About Dead on the Hudson

For nine years, Dead on the Hudson has been chasing a specific kind of magic. They do not just play the notes; they recreate an experience. It began with a shared obsession among four musicians who realized the river itself shared the same rhythm as a 1973 "Dark Star"—fluid, unpredictable, and constantly moving forward.

The band's true strength lies in their collective chemistry. Nine years of constant playing have turned the core members into a single, cohesive unit capable of listening and reacting in real time. Rather than competing for the spotlight, they rely on a deep musical trust. One member can shift a tempo or throw out a subtle tease, and the rest of the band catches it instantly, steering the music down a completely new path.

Todd Rosen anchors the lead guitar with a melodic, pocket-focused approach. His playing emphasizes the clean note selection and rhythmic clarity of early-era Jerry Garcia, stepping out for fluid solos that elevate the jam without overshadowing the band. By favoring a classic, pure tone, he ensures his lines blend naturally into the collective groove, keeping the music anchored in an authentic vintage pocket.

Joe Modica serves as the band's structural backbone on rhythm guitar, beautifully locking in with the lead lines. Joe channels the complex, syncopated chord inversions and unique phrasing of Bob Weir, creating the essential harmonic framework that lets the jams expand safely. Rather than just strumming along, Joe acts as a second percussionist with his instrument, scratching out sharp rhythms, feeding off the drums, and dropping subtle chord modulations that guide the improvisations.

Todd Villano commands the low end on bass, dropping the heavy, melodic bombs necessary to steer a dynamic jam band into uncharted territory. Heavily inspired by Phil Lesh's avant-garde and symphonic approach, he treats the bass as a lead instrument in its own right rather than just a timekeeper. His fluid, counter-melodic baselines wander constructively through the sonic space, constantly conversational and pushing the guitars to reach new heights.

Chaz Prosser drives the band's pulse from behind the drum kit, operating as the engine for their improvisational journeys. He effortlessly shifts gears from a tight, rolling locomotive groove into the completely open-ended, atmospheric spaces of "Drums" and "Space." By listening intently to the room and his bandmates, Chaz anchors the tempo while remaining remarkably flexible, providing the essential canvas that allows the rest of the band to wander safely.

Rounding out the sonic landscape is a rotating cast of characters on the keys. In true Grateful Dead fashion, the band operates with a revolving keyboard seat—though happily, unlike the original Dead history, all of their ivories-wielders are alive and well. The rotation brings a fresh dynamic to every show, featuring regular contributions from James Prosser (Chaz's brother), Russ Greenspan, and Mark Gutenplan. Each player brings his own unique flavor to the bench, keeping the band's improvisations fresh, unpredictable, and colored with brilliant organ and piano textures.

Dead on the Hudson specializes in the early days. They dig deep into the late sixties and early seventies, the era of primal Dead. This is the music of long, trippy jams, where a single song can expand into a thirty-minute journey through uncharted musical landscapes.

From the historic docks of Troy down to the neon lights of Manhattan, they have brought the carnival up and down the river valley. Every show is a unique experiment. No setlist is ever played the same way twice. For nine years, the band has kept the spirit of the Good Ol' Grateful Dead alive, proving that the music never stopped—it just found a home on the banks of the Hudson.