greeting

Please make yourself at home! Check some tags, do some reading, leave a comment.

Saturday, March 26, 2016

Linda Chicana

Is the name of the song that has gone on Reconstruction setlists as "Linda".

Here is Cal Tjader doing it:


Thursday, March 24, 2016

JGB at Freeborn Hall, November 12, 1976


Sometime in the afternoon or thereabouts of Friday, November 12, 1976, Garcia, John Kahn, Keith and Donna Jean Godchaux, probably Richard Loren hopped into sedans being driven by monitor mixer Harry Popick and roadie Bill 'Kid' Candelario to Davis, California, about a hundred miles east of San Francisco on I-80. Thus began a little weekend jaunt that strikes me as more pleasant than one they'd do in August '81 (billed as the "1st Northern California Tour"), if only because the latter passed through Stockton in August, while this one offers foggier temperatures and a cooler implicit psychology.

It had already been a busy week, Sunday-Monday for Freddie Herrera in Berkeley and Palo Alto (I don't think a note of these shows circulates among collectors), then Tuesday through Thursday at Elliot Mazer's His Master's Wheels studio, in the space formerly operated by, variously, Pacific High Recorders and Alembic. The band gives every appearance of trying to use these sessions to work up some old favorites, sort of like a second version of Compliments, a few more fonky gospel numbers, maybe a few not so fonky, but a nice eclectic mix, for some ready-to-sell vinyl. This is the...

 ... Abortive 1976 Garcia Band album

At His Master's Wheels (HMW) Elliot Mazer had put together a space that Garcia really liked, singling it out when asked about the tastiest rooms in the Bay Area in June of 1974, right after recording Compliments (mostly at Columbia) and using it for Reflections, recorded second half 1975 and released early 1976, itself involving some abortive components (see Corry). That involved the payoff of the summer 1975 United Artists bailout. In late 76, Jerry played for Clive, and Arista paid the HMW studio time, as Davis, Garcia, Weir and the Grateful Dead (the latter three not at all the same thing as these men make their respective journeys) enter into a deal to further find fates. It’s impossible to say whether Davis fronted the studio time as an act of good faith, or whether, more likely, the time would eventually come out of Garcia’s advance. Despite its aesthetic promise, I can't say why this project gwas shelved. Eventually, after long battles with demons in the studio --recorded in earnest August-November 1977 and released around April 1, 1978-- Cats Under The Stars replaced it as the first, and in many ways the only, Jerry Garcia Band studio album.

The Abortive 1976 Jerry Garcia Band Album would differ from its predecessors, not a Jerry Garcia record, but a Jerry Garcia Band one, a false step in the institutionalization of Jerry Garcia. Bringing Nicky on board in summer 1975 was certainly a touring proposition - Nicky is contractually obligated to mention his 1975 Mercury record No More Changes (see my WIP "Hiatus Garcianomics"), and the band took xx tours (involving out of town flights) in its three-and-a-half months together. But having the Session Man in the house was almost certainly also a recording proposition: the timing with the recording Compliments is too strong suggestive. But it fell apart, for reasons unknown, and became a little bit of a Garcia-GD Frankenstein, incoherent even if it has its moments.

After August 1976 sessions paid by Round Records - perhaps the last good checks that outfit ever wrote, if they didn't bounce, October and November found Arista paying the bills, leaked to the cognoscenti no later than November 20th.[i] Conceptually, take 2 of the first JGB album resonated with the "Americana Jerry likes" feel of Compliments, but with the band of Garcia-Kahn-Tutt-Godchaux (Keith) and at least some of the material drawing from cooler, stiller depths. Garcia tried Elizabeth Cotten's "Freight Train" and "Oh Babe It Ain't No Lie" on for size for the project, about which I wrote at some length, noting that the ancient songstress found pulp-and-glue permanence in the New Lost City Ramblers Songbook (1964), through which, I surmise, Garcia might have learned the tunes. An undated OBIANL features on All Good Things, disc 3, track 11.

The Band also drew heavily from the gospel well with which Jerry, Keith, Donna and the rest had spent so much time in the Godchaux's living room in 1975 (for Keith and Donna), sometimes quite literally accompanied by a Samarian woman and a "Strange Man".  telling her every sinful thing she'd done, and setting her free. After a shambolic January, the bicentennial live act came to feature more upbeat gospel, as well, from the celestial choir of  “My Sisters And Brothers” to the hot-to-trot show closer “Ride Mighty High”. (Another angelic boogie, “Magnificent Sanctuary Band” [released on the 2004 box set All Good Things] never made it out of Stinson.)

Beyond gospel we find a Dylan (“Visions Of Johanna”, on the bonus disc All Good Things Redux), some black--and-white rockers “Bo Diddley” and “Not Fade Away” (11/9/76), a little R&B on November 10th (“Don’t Let Go”, “The Way You Do The Things You Do”), "The World Is Waiting For The Sunrise" (11/10/76), “Matilda” (calypso on both 11/10/76 and 11/11/76!) and the pure train “Streamlined Cannonball” (11/11/76). To travel to the places to which these various tunes were established, among the people who established them, would drive across every route and byway east of the Mississippi, lots of cities and hollers and plains, and a few on the other side; to do so by the means that conveyed them would bring you to ambient voice, boat, ship, raft, rail and automobile. Aesthetically, the collection would make a fine record.

