UCSB '78

Corry has a post on the GD / Warren Zevon / Elvin Bishop / Wahkoo gig at UCSB on July 4, 1978.

I have two followups, a tape beg and a tangential piece of metadata.

First, does anyone have a copy of the Elvin Bishop set, with Jerry sitting in? Apparently there is an aud tape of it.

Second, at http://www.dead.net/show/june-4-1978 commenter jacksondownunder writes

I caught the soundcheck the day before [i.e., 6/3/78]. As I wandered up to the side gate the band was jamming a long instrumental "Dancin'" riff. They eventually stopped and Bobby & Jerry started playing the melody of an old Harry Belafonte song called "Yellow Bird" on twin slide guitars. (I recognized the tune, having heard it on my parent's records hundreds of times.) Then the band started jamming a riff that at the time I presumed was an instrumental vamp of Feat's "Dixie Chicken" (plausible), which is listed above as Iko (possible), but as it followed another Harry Belafonte song it coulda been "Women Smarter" (probable). The half dozen of us kindred strangers made the mistake of applauding and were chased off.

The writer thinks "Women Smarter" more likely, but I am going to go with Iko Iko, which had entered the Dead's rotation in 1977. That's speculative, caveat emptor.


I don't recall that info being in Deadlists, or if that entered the Deadbase 50 updates, but it should be a bit more firmly on the record than I recall it being.

A list of known soundchecks would be fun to see.

Carl Lockett and the Side Trips Social Network

Preface: Reconstruction #2

Jerry Garcia's commitment to Reconstruction never seemed total, a big problem if you're John Kahn, first, and then Merl Saunders, looking to reboot the lucrative Garcia-Saunders-Kahn Fantasy Records franchise. It's no good if the G is wobbly, because "multiracial dance and jazz band with a rotating cast of Bay Area guitarists, including perhaps Jerry Miller or some other hot player who is not Jerry Garcia" may be a fine concept musically --Reconstruction was a frequently hot and risky enterprise-- but a tough sell, not least on evidence of its short, sociometrically-turbulent, falls-off-a-cliff tenure.

Sometimes, and at some point, Reconstruction happened without Garcia. Corry's canonical "Jerry Garcia Band Personnel, 1975-1995" listing (bookmark it!), sociometric data handbook of a big chunk of the historical Garciaverse, catalogs that outfit "Reconstruction #2":

First show-August 4, 1979 Keystone Palo Alto
Last show-September 29, 1979 Keystone Palo Alto

! lineup: John Kahn - bass;
! lineup: Merl Saunders - organ, keyboards, vocals;
! lineup: Ron Stallings - tenor sax, vocals;
! lineup: Carl Lockett - guitar;
! lineup: Ed Neumeister - trombone;
! lineup: Gaylord Birch - drums;
! guest: Jerry Miller - guitar, vocals (for a few shows, presumably in place of Lockett).

Corry notes "It's possible that the last date was actually September 4 in Bolinas, but I am not pursuing that subject in this post", so let me go ahead and ask him for the "short version" in comments. :)

Introduction

My purpose in this post it to drop a few Carl Lockett crumbs I have come across, building up and working around and through a little node in the Side Trips Social Network. Carl Lockett orbits the Garciaverse at one remove, as far as I know. They never shared a stage or an album credit, but they alternated or sequenced as guitar players with Reconstruction. As it happens, they also have a lot of shared ties to others, and I can use this as a case study to map some triadic closure in a little piece of the network topography.

Carl Lockett: Profile

From a little profile I just came across:

Carl Lockett is a Bay Area legend. A musical child prodigy, Carl started out as a drummer, then went to the guitar. By the age of 14, he was playing gigs around the Bay Area, even opening for the legendary Redd Foxx's comedy shows. For over 4 decades, he has made a name for himself in the music industry ... Carl has played live, and on studio albums with Chuck Mangione, Randy Crawford, Jimmy Smith, Joey DeFrancesco, Hank Crawford, Jimmy McGriff, Plaz Johnson, Tammy Terrell, Esther Phillips, The Platters, The Ink Spots, Big Mama Thornton, Jackie Wilson, The Drifters, Papa John Creach, Brook Benton, Dakota Staton, The Coasters, Bill Summers, and David Ruffin. His complete mastery of his instrument and his class and talent, has had him in diverse settings, ranging from a perfect third in a traditional organ trio (touring with Jimmy McGriff and Jimmy Smith), to sitting in for Jerry Garcia when Jerry was unable to make a gig with David Grisman.

