http://blogs.myspace.com/index.cfm?fuseaction=blog...

Μάνου Τσάο

Ο Μάνου Τσάο
Πραγματικό όνομα     José-Manuel Thomas Arthur Chao
Γέννηση     21 Ιουνίου 1961
Παρίσι, Γαλλία Country flag
Εθνικότητα     Country flag Ισπανική
Είδος Τέχνης     Τραγούδι

Ο Μάνου Τσάο (ισπαν. Manu Chao, γενν. 1961) είναι ένας, γεννημένος στη Γαλλία, τραγουδιστής, με ισπανική (γαλικική και βάσκικη) καταγωγή. Τραγουδά στα Γαλλικά, στα Ισπανικά, στα Αραβικά, στα Γαλικικά και στα Αγγλικά.

Πίνακας περιεχομένων

    * 1 Βιογραφία
    * 2 Καριέρα
          o 2.1 Μάνο Νέγκρα (Mano Negra)
          o 2.2 Σόλο καριέρα με το Ράδιο Μπέμπα (Radio Bemba)
    * 3 Θέματα της μουσικής του και πολιτικοποίηση
    * 4 Προσωπική δισκογραφία
          o 4.1 Studio Albums
          o 4.2 Live album
          o 4.3 DVD
          o 4.4 Singles
    * 5 Υποσημειώσεις
    * 6 Εξωτερικές Συνδέσεις



Βιογραφία

Η μητέρα του Τσάο ήταν Ισπανίδα από το Μπιλμπάο, στη χώρα των Βάσκων στη Βόρεια Ισπανία. Ο πατέρας του, ο συγγραφέας και ο δημοσιογράφος Ραμόν Τσάο, ήταν Γαλικιανός, από την Βιλάλμπα. Μετακόμισαν στο Παρίσι εξ αιτίας της δικτατορίας του Φρανθίσκο Φράνκο, η οποία διάρκεσε μέχρι το θάνατο του δικτάτορα το 1975. Σύντομα μετά τη γέννηση το Μάνου, η οικογένεια Τσάο μετακόμισε στα απομακρυσμένα προάστια του Παρισιού, και ο Μάνου πέρασε το μεγαλύτερο μέρος της παιδικής ηλικίας του στη Βουλώνη και στις Σέβρες. Καθώς μεγάλωνε συναναστρεφόταν με καλλιτέχνες και διανοούμενους, οι περισσότεροι από τους οποίους ήταν γνωστοί του πατέρα του, με μια ευρεία πολυπολιτισμική ποικιλομορφία που επηρέασε την προσωπικότητά του σε μεγάλο βαθμό. Μεγάλωσε με τις ιδέες της κοινωνικής ισότητας και με μια δίψα για την ποικιλομορφία, που παρουσιάζεται κατά ένα μεγάλο μέρος στο μίγμα του ευδιάκριτου και χωρίς όρια εξωτικού ήχου στη μουσική του.




Καριέρα
Μάνο Νέγκρα (Mano Negra)

Επηρεασμένος από τη Βρετανική πανκ, και ιδιαίτερα από τους The Clash, ο Τσάο μαζί με άλλους μουσικούς δημιούργησε στα μέσα της δεκαετίας του 1980, το ισπανο-αγγλόφωνο ροκαμπίλυ συγκρότημα Hot Pants. Το συγκρότημα κυκλοφόρησε ένα ντέμο με τον τίτλο Mala Vida το 1984, που κέρδισε λίγη προσοχή. Ώσπου να κυκλοφορήσουν το πρώτο τους album το 1986, η εναλλακτική σκηνή του Παρισίου είχε ξεφτύσει, και ο Μάνου, ο αδελφός του Αντουάν, και φίλοι του έφτιαξαν τους Los Carayos αλλάζοντας λίγο τον ήχο τους. Οι Los Carayos ήταν πάντα στα δεύτερα πλάνα του Μάνου Τσάο και κυκλοφόρησαν συνολικά 3 albums.

