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This feature was first published in the August 2002 issue of Bassist review.

Bassist Phil Lesh’s offbeat meanderings were crucial to the Grateful Dead’s sound, so it’s no surprise that after disbanding in 1995 following the death of Jerry Garcia, Lesh maintained the band’s adventurous spirit through his project solo, Phil Lesh and Friends.

“As a group, we are riding a current through the sea of ​​chaos,” Lesh said in the August 2002 issue of Bassist. “Sometimes we find little swirls of order that pull us in and spit us out. Eventually we find an island, a song, and we “land” so to speak and inhabit that island for a while.

“Then we head back into the current and find the road that takes us to the next island. The series of islands tells a story in a certain way.

Back and forththe quintet’s 2002 studio effort, deployed originals written primarily by Lesh or guitarist Warren Haynes with contributions from Dead lyricist Robert Hunter. “I continue in the directions I established in Grateful Dead, but I have never been satisfied with my work in the studio.

“I wanted to know what we could do. And I have to say, this band has exceeded my wildest dreams with what we can do in the studio.

Later shows were reminiscent of the Dead’s early years, when sets were looser and more likely to dissolve into open, harmonically shifting jams. Lesh, Haynes and keyboardist Rob Barraco recreated the Dead’s vocal harmony sound, much to the delight of the band’s fans.

Lesh only played one low on stage: 6-string Modulus sound with EMG microphones and 3-band equalizer. “I’ve really changed the approach to my sound, so I now use a less active EQ on the instrument, and instead of boosting certain frequencies, I cut others. I find you get a more consistent sound when you don’t boost.

An X-Wire wireless system transmitted its signal to a CAE Sound distribution system, allowing technician Robbie Taylor to send the signal anywhere on stage. Rob Barraco had a SWR redhead combo which served as a monitor, so he could hear as much Lesh as he needed without relying on a monitor mixer.

An Eden WT-800 head sent a post-preamp signal to a Meyer Sound CP-10 EQ, which split Lesh’s signal. The treble went to two Meyer Sound UPA-IP 1x12s and the bass to two Meyer 750-PL 2x18s. The Meyer speakers were powered – Lesh didn’t use the Eden’s power amp. A direct pre-Eden signal was sent to the house PA.

Lesh considered the tour the beginning of Lesh & Friends. “I had so much fun doing Back and forthI can’t wait to gather enough material so we have an excuse to get back into the studio!