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From: nge1_ss@uhura.cc.rochester.edu (Nate Geryk)
Subject: 7/28 finger lakes
Date: Wed, 29 Jul 92 22:06:39 GMT

A few comments...
Sorry but can't remember the exact set list, although it didn't really
since whatever they played would've been incredible. Sitting way back
up on the lawn I thought the acoustics were really great. 
Phish played for about 40 mins. starting a little early. A partial set
list
=Opened up with Chalkdust, then somewhere in the middle a fast country
tune
in which the name escapes my mind... then an insane tweezer, the best i've
ever heard in person, trey's solos were comming from another galaxy.
By the time Runnaway Jim was played, the whole place was upside down.
...Santana played about 2.5 hours with trey,page and mike(I couldn't tell
if phishman was up there or not) on for a half hour jamming with the band.
Trey and Carlos traded guitar rift and rift, incredible! that had to be
the highlight.
In all, it was the best $17 dollars spent since the HORDE concert.

It would be great if someone posted a complete setlist.

-nate g.


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From: Alan Sodoma 
Subject: Re: 7/28 finger lakes
Reply-To: ajs@jloda.cci.com
Date: Thu, 30 Jul 1992 21:30:33 GMT


Well, we ended up getting to the Finger Lakes Performing Arts Center
about 15 minutes before 8, but much to our dismay, Phish was already
playing at a couple minutes before 8 as we made our way to the Center.
When I got within hearing distance, it sounded like the end to Foam
(which was later confirmed by Catfish and Jens).  From there they
went into Bouncing Around the Room, which is when I was handing over
my ticket to get ripped in half.  Right after Bouncing came a real   n
nice Uncle Pen which had well over half the crowd dancing up a storm.
Next came a fine Tweezer.  I can't remember is anything was between that
and a really long and jamming Runaway Jim.  It was definitely the longest
one I've ever heard, and was a nice prelude to what would occur later 
during the Santana set.
Oops, I forgot that Squirming Coil was in there too.  

So as far as I can remember, the set went like this:

Chalkdust Torture    (courtesy of Nate)
Foam                 (courtesy of Catfish and Jens)
Bouncing Around the Room
Uncle Pen
Squirming Coil
Tweezer
Runaway Jim

But, I could be wrong! 


 
Then about midway into the Santana set, Carlos brings out the guys
from Phish.  Yes, Fishman was up there for awhile, playing a single
drum with one of those weird sticks that is kinda bent.  They started
off playing Exodus by Marley and went on with some intense jamming for
about 30 minutes.  It was definitley the highlight of the show and
possibly of the whole summer so far.  I couldn't stop smiling and
Catfish looked over to me, pointed to the crowd and exclaimed 'How
the hell can those people sit through this?!'  Granted, there were
plenty of people up and having fun, but there were many who looked
like they just lost their favorite dog.
As many people have already stated, 40 to 50 minutes is definitely
not long enough.  Being used to the full show, when Trey started
to take his guitar off, I just couldn't believe that they were done
already.  But, that jam with Santana made me forget all about the 
shortness of their set.  :-)
As other people have also said, 'Don't miss this show!'.
Here's the review from the paper:



Here's the review from the 7/30/92 Democrat and Chronicle newspaper.
Used without permission, of course.  Sorry Jack.  :-)


Santana of 1992 shows it still has the energy of the '60's

By Jack Garner
==============
Democrat and Chronicle critic


   Concertgoers at the Finger Lakes Performing Arts Center in Canandaigua
Tuesday night were treated to a generous and passionate performance from
guitarist Carlos Santana and the latest edition of his Latin-rock band.

   The 45-year-old Santana demonstrated that he has been refreshed by a
high-quality album on a new label and impassioned by the recent deaths of
two highly influential people -- his manager, Bill Graham, and a musical
inspiration, Miles Davis.

   The 1992 Carlos Santana is at the peak of his considerable powers as an
instrumentalist, as a stage performer, and as the leader of a Latin, blues
and rock musical hybrid that remains as innovative and entertaining in the
'90s as it was when it burst upon California's Bay Area in the mid-'60s.