The Weekend "Tour"

After laying down some tracks, the tour looks take draw a long, deep, weekend breath through some gigging and green spaces, the late Friday night show in Davis, it culminated in a pair of Saturday night shows at verdant Humboldt State.
Table xxx.

I have notes from the front end below. In terms of the back end of the "tour", Jerry has some land up in Mendocino, that Laird Grant lives on - maybe Garcia checked in, said hello and stocked up on the local fare --still autumn, harvest season-- for the rides back home.

Garcia at Freeborn

Depending on where they were coming from, this crew crossed a bridge (Richmond-San Rafael from Marin, or the Bay Bridge from the City), hooked up with I-80 east bound, crossed another bridge (over the Carquinez Strait), went up over the coastal ridge and dropped into the Great Central Valley. "Jerry Garcia has always liked this town," wrote the California Aggie reviewer about Davis. Campus gym Freeborn Hall would have been a drafty, smelly basketball arena at this time, all echo, but the college kids, many of them from the Bay Area, were enthusiastic, and the show shimmered. "Never before," wrote his seasoned reviewer, "have I seen Garcia dance, nor have I ever seen him smile so much".
Table xxx.

So nice to hear. In terms not of the visuals of Jerry (and Donna) swaying in a sweet groove, but of the audio, we are blessed to have Betty Cantor Jackson's 4th reel of the night (reels 1-3 are AWOL, and may have returned do dust), and it holds just a 30 minute "Don't Let Go" and a show-closing "Might High", the crème de la crème of 1976 JGB repertoire, just about (LAALWFH wants a word with me).

LN jg1976-11-12.jgb.s2p-end.sbd-wise.132401.flac1648

A few highlights of the Davis show, based on the tape evidence.

John Kahn does a bass feature in DLG, which is actually interesting, not his usual feathery fluttery tickling thing – actual bass playing. He could do this in earlier years, and occasionally later on, but to hear John Kahn play with some power in November 1976 is a revelation.

Keith is noodling around some classical tunes after DLG.

"Mighty High" is nothing short of amazing. I love Donna Jean Godchaux.

Jerry Garcia Band
Freeborn Hall, University of California
Davis, CA 95616
November 12, 1976 (Friday) - 8 PM
BCJ reel #4 wise DAT flac1648 shnid-132401

--end of show (3 tracks, 2 songs, 38:17)--
reel04-t01. crowd and tuning [0:19]
reel04-t02. Don't Let Go [28:53] (1) [2:46]
reel04-t03. Mighty High// [6:19#]

! ACT1: Jerry Garcia Band #3
! lineup: Jerry Garcia - el-guitar, vocals;
! lineup: John Kahn - el-bass;
! lineup: Keith Godchaux - piano, vocals;
! lineup: Donna Jean Godchaux - vocals;
! lineup: Ron Tutt - drums, vocals.

JGMF:
! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.
! JGC: jerrygarcia.com/show/1976-11-12
! db: http://db.etree.org/shn/15850 (same source reel, probably different source DAT and definitely more primitive DAT > CD transfer - deprecated); http://db.etree.org/shn/132401 (this fileset - best source).
! map: https://goo.gl/maps/wuV67V7hENM2
! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/12/freeborn-hall-uc-davis-104-freeborn.html
! band: http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html
! review: Krane, Matt. 1976. Garcia & Company: Phenomenal Crowd Pleasers. California Aggie, November 15, 1976, p. 3. positive review of 11/12/76. Under subtitle "Fabulous Crowd Pleasers" starts by getting out his Webster's: "mellifluous (me-lif-loo-es, adj. (L. /mellifluus: mel, mellis-honey, fluete-to flow), flowing sweetly and smoothly; honeyed; said of words, sounds, etc. … Jerry Garcia has always liked this town, Davis", gave a memorable performance. Not's the JGB has played Crabshaw Corner in Sacto. Freeborn  Freeborn usually sounds like ass, but the reviewer says the band's gear sounded great." Kane praises "Garcia's magnificently mellow, fluid blues progressions". "Never before have I seen Garcia dance, nor have I ever seen him smile so much. But he had a lot to smile about, and so did a crowded Freeborn." "He appeared very warm and comfortable. His music was doubly so."
! R: recordist: Betty Cantor-Jackson
! R: media: 7" reel master @ 7.5ips 1/2 track (reel #4 only). As far as I know, reels 1-3 are not in the Garcia Vault, which might mean they are still out in the world somewhere. They are known not to be among the Betty Boards (TM). Given the water damage to this reel, though, it's strongly possible that the first three reels were among the miles of rotted spaghetti and distingrated vinyl and oxide, silt and pulp and goat piss. As of this writing (3/24/2016), my best sense is that they are gone forever, but that could be wrong.
! R: gear: Betty's Nagra reel to reel deck (serial #SL11183)
! R: lineage: Playback on Otari MX5050-Meyer VX-1 signal processor-Sony PCM R-700 DAT @ 48KHz (circa 1999). Original zero gen DAT played back on a Sony PCM R-500-Digital Audio Labs Card deluxe-16 bit 48KHz. Editing (Adobe Audition CC) - Mastering & Processing (iZotope Ozone 6) - FLAC encoding (dBpoweramp) - Tagging (Tag & Re-name - Digital Transfer, Editing & Processing By JW:February 2015.
! R: note: 16 bit 48Khz file set formatted for music servers"
! R: note: "This reel was old & brittle and there is some tape squeal present."
! R: reel04-t02 DLG @ 15:43 ran past a place where the oxide wasn't, some squeal. Again late 22, ca. 22:50.
! P: reel-04-t02 DLG 12ff John Kahn is taking a bass solo, and for 20 seconds he's on it, a little too fluttery at 12:20, some great bass soloing by John Kahn -- yeah, I said it. @ 14:43 the band comes back, John gets a nice round of applause from the crowd. This is building to a very nice crescendo, all involved, Garcia high up 15:18, all the rest is percussion, now he puts some blue on it 15:39. Garcia in a very interesting space 16:13, a little more speed. 25ff is Garcia's vocale-guitar duetting, some good moaning and scowling. Jerry gets real strong wid it to come to an end, everyone lands right.
! reel04-t02 (1) Keith is playing a classical piece late 29. 29:49 - sounds like something definable. 30:20 for sure, that Parisian Waltz. more at 30:35. another quote 30:53, more than a quote. He wants to play it. Garcia strums for Mighty High @ 31:04.
! P: reel04-t03 Mighty High is incredible. Donna is bringing it early 5ff, everyone singing hard, she is belting! You guy, girl! Even Keith is yelling, in his nasally way, making the tape squeal. Man, that is some good time music for the Aggies!
! R: reel04-t03 squeal somewhere in 4. 5:38 squeal. Reel ends, maybe 30 seconds of music missing.


