, glistens off the snow, and the faces loose their sparkle, like the friends I used to know. When the chilly winds of winter surround your every thought, and the daylight is so blinding and my mind is all distraught." it always takes me back a few years prior when I was living in a halfway house in Lititz PA. We had a huge snowstorm that left over a foot of snow behind, and the morning it all ended and the sun came out, I remember looking out the window at the blinding sun reflecting off the glazed layer of ice on top of the fresh snowfall. I remember being still enough to appreciate its beauty for a minute but feeling irritated that I was stuck inside this house, not allowed to leave at that particular point, and frustrated at myself for ending up in the situation I was in. "I can feel the tires sliding" is like a metaphor for the way I felt inside at times when: 'I - the consciousness that I am' is observing- 'myself-or my thinking brain/ego' doing something hurtful to myself or others around me and can't seem to make myself stop. Kind of like being in a car thats sliding on a patch of ice headed straight into a ditch and not being able to do anything about it. I have used this phrase more than once in songs…another reference is in 'Casket'. The chorus to the song is about being attracted to someone so much that it's sometimes painful (kind of like the way Homer H. felt in the book about a particular girl named Dorothy that he had his eyes on)… and how I never had much patience or willingness to nurture relationships in my life…especially close ones….and sometimes I would "burn right up to nothing, till on my knees I crawl.." I always liked the line "When the chalk hits the blackboard, is when you know the summers gone" and was really glad when Dennis McNally took a liking to that line too, and even mentioned it in our press release. "When the wind changes direction, thin ice coats the pond. I used to think of walking on it, just to see if it would hold, but I've been on thin ice my whole life, and he water is just too cold." When I penned this line I must have been thinking about Paupackan Lake in Lakeville PA, a place where I spent a good portion of my childhood and a lake that was right outside the front door of my house during that time. I have definitely walked out onto thin ice on many occasions…literally and metaphorically speaking. "I can see the distant rubble from the pinholes in my eyes, like reflections off the water of stormy summer skies" is one of my favorite lines of the song and I know any person who has a similar history as I can relate. In the book, the girl who Homer was in love with was named Dorothy. He never ends up with her in the end. My Grandma's name was Dorothy and she loved me to death. Growing up, every time I would leave her house she would say " let me see that smile!"..and make me give her a big smile. This became her little ritual, and thats what I am referencing in the song. She helped me believe in myself and encouraged me to play music. My dad asked me to join his band - which was named 'Uncle Jiggs Band' (after the groups backbeat and legendary local drummer Jiggs Shorten who actually played in a band with Noel Reading of the Jimi Hendrix Experience at one point. Rest in peace Uncle Jiggs..) when I was 16 and we practiced in Grandma's basement in Moosic PA. Sadly, we lost Dorothy Mizwinski to cancer in the summer of 2002. The last part of the song ties in the grand meaning behind it all. "Keep on shooting for the stars or you'll end up in the mines, and you'll never see the daylight or the emeralds in her eyes. Keep on shooting for the stars or you'll end up in the mines, and you'll never see the daylight.. or the cool October Skies". Homer eventually ended up working for NASA and its a classic heart warmer ending, for the most part. I grew up in Northeast Pennsylvania, a region well known for it's coal mining heritage. I think of it as a little mantra to keep my head above ground and continue to do what inspires me, whatever that may be. -Mike (from an airplane well above the Atlantic Ocean headed to Berlin, Germany. 1/16/12)

Live at the Berlin Wall...

Wed, 25 Jan 2012 11:19:01 GMT

The most meaningful five minutes of my Trip to Germany:

http://www.youtube.com/watch?v=0nau0485uRE

German Tour Poster

Sat, 21 Jan 2012 04:41:33 GMT

MiZ is nominated for INDIE ACOUSTIC ROCK BAND / ARTIST OF THE YEAR !! Please vote for us!

Thu, 01 Dec 2011 11:45:00 GMT

You can vote once a day, please help us out if you can :)

VOTE HERE

The Thanksgiving Eve show goes on!