   Before some 5,000 people ona cool, lovely night, Santana performed for
some 2 1/2 hours, playing both classic material and new songs with equal
verve and artful intelligence.  The tight and enthusiastic band's current
line-up includes veterans Chester Thompson on keyboards, Alex Ligertwood
on vocals, and Raul Rekow on congas;  and relative newcomers Benny
Rietveld
on bass, Walfredo Reyes on drums, and the explosive Karl Perazzo on
timbales and other percussion.

   The band's leader and master guitarist also showed that he welcomes a
challenge, inviting members of opening act Phish to join the Santana band
on stage for a marvelous half-hour jam that included an extended version
of Bob Marley's 'Exodus'.  Highlights included call-and-response licks
between Santana and Phish guitarist Trey Anastasio, and a sequence of
keyboard solos by Phish's Page McConnell and Santana's Thompson.

   Phish is an up-and-coming alternative-rock quartet with musical links
to the Grateful Dead.  It became obvious in their impressive 45-minute
opening set that they attracted large numbers of fans themselves.  Many
people danced, free-spiritedly, on the grassy hill and in the aisles
during the set, a rare sight for an opening performance.  And later, when
Phish joined Santana, it was an inspired musical meeting of generations.

  The jam followed the first hour of Santana's long set, in which the band
performed aggressive and inventive versions of both new material,
including 'Life Is For Living' and 'Free All the People', as well as the
band's most famous three-song movement, 'Black Magic Woman', 'Gypsy
Woman' and 'Oye Como Va', the magnificent trio of tunes that first put
Latin rock on the charts.

  After the Phish jam, Santana continued with 'Spirits Dancing',
'Somewhere
in Heaven' and their hit remake of the Zombies' 'She's Not There' before
concluding the set with 'Toussaint L'Overture'.  The Santana septet
returned for an also-generous encore sequence that included 'Soul
Sacrifice', 'Europa' and 'Jingo'.

  Throughout the set, Carlos Santana provided plenty of space for his
band's talented musicians and singers, often spurring them on to more
exuberant performances.

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From: jojw@uhura.cc.rochester.edu (John J. Wood)
Crossposted-To: rec.music.gdead
Subject: 7/28/92 - Santana & Phish @ FLPAC net.rap (no Dead content)
Date: 30 Jul 92 23:00:54 GMT

7/28/92 - Santana & Phish
Finger Lakes Performing Arts Center, Canandaigua, NY
====================================================

        It was ironic that I found that I would be catching Santana 
and Phish both for a fourth time.  Yet, the results have varied,
part of them due to a blurred deception on the latter.  Santana
had yet to disappoint me in three outings, including a memorable
birthday show at Syracuse's Longbranch Park in 1987.  Phish, though,
had been another matter.  While I had grown accustomed to what I
then considered "decent" chops, I was clouded by their music's
influences and Frank Zappa reminders.

        Tuesday night was the slap in the face I needed, as the
two unites joined forces to produce my favorite concert of this
year so far -- period.

        My meager Phish tape collection had grown to 8, but it
was obvious I needed a live setting.  I was still unfamiliar
with a portion of the material -- I mistook the ripping Chalkdust
Torture opener as Foam.:-}  Still, the remainder of the set was
the type that proceded to shred my recent (and stupid) opinions
on Phish, and put me aboard a new bus.  A playful Bouncing Around
The Room was complemented with a fun take of Uncle Penn.  The
jam out of Tweezer was impressive; twisted and swirling, yet
focused the entire time.  My appreciating for the talents of
Trey Anestatio and especially Page McConnell grew every minute.
By the time the driving Runaway Jim concluded the set, I still wanted
more, despite 7 songs at 40 minutes.  In four shows, I've seen
Phish grow from the small Ithaca club, the Haunt, to the Finger
Lakes Performing Arts Center, and their set was indeed impressive.