[i] McDonough 1976 11/20/76.
 






Wednesday, March 23, 2016

JGB's First Gig in NYC - October 28, 1975 - Beacon Theatre (early show)

LN jg1975-10-28.jgb.early-1.aud.135275.flac1644

Tape of the JGB's first New York City gig, at the Bottom Line on Tuesday, October 28, at 7:30 PM has just emerged. Welcome to the world, tape, and thanks to all involved for making it so.

It features Nicky explaining a time he couldn't play the Bottom Line (8/18/75?) because he fell off his piano bench in Austin (note 1) - Research could pin this down. I have Nicky in Atlanta at the end of July, and I know I had at some point a listing for Nicky and Nils Lofgren opening 8/18/75 in NYC, but I can't find it.

Not that surprisingly, given the Dead-NYC connection, rumors were flying before the show. "Persons close to the Dead office in California have been dropping hints," it was reported, that these Bottom Line billings would end in "a full-blown Dead show", what with Kingfish and Keith and Donna Godchaux also touring the eastern time zone (Flatte 1975). But it was not to be, instead a couple of good shows and a $15k payday for Jerry and his band, which is fine, too.

Gotham media were all over this, with reviews in the business papers Billboard (Frost 1975 and Variety (Kirby 1975) and the Grey Lady (Dove 1975), the latter describing Garcia as one of those "middle-of-the-road entertainers who trundle out their old hits time after time, unworthy of the kind of adulation" the fans apparently supplied, giving a show characterized by "retrenchment ... inertia ... [and] going through  motions" (Dove 1975).

Dove saw the late show, which I recall linking and hope to revisit some day. In terms of this early show, I am not coming out out of my seat, except that the "Let's Spend The Night Together" is very strong. Why shouldn't it be, with Nicky on the keys? It's not massively long, but it's smart and satisfying. It appears to be headed for "Edward" before the tape ends, but there is no guarantee of this. There are nights (I'd have to go back and check) where they sound like they have Eddie cued up, but maybe it's closing time or something. Or maybe it was amazing and it's lost to history.

A propos of nothing, is there any board tape of this whole tour? Seems not, unless I am forgetting something.

Jerry Garcia Band
Beacon Theatre
2124 Broadway
New York, NY 10023
October 28, 1975 (Tuesday) - 7:30 PM Early Show
all-1 aud shnid-135275

--(13 tracks, 87:57)--
e-t01. John Scher intro [0:27]
e-t02. Sugaree [7:39] %
e-t03. Catfish John [8:43] [0:02] %
e-t04. All By Myself [6:28] [0:01] %
e-t05. [0:32] Mission In The Rain :33-6:22 %
e-t06. Lady Sleeps [3:23] ->
e-t07. No Time// [4:09#]
e-t08. Friend Of The Devil [5:35] %
e-t09. The Night They Drove Old Dixie Down [9:08] %
e-t10. /Let It Rock [#8:11] [0:13] %
e-t11. (1) [0:42] Russian Lullaby [7:08] %
e-t12. [0:43] How Sweet It Is (To Be Loved By You) [6:47] [0:06] %
e-t13. Let's Spend The Night Together
e-txx. [MISSING: Edward]

! ACT1: Jerry Garcia Band #1
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Nicky Hopkins - piano, vocals;
! lineup: John Kahn - el-b;
! lineup: Ron Tutt - drums, vocals.