Wed, 16 Nov 2011 03:13:59 GMT

November 14, 2011 FOR IMMEDIATE RELEASE (Wilkes-Barre, PA) Wyoming Valley bands MiZ and The Badlees have cancelled an upcoming performance scheduled for November 23, 2011 at Downtown Arts Theater in Wilkes-Barre, PA, out of concern for the event’s sponsorship by Chesapeake Energy. The artists have rebooked the show directly with the venue as a means of avoiding any association with the energy company. The Thanksgiving Eve show was originally a benefit concert promoted byRiverCommon.org—an organization that is leading the effort to connect metropolitan Wilkes-Barre with the Susquehanna River and developing the River Common Park into a premier destination for recreation, entertainment, education and enrichment. It was promoted as a “low dough” performance, in which the artists agreed to perform for a ticket price lower than what they generally charge, so as to make it affordable for all. Proceeds from the show were to benefit River Common. RiverCommon.org was able to produce the event and offer the performance fees for MiZ and The Badlees—while keeping the ticket price low—through the use of grants and sponsorship monies, but when fans of the artists discovered that one of the sponsors of the event was Chesapeake Energy, they began to raise objections in public forums such as facebook. “When people started messaging me saying they were really disappointed that I—an outspoken opponent of Chesapeake Energy’s fracking business and all of the health and environmental problems it causes—would be performing an event sponsored by them, and ultimately even possibly taking money from them through RiverCommon.org, I had to do something,” said Mike Mizwinski. “I had no idea they were a sponsor for the show, and that simply doesn’t work for me. As much as I want to play for my fans and benefit River Common, and as much as I need the income this show guaranteed me, I couldn’t be a hypocrite like that. I told my agent to cancel the date.” The Badlees felt the same way. “We understand that River Common has to take the sponsorship money from corporate polluters to continue to do their good work. We know this goes on everywhere, and that it is a tough reality for the non-profits who depend on the philanthropic giving that corporations use to put positive spin on their dirty work to improve public relations, but this struck too close to home,” said Bret Alexander, on behalf of his band The Badlees. “We all wish that River Common could be fully supported by the public who benefits from its work, but times are tough and River Common has to do what they have to do, but we do not need to participate in Chesapeake Energy’s public relations.” Fortunately, MiZ’s agent and advisor Tom Baggott came up with a solution: cancel the show promoted by River Common using Chesapeake Energy’s money, then reschedule the show—at the same place and time—but have the artists promote it themselves with their own money and make it a benefit forRiverCommon.org. “We can do this,” said MiZ, “sure, it is a risk and we may lose a little dough—particularly as it has already been promoted as a $5 show—but sometimes you have to just do the right thing.” The show must go on, as they say. In this case, it will, thanks to a group of artists taking a principled stand on the issue of Chesapeake Energy’s natural gas business, while maintaining their support for River Common. MiZ and The Badlees ask that you come and support them and River Common at 7pm on November 23 at Downtown Arts Theater (47 North Franklin Street, Wilkes-Barre). Tickets are still $5, but they are hoping you will make an additional donation to support the effort.

Grateful Web..

Tue, 11 Oct 2011 00:46:51 GMT

http://www.gratefulweb.com/articles/mike-mizwinski-east-hope-avenue

GARTH HUDSON of THE BAND will be sitting in with us tomorrow at our CD release party!

Fri, 30 Sep 2011 20:46:10 GMT

http://www.facebook.com/event.php?eid=191288704262097

We made the cover of the Weekender!

Fri, 30 Sep 2011 20:43:56 GMT

Check it out at: http://www.theweekender.com/cover/Playing_in_the_band_09-27-2011.html

opening for Bob Dylan

Tue, 20 Sep 2011 10:16:49 GMT

was a blast! here is a nice recording of the show by Keith Litzenburger...

Here is the link of the show.

http://www.archive.org/details/MiZ2011-08-10.wklitz.schoeps.sbd.flac16