Το 1987, οι αδελφοί Τσάο και ο ξάδελφός τους Σαντιάγο Κασαριέγκο, ίδρυσαν τους Μάνο Νέγκρα. Με μια μικρή εταιρία αρχικά, το συγκρότημα κυκλοφόρησε μια νέα έκδοση του Mala Vida, που έγινε γρήγορα επιτυχία στη Γαλλία. Σύντομα μετακινήθηκαν προς τη Virgin, και το πρώτο τους album Patchanka κυκλοφόρησε το επόμενο έτος. Αν και το συγκρότημα δεν κέρδισε ποτέ μια βάση στην Αγγλική αγορά, η αύξηση της δημοτικότητάς του στον υπόλοιπο κόσμο, ακολούθησε σύντομα, Φτάνοντας στη θέση #5 σε Ολλανδία, Ιταλία και Γερμανία. Από το 1992 το συγκρότημα κέρδισε φήμη στη Νότια Αμερική, με την περιοδεία του Cargo.

Ρωγμές άρχισαν να αυξάνονται μεταξύ των μελών του συγκροτήματος, κατά τη διάρκεια εκείνης της περιοδείας, και στα τέλη του 1994, πολλοί άφησαν το συγκρότημα. Την επόμενη χρονιά οι Μάνο Νέγκρα κυκλοφόρησαν το τελευταίο τους album, Casa Babylon, ο Μάνου Τσάο μετακίνησε την έδρα του συγκροτήματος στη Μαδρίτη, αλλά οι νομικές διαμάχες με τα προηγούμενα μέλη οδήγησαν Τσάο για να διαλύσει τους Μάνο Νέγκρα το 1995.

Ο ήχος των Μάνο Νέγκρα χαρακτηρίζεται συνήθως από τους ζωηρούς ρυθμούς που μεταδίδουν μια δονούμενη ενέργεια, κάτι που φαίνεται από τον τίτλο του πρώτου album, "Patchanka" (πάρτυ), και από μια ευδιάκριτη ανεπισημότητα που επιτρέπει στο ακροατήριο για να αναμιχθεί και να αισθανθεί κοντά στον ήχο τους. Η μίξη ειδών μουσικής είναι παρούσα σε όλες τους τις δουλειές και μπορεί γενικά να χαρακτηριστεί ως ένα ιδιαίτερης καινοτόμου φύσης, φολκ πανκ ροκ με στοιχεία ρέγκε.



Σόλο καριέρα με το Ράδιο Μπέμπα (Radio Bemba)

Αφού πήγε στη Μαδρίτη, ο Τσάο και άλλα μέλη από τους Μάνο Νέγκρα διαμόρφωσαν ένα νέο γκρούπ, που το ονόμασαν Radio Bemba Sound System (από το σύστημα επικοινωνιών που χρησιμοποιoύταν στην Sierra Maestra, από τον Φιντέλ Κάστρεο και τον Τσε Γκεβάρα κατά την Κουβανική επανάσταση), που συμπεριλάμβανε καλλιτέχνες από το Μεξικό, τη Βραζιλία και την Αργεντινή. Το αποτέλεσμα ήταν η μουσική να διαφέρει ουσιαστικά από αυτή των Μάνο Νεγκρα και να χρησιμοποιεί κυρίως ισπανικούς στίχους (και λιγότερο γαλλικούς). Το 1998 ο Μάνου Τσάο κυκλοφόρησε το Clandestino που περιείχε επιτυχείες όπως τα Clandestino και Bongo Bong, και το 1999 κέρδισε ένα βραβείο Victoires de la Musique. Το [[2001] κυκλοφόρησε το Próxima Estación: Esperanza το οποίο είχε μεγάλη επιτυχία. Ένα ζωντανό album το Radio Bemba Sound System, κυκλοφόρησε την επόμενη χρονιά. Δύο χρόνια αργότερα, ο Τσάο επέστρεψε στις γαλλικές ρίζες του με το Sibérie m'était contée.

Το τελευταίο album του, το La Radiolina κυκλοφόρησε στις 4 Σεπτεμβρίου του 2007. Αυτή θα είναι η πρώτη διεθνής κυκλοφορία από το Próxima Estación: Esperanza του 2001. Το Rainin in Paradise, πρώτο single από το album, κάνει μια έντονη κριτική στην κατάσταση που επικρατεί σε διάφορα μέρη του κόσμου σήμερα, καθώς και στην κυβέρνηση του Τζωρτζ Μπούς σχετικά με την επέμβαση των ΗΠΑ στο Ιράκ[1].