JGMF:
! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.
! JGC: jerrygarcia.com/show/1975-10-28
! map: https://goo.gl/maps/GPqqNgDHNPp
! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/beacon-theater-2124-broadway-new-york.html
! db: http://db.etree.org/shn/135275 (this fileset).
! band: Jerry Garcia Band #1 (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).
! exante: Flatte 1975;
! review: Dove 1975;
! review: Kirby 1975;
! historical: Good Old Boys and (unbilled) Rowan Brothers opened.
! JGMF: Contract dated 10/19/75, two shows of two sets each. $10,000 guarantee for the two shows, plus 60% gross over $27k. GP 35254.  Given that the shows sold out, we have to assume that JGB made that percentage, too, another $4k+. Kirby says both shows SRO. Promoted by Ron Delsener "in association with John Silver's [sic] Monarch Productions", i.e., John Scher. JGB's first show in NYC.  Flatte (1975) describes Dead rumors. Dove describes Garcia as one of those "middle-of-the-road entertainers who trundle out their old hits time after time," unworthy of the kind of adulation fans gave Jerry. "Retrenchment ... inertia ... going through  motions" (Dove 1975).
! JGMF: see also 10/30/75 Cooper tape and "Bloody Hell", a close look at Nicky through the Gerry Moskal tape of that same night.
! R: source: AUD of unknown lineage, rescued from ebay for five bucks.
! R: transfer: Maxell XLI (normal bias) > Nakamichi CR-5A (Dolby off) > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transferred by Andrew F. 02/2016.
! R: seeder notes: "Tight edits between songs. No Time cuts out at the end. Jam after Let's Spend the Night Together is complete, it appears the  band is preparing to start into Edward as the tape runs out."
! R: e-t07 cuts out
! R: d-t10 LIR clips in
! P: e-t10 LIR sounds sluggish. Enthusiastic fanning late 6.
! e-t11 (1) NH: "Somebody [inaudible] why wasn't I at the Bottom Line. OK. The reason was that I fell into the piano system in Austin, TX." Crowd guy: "You all right?" Nicky: "Yeah, I'm fine now. But there's no way I could play the Bottom Line at that time" [inaudible].
! P: e-t13 LSNTNT is outstanding! Big giant guitar filligreeing late 10, band is cooking now. I really wish this "Edward" were present on the tape.Kirby says both shows SRO. Promoted by Ron Delsener "in association with John Silver's [sic] Monarch Productions", i.e., John Scher. JGB's first show in NYC.  Flatte (1975) describes Dead rumors. Dove describes Garcia as one of those "middle-of-the-road entertainers who trundle out their old hits time after time," unworthy of the kind of adulation fans gave Jerry. "Retrenchment ... inertia ... going through  motions" (Dove 1975).
! R: source: AUD of unknown lineage, rescued from ebay for five bucks.
! R: transfer: Maxell XLI (normal bias) > Nakamichi CR-5A (Dolby off) > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transferred by Andrew F. 02/2016.
! R: seeder notes: "Tight edits between songs. No Time cuts out at the end. Jam after Let's Spend the Night Together is complete, it appears the  band is preparing to start into Edward as the tape runs out."
! R: e-t07 cuts out
! R: d-t10 LIR clips in
! P: e-t10 LIR sounds sluggish. Enthusiastic fanning late 6.
! e-t11 (1) NH: "Somebody [inaudible] why wasn't I at the Bottom Line. OK. The reason was that I fell into the piano system in Austin, TX." Crowd guy: "You all right?" Nicky: "Yeah, I'm fine now. But there's no way I could play the Bottom Line at that time" [inaudible].
! P: e-t13 LSNTNT is outstanding! Big giant guitar filligreeing late 10, band is cooking now. I really wish this "Edward" were present on the tape.

JGB in Phishland: Flynn Theater, Burlington, VT, 12/6/83

Note that I have started changing all of my info to reflect the presence of DeeDee Dickerson on the bus with the JGB in November-December 1983.

12/6/83a

Nice Catfish John, otherwise this early show does not light me up.

Jerry Garcia Band
Flynn Theater
153 Main Street
Burlington, VT 05401
December 6, 1983 (Tuesday) - 7 PM (early) show
Senn 441 flac2496 shnid-135010

--(7 tracks, 69:09)--
e-t01. How Sweet It Is (To Be Loved By You) [10:53] % [0:17]
e-t02. Catfish John [13:45] [0:06] %
e-t03. /Someday Baby [#9:47]
e-t04. /Run For The Roses [#5:15] % [0:28]
e-t05. When I Paint My Masterpiece [8:20] [0:03] % [0:33]
e-t06. Mississippi Moon [7:33] [0:04] ->
e-t07. Deal [11:56] (1) [0:08]

! ACT1: JERRY GARCIA BAND #21a
! lineup: Jerry Garcia - guitar, vocals;
! lineup: Melvin Seals - organ;
! lineup: John Kahn - bass;
! lineup: David Kemper - drums;
! lineup: DeeDee Dickerson - vocals;
! lineup: Jaclyn LaBranch - vocals.

