Jazz is Dead–The legacy All-Star instrumental ensemble, famous for interpretations of classic Grateful Dead songs with jazz influences, (re)assembled a killer line-up in January, to immense critical and fan acclaim, and box office success. To celebrate its 25thAnniversary, original bassist Alphonso Johnson joined by Steve Kimock, Pete Lavezzoli & Bobby Lee Rodgers, performing Grateful Dead’s ‘Wake of The Flood’s’50thAnniversary, in addition to other beloved selections. Reuniting Steve Kimock & Alphonso Johnson, who together, in heavyweight post-Garcia Grateful Dead off-shoot The Other Ones along with Bob Weir, commanded the instrumental prowess of that band. Formed in 1998 by bassist Alphonso Johnson (Weather Report, Santana, Bobby & The Midnites, The Other Ones),drummer Billy Cobham (Miles Davis, Mahavishnu Orchestra, Bobby & The Midnites), keyboardist T Lavitz (Dixie Dregs) &guitarist Jimmy Herring (Aquarium Rescue Unit, Widespread Panic), with drummers Rod Morgenstern (Dixie Dregs) &Jeff Sipe (Leftover Salmon) replacing Cobham in 1999, and guitarist Jeff Pevar (CSN, David Crosby CPR, Phil Lesh &Friends) replacing Herring in 2000, recorded 3 acclaimed albums, the second of which ‘Laughing Water’ in 1999 was in fact an instrumental ‘Wake of The Flood’ reinterpretation-so there is precedent. That album also featured Derek Trucks, Donna Jean Godchaux & Vassar Clements. On Laughing Water, the fusion ensemble Jazz Is Dead one-ups the band that it sets out to honor. Laughing Water is a superior remake of the Grateful Dead's rather ordinary rock album Wake of the Flood. Fortunately, you don't have to be a Deadhead to appreciate this album. Laughing Water not only fuses jam-rock with jazz, but it possesses a country-bluesy Americana flavor. The songs on Laughing Water are long and improvisational, but they seldom grow boring. From a purely technical standpoint, each musician in Jazz Is Dead is a superior player to his counterpart in the Grateful Dead. But unlike many pop-jazz remakes of rock albums, Laughing Water manages to capture the rock 'n roll animus of the original. The communal carefree spirit of tie-died counter culturalism lives on in this music. Not only should Dead heads come away happy, but fusion freaks and a ficionados of improvisational rock should, too.–Ed Kopp, All About Jazz 1999.