Θέματα της μουσικής του και πολιτικοποίηση

Πολλοί από τους στίχους του Μάνου Τσάο, μιλούν για την αγάπη, για την ζωή στα γκέτο, τη μετανάστευση, και φέρνουν συχνά ένα αριστερό μήνυμα. Αυτό απεικονίζει τις πολιτικές του θέσεις (η υποστήριξη του για το κίνημα των Ζαπατίστας είναι φανερή στο Radio Bemba Sound System). Ο Τσάο είναι ανοιχτά επικριτικός προς την κυβέρνηση του Μπους, και έχει πολλούς οπαδούς μεταξύ της ευρωπαϊκής αριστεράς και του κινήματος της αντιπαγκοσμιοποίησης.



Προσωπική δισκογραφία
Το εξώφυλλο του νέου single Rainin In Paradize

Studio Albums

    * Clandestino (Virgin – 1998)
    * Próxima Estación: Esperanza (Virgin – 2001)
    * Sibérie m'était contéee (Virgin – 2004)
    * La Radiolina (2007)

Live album

    * Radio Bemba Sound System (live album) (Virgin – 2002)

DVD

    * Babylonia en Guagua (2002)

Singles

    * Bongo Bong (1999)
    * Clandestino (2000)
    * Merry Blues (2001)
    * Me Gustas Tú (2001)
    * Mr. Bobby (2002)
    * Rainin In Paradize (2007)

Back: Jason Hann, Michael Travis, Bill Nershi, Keith Moseley
Front: Kyle Hollingsworth, Michael Kang
Origin     Boulder, Colorado, United States
Genre(s) jam band,  Progressive bluegrass, country,  neo-psychedelia
Years active     1993 – 2007
Website     www.stringcheeseincident.com
Members
Bill Nershi
Michael Kang
Michael Travis
Keith Moseley
Kyle Hollingsworth
Jason Hann (2006 - 2007)


Jam band


Stylistic origins     
Folk rock, blues-rock, jazz fusion, acid rock, psychedelic rock, southern rock, country rock, bluegrass, free jazz
Cultural origins     
1960s in the United States
Typical instruments     
Guitar - Bass - drums - Keyboard
Mainstream popularity     Beginning to peak in the late 1990s subsequent to the rising popularity, underground prior to this with some mainstream hits within other genres. Also very popular in festivals.
Fusion genres
Livetronica
Regional scenes
Denver - San Francisco Bay Area - Tampa/Orlando/Tallahassee, Florida - Southern California - Austin, Texas - Burlington, Vermont - Athens, Georgia - New York, New York

Jam bands (or jambands) are musical groups whose albums and live performances relate to a fan culture that originated with the 1960s group Grateful Dead and continued in the 1990s with Phish and similar bands. The performances of these bands often feature extended musical improvisation ("jams") over rhythmic grooves and chord patterns and long sets of music that cross genre boundaries.[1]

While the seminal group Grateful Dead were originally categorized as psychedelic rock,[2] by the 1990s, the term "jam band" was used for groups playing a variety of genres, including those outside of rock such as funk, progressive bluegrass, and jazz fusion. The term is also used for some groups playing blues, country music, folk music, world music, and electronica.[1] Phish are considered "the king of jam bands," musically, popularly, and skill-wise. It was Phish-not the Grateful Dead- who spawned the emergence of myriads of jam bands in the late 1990's to early 21st century.[3]

* 1 History
Origin and definition

The first known use of the term "jam band" was in 1937 in a glossary of terms stating "a 'jam band' depends entirely on improvisation, using no written music."[4] Also, in April 1937, Coleman Hawkins recorded with a band named "Coleman Hawkins and His All Star Jam Band".[5][6]
Phish is exemplary of "jam band".

The first modern use of the term "jam band" was likely in the early 1990s.[7] However, the Grateful Dead fan culture and scene, from which the modern use derived, existed decades earlier. In the 1970s, the Grateful Dead's fan base included a large core group which followed their tours from show to show. From following the Dead, fans developed a sense of community and loyalty. By the early 1990s, the Grateful Dead were touring less regularly and bands such as Phish inherited their fan base. The term "jam band" was first used by these fans to describe the Phish-type of bands.[7]

Rolling Stone magazine asserted in a 2004 biography that Phish "was the living, breathing, noodling definition of the term" jam band, in that it became a "cultural phenomenon, followed across the country from summer shed to summer shed by thousands of new-generation hippies and hacky-sack enthusiasts, and spawning a new wave of bands oriented around group improvisation and superextended grooves."[8] A similar term for jam band music used in the 1990s was "Bay Rock". It was coined by the founder of Relix magazine, Les Kippel, as a reference to the San Francisco Bay Area music scene. In 1998 the jambands.com website started which promoted the term "jam bands". Relix was sold in 2000. The new owners also bought jambands.com, trademarked its name and began promoting the name as an official, approved term for all generations of Grateful Dead influenced, or related bands.