JGMF:
! JGC: http://jerrygarcia.com/show/1983-12-06-flynn-theater-burlington-vt/
! db: http://db.etree.org/shn/18818 (aud, shnf); http://db.etree.org/shn/123065 (mixed 1st gen auds, flac1644); http://db.etree.org/shn/123066 (mixed 1st gen auds, flac2496);
http://db.etree.org/shn/135010 (this fileset).
! map: https://goo.gl/maps/My2seLLcXhN2
! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/11/flynn-theater-153-main-street.html
! band: http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html. Note that as of 3/23/2016 I am listing DeeDee Dickerson instead of Gloria Jones. It has traditionally been thought that JGB #21a had a very short run, and that Gloria entered ca. 9/30/83. But the paperwork for the late '83 JGB tour is very clear that DDD is in the house.
! R: field recordist: unknown
! R: field recording gear: 2x Sennheiser 441 > Sony TC-D5m
! R: field recording location: Row D
! R: transfer: Playback on Sony TC-D5m to Sony PCM-M10 96kHz/24bit
! R: nice tape. Some very metallic PA feedback early on
! P: d-t02 CJ great CJ! Pretty good scrubbing 11:25 or so, good guitar again 11:52.
! R: e-t03 Someday Baby clips in
! P: e-t03 SB yikes, he can't hit the high notes at all, it's cringe-inducing. Puts some nice guitar effect on 7:25.
! R: e-t04 RFTR clips in
! e-t07 (1) JG: "Thanks a lot. See ya later."
! P: early show overall doesn't really move me, despite a nice CJ.

12/6/83b

Jerry Garcia Band
Flynn Theater
153 Main Street
Burlington, VT 05401
December 6, 1983 (Tuesday) - 10 PM (late) show
Senn 441 flac2496 shnid-135014

--(7 tracks, 78:13)--
l-t01. [0:08] Sugaree [12:57] [0:02] % [0:16]
l-t02. Cats Down Under The Stars [9:30] [0:02] % [0:15]
l-t03. Mission In The Rain [11:21] [0:02] % [0:11]
l-t04. The Harder They Come [10:58] [0:02] %
l-t05. /Gomorrah [5:58] [0:04] ->
l-t06. Dear Prudence [13:05] ->
l-t07. Tangled Up In Blue [13:15] (1) [0:05] %

! ACT1: JERRY GARCIA BAND #21a
! lineup: Jerry Garcia - guitar, vocals;
! lineup: Melvin Seals - organ;
! lineup: John Kahn - bass;
! lineup: David Kemper - drums;
! lineup: DeeDee Dickerson - vocals;
! lineup: Jaclyn LaBranch - vocals.

JGMF:
! JGC: http://jerrygarcia.com/show/1983-12-06-flynn-theater-burlington-vt/
! db: http://db.etree.org/shn/18818 (aud, shnf); http://db.etree.org/shn/123065 (mixed 1st gen auds, flac1644); http://db.etree.org/shn/123066 (mixed 1st gen auds, flac2496);
http://db.etree.org/shn/135010 (this fileset).
! map: https://goo.gl/maps/My2seLLcXhN2
! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/11/flynn-theater-153-main-street.html
! band: http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html. Note that as of 3/23/2016 I am listing DeeDee Dickerson instead of Gloria Jones. It has traditionally been thought that JGB #21a had a very short run, and that Gloria entered ca. 9/30/83. But the paperwork for the late '83 JGB tour is very clear that DDD is in the house.
! JGMF: http://jgmf.blogspot.com/2016/03/jgb-in-phishland-flynn-theater.html
! R: field recordist: unknown
! R: field recording gear: 2x Nakamichi CM-100 (CP-1 capsule) > Sony TC-D5m
! R: field recording media: Sony UCX-S 90! R: field recording location: Orchestra, left, row Q, seat 2

! R: transfer: Playback master on Sony TC-D5m to SOny PCM-M10 96kHz/24bit
! R: l-t01 starts off with some start-of-tape swishing, sounds like a nice pull.
! P: l-t01 Sugaree is characteristically strong for the period. I am really liking the figures he is weaving late 8 over 9, crowd liking it too at 9:15, suggesting fanning 9:25, crowd excited, this is really good guitar, natch.
! R: l-t05 Gomorrah clips in
! l-t07 (1) JG: "See ya later. Thank you."

JGB at The Stone, March 4, 1984 (LN jg1984-03-04.jgb.all.sbd-gmb.85294.flac1644)

Sunday night, 3/4/84, Jerry races out of the building with a 35 minute set II. Nothing much else to report.

Jerry Garcia Band
The Stone
412 Broadway
San Francisco, CA 94133
March 4, 1984 (Sunday)
sbd GMB flac1644 shnid-85294

--set I (5 tracks, 48:57)--
s1t01. //Rhapsody In Red/ [#9:42#]
s1t02. Sugaree [11:21] [0:03] %
s1t03. Simple Twist Of Fate [14:18] ->
s1t04. Run For The Roses [5:10] ->
s1t05. Deal [8:18] (1) [0:05]

--set II (4 tracks, 35:27)--
s2t01. Cats Under The Stars [8:16] % [0:04]
s2t02. Knockin' On Heaven's Door [12:57] %
s2t03. Reuben And Cherise [6:47] ->
s2t04. Midnight Moonlight [7:21] (2) [0:03]

! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: Jaclyn LaBranch - backing vocals;
! lineup: Gloria Jones - backing vocals;
! lineup: David Kemper - drums.