        Phish would also provide a factor in Santana's set, but
Carlos Santana was truly in impeccible form Tuesday night, offering
relentless clusters of soloes that whistled in the cool Canandaigua
air, while generously leaving room for keyboardist Chester Thompson
and company to fill the remaining registers.  Truly touching was
the Bill Graham recorded intro (from Carlos' latest MILAGRO), but
there was something truly spiritual in Santana's performance.  The
only flaw in the show was vocalist Alex Ligertwood and the softness
of some of the MILAGRO material, but Carlos' soloes and the band's
rich tightness more than compensated.  They could have played Barry
Manilow's "I Write The Songs" or Herman's Hermits "Henry the VIII"
and made it work.  The first 45 minutes or so also offered fresh
readings of the Black Magic Woman->Gypsy Queen->Oye Como Va trilogy.
As fellow nethead Al Sodoma pointed out in rec.music.phish, I was
not only wondering why the FLPAC attempted to endorse a seating
rule, but why one section remained *seated* throughout the entire
evening.  Me, I danced my face off...

        When Carlos invited Phish to sit in, though, the result was
the hottest musical moment I've had this summer, if not this year.
More surprising was the first notes of a stunning Exodus where the
*only* thing missing was Bob Marley himself:  chances are, he smiled
warmly.  Immediately, Carlos gave Trey the opportunity to lead the 
jams, at one point, egging him to the front of the stage, where
Trey responded with a beautiful series of notes for Carlos to build
on.  The call-and-response was relentless, and every musician was
jamming with a vengeance.  The blues jam that followed also featured
Jon Fishman on hand-held drums, and more of Trey and Carlos' guitar
conversations.  Bill Andrejko nailed it in his SPAC review:  the 
passing of the torch from one generation to another, but such was
the immense level of interplay that the Vermont Quartet deserved
the honor.  At this point, all the gripes and insipid comments about
Phish became two large feet, which drove themseves *deep* into my
big phucking mouth! Shit...I'm hooked.:-)

        There was even more:  a version of The Healer that made the
Darien Lake 1990 workout look like a wretched bar band cover.  The
one musician that shines most was Page McConnell, whose keyboard work
was nothing short of phenomenal; his piano relishes spry and energetic,
every note detrimental to its cause.  While Chester Thompson replied
with some riveting organ rushes, Page's raw talent and drive left
me stunningly impressed.  The next time I see Phish, I'll be *really*
psyched to listen to Page, a refreshingly original player.

        After a half-hour of stunning magic, Carlos and Trey exchanged
in a warm hug, bonding the newfound kindredship and respect of all
musicians.  Phish is hitting the big-time, and in terms of talent,
the quartet has many, many great things ahead. 

        What was even more amazing that Carlos and company maintained
that torrid pace *the rest of the show*.  Even a ballad like Somewhere
In Heaven exploded with energy and invention, Carlos Santana's form
stunning and spiritual.  The Zombies' She's Not There was a barnburner,
as was the rest of the show, right down to the great encore featuring
a powerhouse Soul Sacrifice, and the typical set-closer Jingo, all
fresh, relentless and danceable.  After 2 hours and 25 minutes of
impeccible quality, I was sated like I witnessed a complete Dark Star
meltdown...and then some.  How hard did I dance:  the next day,
my right knee was sore to the point I was limping.  Yet, this was
a beautiful kind of pain, and a reminder of the saturation given.

        I would like to apologize to all Phishheads whom I may have
offended last two years with my negative and obviously pathetic comments
about Phish.  You are more than welcome to give me sh*t for my stupidity,
as the slap in the face I received shut me up.  *Every* musician in
both units royally kicked my ass Tuesday night, and I loved every
luscious second of it; I now look forward to one hell of a ride
on the Phish bus, one that clearly filled with potential and memories.

        As for Carlos Santana, the man is one spirit who will always
shine, no matter where he goes.  He is the type of player and human
being who belongs under the definition of musician.  Even with all
of his remarkable talent and gift, it is his soul that shines the
most, and that soul gave more than generously.  When the day comes
when he has passed, there will always be a door open in Heaven, complete
with a maitre'd named Bill Graham holding it for him.

        Thank you, Santana and Phish, for one of the most memorable
evenings I've had this year.

        

*-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=*
| John J. Wood
jojw@uhura.cc.rochester.edu  |
*-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=*
| "You can't let go, 'cause you're afraid to fall,
|
|  And the day may come, when you can feel it all..."
|
*-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=*

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