Also in the 1990s the number of music festivals increased. Jam band-favoring festivals by size and number included other "complementary"[9] bands who were musically related in cross-genre styles, though not at first culturally related. Jambands.com was co-founded by writer Dean Budnick and webmaster Andy Gadiel. In Budnick's book Jambands, Gadiel explains that "during that time [his] tastes in music had evolved to include bands even beyond the highly addictive Phish."[10] Although in 2007 the term may be used to describe nearly any cross-genre band, festival band, or improvisational band, the term retains adulation for Grateful Dead-like bands such as Phish.[11] Gadiel states about the 1998 beginning of Jambands.com that the music was "...inspired by the Grateful Dead, kept current by Phish, and progressing all the time by new and innovative bands." He noted that the music "...had a link that would not only unite bands themselves but also a very large community around them."[12]

By the late 1990s the number of types of bands and their fans had grown so that the term's use became quite broad as is exemplified by the definition written by Budnick which appeared in the program for the first annual Jammy Awards in 2000 (Budnick co-created the show with Wetlands Preserve[13] owner Peter Shapiro).
“     What Is a Jam Band?

Please cast aside any preconceptions that this phrase may evoke. The term, as it is commonly used today, references a rich palette of sounds and textures. These groups share a collective penchant for improvisation, a commitment to songcraft and a propensity to cross genre boundaries, drawing from a range of traditions including blues, bluegrass, funk, jazz, rock, psychedelia and even techno. In addition, the jam bands of today are unified by the nimble ears of their receptive listeners.[1]
    ”

Ambiguity

By the late 1990s use of the term jam band also became ambiguous. An editorial at jamband.com suggested that any band of which a primary band such as Phish has done a cover be included as jam band. The example was including New York post-punk band Talking Heads after Phish performed the cover of Remain In Light.[14] A broad sense of the term also became used retroactively in jam band circles for bands such as Cream[15] who for decades were categorized as a "power-trio" and "psychedelic rock" and who when active were largely unrelated to the Grateful Dead. In his October 2000 column on the subject for jambands.com, Dan Greenhaus attempted to explain the evolution of a jamband as such:

    "At this point, what you sing about, what instruments you play, how often you tour and how old you are has become virtually irrelevant. At this point, one thing is left and, ironically, after all these years, it’s the single most important place one should focus on; the approach to the music. And the jamband or improvisational umbrella, essentially nothing more than a broad label for a diverse array of bands, is open wide enough to shelter several different types of bands, whether you are The Dave Matthews Band or RAQ."[16]

The Jammy Awards have had members of non-jamming bands which were founded in the 1970s and were unrelated to the Grateful Dead perform at their show such as New Wave B-52's.[17] The Jammys have also awarded musicians from prior decades such as Frank Zappa.[18]

Debatability

Some artists such as Dave Matthews Band are known for resisting the jam band label. An example of a prior-era band that gained the label "jam band" through an active affiliation with the 1990s jam band culture is The Allman Brothers Band. However, Gregg Allman has been quoted as recently as 2003 by his fellow band member Butch Trucks in stating that rather than being a jam band The Allman Brothers are "a band that jams."[19] Although Trucks suggests that this is only a difference of semantics the term has a recent history for which it is used exclusively. An example of this discernment is the "marked" acceptance of Les Claypool as jam band in the year 2000. Though famed from an entire decade with Primus (a band that jams) and solo works, it was in creating the Fearless Flying Frog Brigade with members of Ratdog and releasing Live Frogs Set 1 that as Budnick has stated "marked (Claypool's) entry into (the jamband) world."[20] Budnick has been both editor in chief of Jambands.com and senior editor of Relix Magazine.[21] He wrote Jam Bands (1998, ECW Press) and then an updated book Jambands (Backbeat Books, 2003) and is typically credited for "popularizing" the term "jam band."[7]

Mid-1980s-mid-2000s

In the mid-1980s, the bands Phish, Ozric Tentacles, Widespread Panic, Bela Fleck and the Flecktones, and Aquarium Rescue Unit, began touring and playing jam band-style concerts. These groups' fame increased in the early 1990s. Bands such as Blues Traveler, and the Spin Doctors also came from the same scene, playing jam-friendly venues and festivals. In some cases, their improvisations have taken a backseat to more polished material, which may be due to their crossover commercial successes, MTV videos, and mainstream radio airplay. Most notable in pre-jam band history was the obvious influence of the Grateful Dead.