JGMF:
! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.
! JGC: http://jerrygarcia.com/show/1984-03-04
! db: http://db.etree.org/shn/16915 (MSC shnf, deprecated), http://db.etree.org/shn/85294 (this fileset).
! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/07/stone-mothers-412-broadway-san.html
! map: https://goo.gl/maps/tqidL
! band: JGB #21b, THE Jerry Garcia Band (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).
! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/07/stone-mothers-412-broadway-san.html
! ad: BAM, February 24, 1984, p. unk.
! R: Source: Soundboard Cassette Master > DAT
! R: Transfer: Panasonic SV-3700 > M-Audio Audiophile 2496 to Wavelab 5.0
mastering with iZotope Ozone 3 > CDWAV1.9 > FLAC (level 8). Transferred, Remastered and Seeded by Green Mountain Bros. May 24, 2007.
! R: hard to know via whom this soundboard tape entered the light. It is of a piece with 3/2, 3/10 and 3/21, all board tapes circulating from this month. The rumor back in the day was always that band insiders might have been inclined to trade the occasional tape for the occasional bindle of Bolivian Marching Powder, but I can't speak to the accuracy of these dirty rumors.
! R: s1t01 RIR cuts in, clips out
! P: s1t01 vocals are brutal
! s1t05 (1) JG: "We're gonna take a break for a little while, we'll be back in a little bit."
! s2t04 (2) JG: "Thanks a lot. See y'all later."

Tuesday, March 22, 2016

James and the Mercedes demos

The great Stephen Barncard has posted some snippets of 1974 James and Mercedes demos from Weir's place. I had never heard these before.

http://media.barncard.com/audio/history/james-mercedes/

No Garcia Content (NGC). 


Garcia's Creative Accounting, late March 1975

In late March 1975, Peter Simon interviewed Garcia at the "film house"  (230 Eldridge Avenue, Mill Valley, CA, 94941), for publication in New Age Journal (Simon 1975).

NAJ:
You’re also doing a solo album and touring with Merl Saunders. In that you have so many projects at once, how do you channel your energy so productively? 
Jerry Garcia:
Well, things tend to work and overlap, generally speaking. I wouldn’t really be able to concentrate on sitting in front of a movie editing device for eight hours a day; I can do it pretty easily for six, though. I feel my attention is on it and I can do a good job keeping up with it. I like to play music in a studio situation – that can also hold attention for six or eight hours. If I’m on the road, I’m not doing anything during the day; I’m playing evenings. So during the day is a time which is convenient to compose. I might sit around an hour a day just playing the guitar and practicing and maybe learn something and maybe some ideas would come out that are like songs. That represents maybe two or three hours a day on the road where nothing else is happening but television and a gig that night. Usually a gig will take maybe four or five hours, total time actually playing maybe two of those or two-and-a-half. It may look like more, but it isn’t really that much. (Simon 1975, 54).
Note to self: I want to juxtapose this creative accounting with other kinds -- Rakow's, for example --  and with other, perhaps less creative accountings (see "Accounting the JGB: October 8, 1975").

Sunday, March 20, 2016

Reading Notes: Arthur Koestler, Act of Creation

This book has had tremendous impact on me.