In descending order of frequency/intensity of crossings with Jerry this population would sort to Grisman, then probably Papa John (at least a few crossings) and, at the level of shared billings, Big Mama Mae Thornton. Note, at a remove, Jimmy Smith, with whom I believe Merl Saunders studied and/or played. (BTW, note the presumed error in Lockett standing in for Jerry - it was almost certainly not with Grisman, but with Reconstruction.)

Carl Lockett Discography

Discogs identifies 16 credits, which bring out all kinds of stuff. Let me pick some stuff out from across the credit chronology there.

First, Carl Lockett's earliest credit is Walter Hawkins And Selah ‎– Walter Hawkins Selah (Fantasy ‎– 9410, 1972. Merl Saunders and Tom Fogerty produced the record at Fantasy Studios in Berkeley, and Garcia was around - he shares a few credits with Walter Hawkins and the Hawkins Singers (notably on The Group's 1973 Fantasy, Fire Up, catalog 9421).

Second, astute readers will recall that Merl Saunders' ‎ Do I Move You (Crystal Clear Records ‎– CCS-5006, 1979) was mostly comprised of tunes associated in the Garciaverse with Reconstruction, but as Corry has pointed out in comments it did not come after Garcia and Kahn had bailed on the project, but at the front end, recorded just four days after Reconstruction-with-Garcia's debut in late January. So this suggests that Merl brought these tunes into the band, rather than taking them out, as I had surmised.

Recall that John Kahn founded and owned Reconstruction. It meant a lot to him, as I have described in "Risky Reconstruction":

He seems to have had real ambitions for Reconstruction. He saw it as a kind of update to the Garcia-Saunders-Kahn-et-al group which had sold (and continues to sell!) so many records for Fantasy. The outfit would be rebuilt, playing some of the stuff that John had picked out for Jerry's 1974 Compliments of Garcia (Round RX 102, June 1974), notwithstanding that the latter hadn't sold enough to make Round Records viable, some more nightclub numbers and Merl vocals, a beautiful batch of Latin and other jazz, drop some disco danceability and play the black sinner music that John loved so much.  Reconstruction was aptly named, the mixing and mingling of old and new players and materials.... "I want it to last," [Kahn said]. "We're a serious band, and I want it to stay together" (Brown 1979).

Eventually, though, Merl goes from bringing stuff to the table in a partnership to seemingly owning the band. When and how did this happen? I am not really sure. I have a listing for Reconstruction, subtitled "Merl Saunders and Friends", at Frenchy's in Hayward on Monday, 9/3/79; that seems a strange way for John's band to be advertised. The Keystone Berkeley gig on Saturday, 9/22 was demonstrably the original Reconstruction, with Jerry and John, albeit with guest. A week later Reconstruction is booked into the same room, a Saturday night, which means that somewhere Freddie Herrera came to think that Jerry would be present. Yet there are good reasons to doubt he was, since the show never entered The List and the collective memory it inscribes - not impossible, but unlikely. I would infer that around or by 9/29/79 Jerry and John had walked away, and were probably already working stuff up with Ozzie Ahlers (keys) and Johnny D (drums) for the next Jerry Garcia Band.

I pretty much figure that Jerry and John bailed between Saturday 9/22 and Saturday 9/29. John must have assented to Merl taking the name, and he could afford to, given that he had already won the much more lucrative Garcia Loyalty Sweepstakes, a freaking lifetime lottery ticket, John's decisive victory over Merl for control of the Golden Goose. Just a hunch, of course. In November, Merl undertook an east coast tour with a hornless aggregation of name unknown to me (Merl Saunders - keyboards, vocals; Andre Goosland - Guitar; Tony Saunders - Bass; Jay David - Drums; Pamela Rose - Vocals), working a bunch of the same material, but no sign of the name. On 11/29/79 there's a band called Reconstruction playing Rancho Nicasio in West Marin, and then nothing again as far as I can find.