In the early 1990s, a new generation of bands was spurred on by the Grateful Dead's touring and the increased exposure of The Black Crowes, Phish, and Aquarium Rescue Unit. Many new bands were formed in the blooming scene. These were the first new bands to actually be called "jam bands", including ekoostik hookah, Dispatch, Gov't Mule, Leftover Salmon, moe., Rusted Root and String Cheese Incident. During the summer of 1995, Grateful Dead guitarist, frontman, and genre spokesman, Jerry Garcia, died, thereby ending the group's thirty years of activity. The surviving members of the Grateful Dead created a band called The Other Ones, and then officially became The Dead. During the same period, Phish rose to prominence, and bands such as String Cheese Incident and Blues Traveler became successful.

Phish's rise in popularity in the mid 1990s may be attributed to the death of Jerry Garcia and the subsequent terminus of the Grateful Dead in 1995.[citation needed] However, a rapidly expanding concert-going market in the early 1990s saw Phish playing mid-sized amphitheaters already in 1993 and 1994. The band also earned chances to play at various large venues, such as Madison Square Garden, by 1994's end.

Mid-2000s-present

The current state (2009) of the Jam band scene is multi-genre. Genre mixing has always been welcome in the jam band community (see the Grateful Dead's bluegrass influence), but is now much more prevalent. It is now usual for jam bands to include folk rock, blues-rock, jazz fusion, rock and roll, psychedelic rock, southern rock, country rock, and bluegrass sounds. Today's Yonder Mountain String Band and String Cheese Incident are generally considered to be newgrass, however both groups find themselves playing across several genres. The Dirty Dozen Brass Band are considered a traditional jazz band who "jams". Many jam bands today also incorporate the electronic sound, such as Lotus, The Disco Biscuits and Sound Tribe Sector 9 (STS9). Bands like moe., Assembly of Dust, and Jackie Greene bring together a classic rock sound mixed with a extended jamming sessions. Global rhythm bands include Antibalas Afrobeat Orchestra. The Dead have continued to perform after the loss of members through death or other reasons. Spin-off groups from the Grateful Dead, such as Bob Weir & Ratdog, and Phil Lesh & Friends are still touring internationally.

Jam scene

The diverse genres and styles of the jam band scene are held together by a common musical approach: an emphasis on creative improvisation and live performance as opposed to structured, arranged live performances and planned studio recordings. Additionally, another common thread uniting all of the jam bands today is a common fan base of festival-goers and touring fans. The contemporary jam scene has grown to encompass bands from a great diversity of musical genres. A 2000-era genre of jam-band music uses live improvisation that mimics the sounds of DJs and electronica musicians and has been dubbed "trancefusion" (a fusion between trance music and rock and roll). Jam band fans also listen to progressive rock and progressive bluegrass bands.
The String Cheese Incident

Hundreds of jam-based festivals and concerts are held throughout the United States every year. The Bonnaroo Music Festival held each June in Tennessee continues to provide an international forum for jam acts. It has introduced these bands to a wide audience via film, albums and television. Other notable jam-based events in the United States are Jambaloosa Music And Arts festival in Pittsburgh, Pennsylvania, and the All Good Music Festival held at Marvins Mountaintop, in West Virginia. As cited in the December/January 2006 issue of Relix magazine and a contemporaneous issue of the Village Voice,[22] the term "post-jam" has come to define a group of more song-oriented live bands with roots in the jam scene. Perhaps more unified by their fans than their sound, post-jam acts appeal to a contingent of concert-goers who grew up on jam bands but who shifted their interests to groups like Wilco and Radiohead largely through the "festivalization" of this part of the music industry.