  • Single logic of creation comedy, science and art
  • Blurb: "bisociative thinking" – the creative leap which connects previously unconnected frames of reference and makes us experience reality on several planes at once.
  • "there are no frontiers where the realm of science ends and that of art begins, and the uomo universale of the Renaissance was a citizen of both".[1]
  • "I shall call a matrix 'blocked' when its 'rules of the game' prove inapplicable to the existing situation or problem in hand; when none of the various ways of exercising a skill, however plastic and adaptable that skill is, leads to the desired goal."[2]
  • AK's version of "luck favors the prepared mind": "the bisociative act … depends in varying degrees on assistance from fringe-conscious and unconscious processes".[3]
  • "The creative act of the humorist consisted in bringing about a momentary fusion between two habitually incompatible matrices. Scientific discovery … can be described in very similar terms – as the permanent fusion of matrices of thought previously believed to be incompatible".[4] AK is not consistent with this latter piece, which is important. He generally says the matrices had previously to be orthogonal, but here he says they need to have been incompatible, meaning they had already been crossed in some way. Saying they are believed incompatible is saying that their connection is already known. So I think this line is an error.
  • Unifying formula of creation: "matrices with fixed codes and adaptable strategies".[5]
  • "The creative act, by connecting previously unrelated dimensions of experiences, enables [one] to attain a higher level of mental evolution. It is an act of liberation – the defeat of habit by originality".[6]
  • The bisociation becomes permanent: "when to matrices have become integrated they cannot again be torn asunder. That is why the discoveries of yesterday are the commonplaces of today".[7]
  • "Discovery often means simply the uncovering of something which has always been there but was hidden from the eye by the blinkers of habit".[8] Actually, that's kind of what it actually does mean.
  • Why we should all be polymaths, like AK: "the statistical probability for a relevant discovery to be made is the greater the more firmly established and well exercised each of the still [109] separate skills, or through-matrices, are."[9]
  • Discussion of certain ideas being ripe, ripeness, pp. 108-109.
  • Multiple discoveries, p. 110.
  • "fortune favors the prepared mind" AK attributes to Pasteur.[10]
  • "The creative act is not an act of creation in the sense of the Old Testament. It does not create something out of nothing [Mingus to Leary: "You can't improvise on nothing, man"]; it uncovers, selects, re-shuffles, combines, synthesizes already existing facts, ideas, faculties, skills".[11]
  • Hadamard: "The Latin verb cogito for 'to think' etymologically means 'to shake together'. St. Augustine had already noticed that and also observed that intelligo means 'to select among'."[12]
  • "The greatness of the philosophers of the scientific revolution consisted not so much in finding the right answers but in asking the right questions; in seeing a problem where nobody saw one before; in substituting a 'why' for a 'how'."[13]
  • "The evidence for large chunks of irrationality embedded in the creative process, not only in art … but in the exact sciences as well, cannot be disputed".[14]
  • Paradox of science: "A branch of knowledge which operates predominantly with abstract symbols, whose entire rationale and credo are objectivity, verifiability, logicality, turns out to be dependent on mental processes which are subjective, irrational, and verifiable only after the event."[15] I think John Meyer would agree with this!
  • On variation: "static vision does not exist; there is no seeing without exploring".[16]
  • "visual exploration and mental exploration are actually indistinguishable".[17]
  • "When a situation is blocked, straight thinking must be superseded by 'thinking aside' – the search for a new, auxiliary matrix which will unblock it, without having ever before been called upon to perform such a task. The essence of discovery is to hit upon such a matrix – as Gutenberg hit on the wine-press and Kepler on the sun-force".[18]
  • Why unconscious mentation is so important: "the temporary relinquishing of conscious controls liberates the mind from certain constraints which are necessary to maintain the disciplined routines of thoughts but may become an impediment to the creative leap".[19]
  • pp. 170-171 drugs madness art science
  • pp. 172-173 move from verbal thinking – too limited – to visual or auditory thinking.
  • Under heading "the snares of language", he notes that "words are a blessing that can turn into a curse".[20]
  • "in some forms of intellectual activity language is not only an indispensable tool, but … the stream of language actually carries the thought, so that the processes of ideation and verbal formulation become indistinguishable."[21]  What is so useful about this to me is that I often think everything is linguistically constructed. The statement only applies to some forms of intellectual activity.
  • Language can parameterize thought.[22]
  • "The rules of the game, however absurd, cannot be altered by playing that game". "True creativity often starts where language ends."[23] Hmmm, this guy never played "King Beer" in Isla Vista. Or "Calvinball".
  • Dreaming: "Without this daily dip into the ancient sources of mental life we would probably all become desiccated automata. And without the more spectacular exploratory dives of the creative individual, there would be no science and no art".[24]
  • To me this is the clearest statement of AK's perspective on the Creative act: "new synthesis of previously unconnected matrices of thought".[25]
  • In the waking state 'side-stepping', 'shift of emphasis' and related expressions signify a change-over from one frame of reference to another. [i.e., we are serial processors; one other possibility – such expressions can just seem "off", or orthogonal {which they are!}] But while we dream, the coherence of these frames is so much loosened that the change is not experienced as such, and side-stepping becomes almost the normal way of the dream's progress. It is by virtue of its freedom from restraint that the 'dreamy' way of thinking can benefit the creative person."[26]
  • "To undo wrong connections, faulty integrations, is half the game. To acquire a new habit is easy, because one main function of the nervous system is to act as a habit-forming machine; to break out of a habit is an almost heroic feat of mind or character".[27]
  • "The prerequisite of originality is the art of forgetting, at the proper moment, what we know. … Without the art of forgetting, the mind remains cluttered up with ready-made answers, and never finds occasion to ask the proper questions".[28]
  • "The essence of discovery is that unlikely marriage of cabbages and kings—of previously unrelated frames of reference or universes of discourse—whose union will solve the previously insoluble problem"[29]. And the unconscious is the "ultimate matchmaker".[30]
  • pp. 224ff very Kuhnian view of scientific progress, normal science punctuated by creative discovery
  • "All decisive advances in the history of scientific thought can be described in terms of mental cross-fertilization between different disciplines".[31]
  • AK's version of "all observation is theory-laden": "the collecting of data is a discriminating activity".[32]
  • We would call this a Lakatosian view of the relationship between evidence and insight: "What we call 'scientific evidence' can never confirm that a theory is true; it can only confirm that it is more true than another".[33]
  • "Controversy is the yeast which keeps science in lively fermentation".[34]
  • "It has been said that we know more and more about less and less".[35]
  •  Artist-Jester-Sage is his key triptych
  • An "oceanic feeling of wonder is the common source of religious mysticism, of pure science and art for art's sake; it is their common denominator and emotional bond".[36]
  • #music "Contemplation of the 'divine dance of numbers', which held both the secrets of music and of the celestial motions, became the link in the mystic union between human thought and the anima mundi. Its perfect symbol was the Harmony of Spheres – the Pythagorean Scale, whose musical intervals correspond to the intervals between the planetary orbits".[37]
  • "the serious research scholar in our generally materialistic age is the only deeply religious human being".[38] and "the equation of science with logic and reason, and art with intuition and emotion, is a blatant popular fallacy".[39]
  • "To derive pleasure from the art of discovery, as from the other arts, the consumer –in this case the student—must be made to re-live, to some extent, the creative process".[40] All of 265-267 is on teaching.
  • "Art is a form of communication which aims at eliciting a re-creative echo. Education should be regarded as an art, and use the appropriate techniques of art to call forth that echo".[41]
  • "every member of a living organism or social body has the dual attributes of 'wholeness' and 'partness'."[42]
  • "A living organism or social body is not an aggregation of elementary parts or elementary processes, it is an integrated hierarchy of semi-autonomous sub-wholes, consisting of sub-sub-wholes, and so on."[43]
  • "The single individual represents the top level of the organismic hierarchy and at the same time the lowest unit of the social hierarchy."[44]
  • "incongruity—the confrontation of incompatible matrices—will be experienced as ridiculous, pathetic or intellectually challenging, according to whether aggression, identification, or the well-balanced blend of scientific curiosity prevails in the spectator's mind".[45]
  • "our remarkable responsiveness to rhythmically patterned stimuli and our readiness 'to become patterned ourselves' arises from the depths of the nervous system, from those archaic strata of the unconscious which reverberate to the shaman's drum."[46]
  • "The emergence of order from chaos is a leitmotif of all mythologies".[47]
  • "The surest symptom of decadent art is that it leaves nothing to the imagination; the Muse has bared her flabby bosom like a too obliging harlot—there is no veiled promise, no mystery, nothing to divine".[48]
  • "man is a symbol-making animal".[49]
  • "The belly of the whale cannot be made into a permanent residence".[50]
  • "eternity is a pretty meaningless notion—unless it is made to look through the window of time. 'Immensity' is a bore—unless it is 'cloystered in thy deare wombe'. The absolute becomes emotionally effective only if it is bisociated with something concrete – dovetailed, as it were, into the familiar."[51]
  • "This interlacing of the two planes [Tragic and Trivial] is found in all great works of art, and at the origin of all great discoveries of science. The artist and scientist are condemned –or privileged—to walk on the line of intersection as on a tightrope. At his best moments, man is 'that great and true amphibian, whose nature is disposed to live, not only like other creatures in divers elements, but in divided and distinguished worlds'."[52]
  • The liminal spaces get all the interesting traffic: "The great innovators all stand at draughty corners of world-history, where air currents from different culture-climates meet, mix and integrate".[53]
  • Virtuosity is mastering a technical skill. "Genius consists not in the perfect exercise of a technique, but in its invention".[54]
  • "the principal mark of genius is not perfection, but originality, the opening of new frontiers; once this is done, the conquered territory becomes common property".[55]
  • "laughter is sparked off by the collision of matrices; discovery, by their integration; aesthetic experience by their juxtaposition".[56]


