The Last Note: HONORING THE Legacy OF PHIL LESH
1940-2024
Story and Photography by JD Cohen
With the passing of Phil Lesh on October 25, 2024 the music world lost a pioneering musician whose innovations helped define the sound of one of rock's most iconic bands, the Grateful Dead. It’s hard for casual fans of the band to understand just how important Phil Lesh was to the Grateful Dead and the Deadhead community. Any serious fan will tell you that the best Grateful Dead shows were the ones where Phil Lesh was up front and prominent in the mix, playing at an inspired level. His contributions to the genre were immense. Lesh’s inventive, jazz-inspired approach to bass guitar transformed the instrument from a traditional background role into a complex, melodic voice that carried the weight of the Dead's jams and improvisations. His life and music remain woven into the fabric of American counterculture and the vast, improvisational landscapes of rock, jazz, and jam based music.
I first heard the Grateful Dead in 1974. I was in 5th grade when a classmate gave me a cassett copy of American Beauty, that he took from his parents. For some unknown reason, he wanted to share it with me and thought I would like it. At the time, it sounded to me like folk music and I wasn’t much interested. A couple of years later, my Uncle gave me a copy of Mars Hotel and with a knowing smile, told me to give it a listen. I remember like it was yesterday, lying on the floor of my parents living room, listening to the album with a pair of high-end Koss headphones. I liked what I heard, the sound quality and the music made an immediate impression but when I heard the Phil Lesh song Unbroken Chain, it changed my life forever. That moment started a life-long obsession. And although I quickly fell in love with all things Jerry Garcia, I never would have discovered my love for the Grateful Dead without Phil Lesh. And I’m convinced, the Grateful Dead wouldn't have become the cultural and musical force they are today without his contribution.
Born on March 15, 1940, in Berkeley, California, Philip Chapman Lesh took an unlikely path to Grateful Dead and his role as a pioneer of the counter culture. Phil showed musical talent from a young age. He began with classical violin and later pursued the trumpet, an instrument he studied at the College of San Mateo and Mills College in Oakland. There, he encountered avant-garde composers, who influenced his understanding of harmony and composition. Lesh’s training gave him a unique musical perspective, blending classical techniques with jazz improvisation, and allowed him to approach bass guitar with a harmonic and melodic sensibility that was uncommon in rock music at the time.
The transition to bass guitar came fortuitously and completely by accident. After meeting Jerry Garcia while working as an engineer at a radio station, Lesh was invited to join Garcia’s band, the Warlocks. Although he had never played bass, Lesh accepted the challenge and quickly adapted to the instrument, bringing with him his knowledge of jazz, classical music, and avant-garde composition. This background became the cornerstone of the Grateful Dead's sound and gave Lesh his signature sound that blurred the lines between rhythm and lead, allowing him to craft melodies and harmonies that were as integral to the music as Garcia’s guitar or Bob Weir’s rhythm.
Lesh’s innovative bass playing was a critical part of the Grateful Dead’s identity. Lesh brought a jazz-like approach to the band's improvisations, transforming the bass into a lead instrument that took the music in unexpected directions. His classical background allowed him to build bass lines that interacted harmonically with the other instruments, rather than just anchoring the rhythm section. The result was a sound that was fluid and free, allowing for improvisation and exploration in ways that were more advanced and musically complex than his peeres.
This approach is particularly evident in the Grateful Dead’s legendary live performances. Tracks like "Dark Star" and "The Other One" showcased Lesh's ability to weave intricate, melodic lines into the fabric of the music, guiding the band through complex improvisational journeys. Dark Star from February 15, 1973 – Dane County Coliseum – Madison, WI , The Other One from December 31, 1972 - Winterland Arena, San Francisco, CA or the entire 70-minute sequence from May 26, 1972 - Lyceum Theatre in London that runs, without pause, through Truckin'; The Other One; Morning Dew; The Other One; and Sing Me Back Home are just a few wonderful examples. For those who study the band closely, it is clear that Phil Lesh is the one responsible for the way the band drifts through key changes in jams. According to Grateful Dead scholar Melvin Backstrom Phil does this by "hearing and staying on dissonant or unresolved notes which somehow force the band to follow his cue; it's not Garcia who leads the band with his upper-register soloing; they all ride a musical wave together, each taking turns at holding the wheel, with Lesh's more advanced ear tending to nudge the band further and further out there.” Describing his approach on songs like Dark Start Lesh is quoted as saying “Some reviewer described the way I play as being ‘Like a sandworm in heat wrapped around Garcia’s guitar line’...I try to do that all the time”.
Phil often employed syncopation, counterpoint, and melodic exploration, techniques usually reserved for lead instruments like guitar or saxophone, all of which helped to build the “wall of sound” that defined the Dead's most memorable shows.
Phil was deeply involved in the Grateful Dead’s creative process and their experiments with sound. He played a role in the band's 1970s sound system, "Wall of Sound," which was an ambitious and groundbreaking project designed to deliver unprecedented audio quality for large audiences. Designed by sound engineer Owsley "Bear" Stanley, this complex system of speakers and amplifiers allowed each band member’s instrument to be heard clearly, even in massive outdoor arenas.
Lesh also worked with instrument maker Alembic to develop custom basses that could output sound in four distinct channels. This quadraphonic setup allowed him to separate the frequencies of each string, providing an unprecedented level of control over his tone and harmonics. This custom bass inspired future developments in bass guitar design, particularly in sound fidelity and customizability. Lesh’s collaboration with Alembic extended to creating basses with active electronics and built-in preamps. This allowed him to modify and boost his sound directly from his instrument, a feature that later became standard in electric basses. Lesh’s interest in high-quality audio was emblematic of his dedication to the band's vision, and the Wall of Sound remains a milestone in live music and the history of amplified sound innovation.
Following the death of Jerry Garcia in 1995, the Grateful Dead disbanded, but Lesh continued to carry forward the spirit of the band. He embarked on solo projects and formed "Phil Lesh and Friends," an ever-evolving lineup of musicians that allowed him to continue exploring the Dead's music while also venturing into new territory. The group became known for interpreting Grateful Dead classics and Lesh’s own compositions, but with a unique twist: each lineup brought different styles. This approach allowed Lesh to experiment with his music while giving a bit of new life to the songs that had defined his career
In 2011 Lesh established Terrapin Crossroads, a music venue and community space in San Rafael, California. There, Lesh cultivated a space where musicians and fans could connect, a continuation of the communal ethos that characterized the Grateful Dead. Terrapin Crossroads became a hub for collaboration, and Lesh frequently performed there, often sharing the stage with his sons, Grahame and Brian, both of whom are accomplished musicians in their own right. After the lease ran out on the property in 2021, Lesh announced that Terrapin Crossroads would close permanently.
In his later years, Phil became an elder statesman for the Jam band community. Even as he began to slow down his touring schedule, he seemed to be collaborating constantly, sharing the stage with established musicians and younger and lesser known artists alike. His annual birthday run of shows and Philoween at the Capitol Theater were much anticipated events of the year.
For Deadheads and music lovers alike, Phil Lesh’s legacy remains a source of inspiration and joy. His life’s work exemplifies the transformative power of music, a testament to a musician who never stopped exploring, experimenting, and connecting with the world around him. The music he helped create, the communities he built, and the spirit of the Grateful Dead will live on through the unbroken chain that links one generation to the next, ensuring that his influence endures long after his final notes have faded away. May his memory be for a blessing.