Jam bands often allow their fans to make tapes or recordings of their live shows, a practice which many other musical genres call "illegal bootlegging". The Grateful Dead encouraged this practice, which helped to create a thriving scene around the collecting and trading of recordings of Grateful Dead live performances. Most of the live shows on the Grateful Dead's 30 years of touring were recorded. It was probably the trading of recordings of Grateful Dead shows which built the band's fan base. The bands sold taper tickets for a taper's section which had a soundboard line-out for the tapers to record from. This type of encouragement has spread to nearly all of the jam bands. Some jam band enthusiasts argue that if a band does not allow fans to tape their live shows, this band is not actually a jam band in the Grateful Dead tradition.

Fans trade recordings and collect recordings of different live shows because improvisational jam bands play their songs differently at each performance. Fans can collect various versions of their favorite songs. They can keep track of how many times a specific song has been played, and thus increase the momentousness of a rare song being dusted off and played live, or played for the first time.[23] Some bands play with this phenomena by throwing short little "teases" into their sets. Playing, for example, a few bars of a famous cover song or hinting at a popular jam and then either never getting around to playing the song, or coming back to it after an extended jam. The use of segues to blend strings of songs together is another mark of a jam band, and one which makes for treasured tapes.[24]

Music downloading

By the 2000s, as internet downloading of MP3 music files became common, downloading of jam band songs became an extension of the cassette taping trend. Archived jam band downloads are available at various websites, the most prominent ones being etree and the Live Music Archive, which is part of the Internet Archive.

More bands have been distributing their latest shows online. Bands such as Phish,Widespread Panic, The String Cheese Incident, Gov't Mule, ekoostik hookah, Umphrey's McGee, Lotus and The Disco Biscuits have been offering digital downloads within weeks of concerts. The Grateful Dead have begun to offer online, digital download only, live releases from their archives as well. While there is some obvious conflict of interest between the "free and open trading of shows" and artists packaging and selling the same shows for money, a dynamic equilibrium has been reached where die-hards trade and others are happy to pay for the convenience.

Some venues offer kiosks where fans may purchase a digital recording of the concert and download it to a USB flash drive or another portable digital storage device. Some bands, including The Allman Brothers, offer "Instant Lives", which are concert recordings made available for purchase on Compact Disc shortly after the show ends. Most major music festivals also offer digital live recordings at the event. Even though these shows are freely traded in digital format, "official" versions are still bought by fans for the graphics, liner notes, and packaging.

Venues and festivals

In the August 2006 issue of Guitar One on jam bands, the following places were referred to as the "best places to see jam music": Red Rocks Amphitheater; Red Rocks Park, Denver, CO; Jam Cruise, Fort Lauderdale, FL; The Gorge Amphitheatre, George, Washington; High Sierra Music Festival, Quincy, CA; The Greek Theater, Berkeley, CA; Bonnaroo Music Festival, Manchester, TN; The Warfield Theater, San Francisco, CA;[The Barrymore Theater, Madison, WI; Higher Ground, Burlington, Vermont; and the Jam in the Dam in Amsterdam.

One way to see many jam bands in one place is by going to a jam band-oriented music festival. Some popular festivals that include jam bands are: Bonnaroo in Manchester, Tennessee; Jambaloosa in Pittsburgh, Pennsylvania the aforementioned High Sierra Music Festival in Quincy, California; All Good in West Virginia; Langerado in Fort Lauderdale, Florida; Wakarusa Music and Camping Festival in Lawrence, Kansas; 10,000 Lakes Festival in Detroit Lakes, Minnesota; Camp Bisco in Mariaville, New York; Telluride Bluegrass Festival in Colorado; Hookahville in Ohio; Schwagstock in Missouri; moe.down in Turin, New York; Vegoose in Nevada; and Summer Camp Music Festival in Chillicothe Illinois.

Phish

Phish performing at Alpine Valley in East Troy, Wisconsin in July 2003. Left to right: Page McConnell, Trey Anastasio, Jon Fishman, Mike Gordon.
Background information
Origin     Burlington, Vermont, USA
Genre(s)     Jam band, rock, jazz fusion, progressive rock
Years active     1983 — 2000
2002 — 2004
2008 — present
Label(s)     Elektra, JEMP
Website     http://www.phish.com/
Members
Trey Anastasio
Mike Gordon
Jon Fishman
Page McConnell
Former members
Jeff Holdsworth
Marc Daubert