[1] Koestler 1975 [1964], 28.
[2] Koestler 1975 [1964], 92.
[3] Koestler 1975 [1964], 93.
[4] Koestler 1975 [1964], 94.
[5] Koestler 1975 [1964], 96.
[6] Koestler 1975 [1964], 96.
[7] Koestler 1975 [1964], 105.
[8] Koestler 1975 [1964], 108.
[9] Koestler 1975 [1964], 108-109.
[10] Koestler 1975 [1964], 113.
[11] Koestler 1975 [1964], 120.
[12] Koestler 1975 [1964], 120.
[13] Koestler 1975 [1964], 126.
[14] Koestler 1975 [1964], 146.
[15] Koestler 1975 [1964], 147.
[16] Koestler 1975 [1964], 158.
[17] Koestler 1975 [1964], 161.
[18] Koestler 1975 [1964], 163.
[19] Koestler 1975 [1964], 169.
[20] Koestler 1975 [1964], 173.
[21] Koestler 1975 [1964], 174.
[22] Koestler 1975 [1964], 176.
[23] Koestler 1975 [1964], 177.
[24] Koestler 1975 [1964], 181.
[25] Koestler 1975 [1964], 182.
[26] Koestler 1975 [1964], 189.
[27] Koestler 1975 [1964], 190.
[28] Koestler 1975 [1964], 190.
[29] Koestler 1975 [1964], 201.
[30] Koestler 1975 [1964], 201.
[31] Koestler 1975 [1964], 230.
[32] Koestler 1975 [1964], 233.
[33] Koestler 1975 [1964], 242. The connection is especially to Lakatos 1970.
[34] Koestler 1975 [1964], 246.
[35] Koestler 1975 [1964], 252. "Althea" would agree.
[36] Koestler 1975 [1964], 258.
[37] Koestler 1975 [1964], 260.
[38] Koestler 1975 [1964], 262.
[39] Koestler 1975 [1964], 264.
[40] Koestler 1975 [1964], 265.
[41] Koestler 1975 [1964], 266.
[42] Koestler 1975 [1964], 286.
[43] Koestler 1975 [1964], 287.
[44] Koestler 1975 [1964], 289.
[45] Koestler 1975 [1964], 305.
[46] Koestler 1975 [1964], 311.
[47] Koestler 1975 [1964], 327.
[48] Koestler 1975 [1964], 342.
[49] Koestler 1975 [1964], 342.
[50] Koestler 1975 [1964], 364.
[51] Koestler 1975 [1964], 364.
[52] Koestler 1975 [1964], 365.
[53] Koestler 1975 [1964], 395.
[54] Koestler 1975 [1964], 402.
[55] Koestler 1975 [1964], 402.
[56] Koestler 1975 [1964], 408.