Here are the discog credits for Do I Move You:

Alto Saxophone, Flute – Martin Fierro
Arranged By – Mark Isham, Merl Saunders
Backing Vocals [Background] – Bernetta Rand, Frances Pye, Lynette Stephens Hawkins*, Sherlene Hall, Tramaine Hawkins, Walter Hawkins
Bass – Tony Saunders
Directed By [Technical] – John Meyer
Drums – Larry Vann
Guitar – Carl Locket*
Lead Vocals, Keyboards, Electric Piano, Organ, Clavinet, Synthesizer, Effects – Merl Saunders
Mastered By – Larry Van Valkenburg
Mixed By [Live] – Pat Malonie
Percussion – Kenneth Nash
Producer – Ed Wodenjak, Merl Saunders
Producer [Associate] – Tom Wiggins
Tenor Saxophone – Pee Wee Ellis
Trombone – Ed Neumeister
Trumpet – Mark Isham

Third, after more funk and soul, Lockett again worked for Walter Hawkins on I Feel Like Singing (Light Records ‎– LS-5789, 1982), which includes a couple of Tony Saunders credits (A3-"Do Your Best"; B4-"Try What You May") and rhythm tracks by future 14-year Garcia Band keyboardist Melvin Seals.

Wow.

So, into the Garciaverse, through this node and at this resolution, enters Melvin Seals, who enjoyed the third-longest continuous musical relationship with Garcia, after the Grateful Dead and John Kahn. We also cross Martin Fierro (many dozens of shows with Garcia 1973-1975, and once again on 7/16/88), Tom Fogerty (a few dozen shows with Garcia 1971-1972), Tony Saunders (played with Garcia probably at least a handful of times ca. 1974-1975), Larry Vann (probably shared a stage a time or two with Garcia at The Generosity in 1975, in Merl's band), and Mark Isham (suspected but not established shared stage and probably some shared credits lurking around). The Side Trips Social Network is a small world.

Fourth, Elvin Bishop makes an appearance on Lockett's credits in 1995.

Bishop was present at the Big Bang of the Garciaverse, the Dawn of a particular Man, the portal that opened to become Garcia's name-claiming journey, the 5/21/68 Carousel Tuesday Night Jam, on a cheap handbill on which, right in the eye's spot, we find "Jerry Garcia" billed, an sich, for the first time in the Grateful Dead Era.

Bear recorded it, and, amazingly, the recording circulates freely among fans (shnid-22727). According to Rhoney Stanley (2013, 157-163), Elvin, nicknamed "Pigboy", also provided visual inspiration for the purple pig that Stanley Mouse used to advertise the Carousel Tuesday Night Jams. update: Stanley Mouse says that the visual inspiration for the purple pig was none other than LBJ.

You'll recall that Elvin sat-in with the Hartbeats at the Matrix on October 30, 1968, subbed for him with the Grateful Dead on June 8, 1969 --which, along with August 1, 1969, present the only known times that the Grateful Dead played without Garcia-- and called Garcia onstage for a number to soothe a sunstroked crowd in the football stadium of beautiful UC Santa Barbara on June 4, 1978 . I am sure it's just a coincidence that this was a decade to the day since the June 4, 1968 Tuesday at the Carousel when they jammed together into the night and entered the light of day witness to the assassination of Bobby Kennedy, and a man found his country "fated to keep spinning out of control, down some grim spiral to madness".

Speaking of which, Jerry Garcia and the aforementioned Melvin Seals, who played many hundreds of times together, first did so on that same sunny Santa Barbara afternoon in 1978, when old pal Elvin induced an already opiated-coked-hermetic Garcia to step out and play on his call-to-fun "Right Now Is The Hour" (not, I do not think, as some reports have it, "Goin' Fishin'"), one of the very few times Garcia sat-in with anyone in the hazy decade that bounced lazily and weaved wildly out from the Bicentennial. (Warren Zevon was apparently little better off, guzzling Stoli, heckling the crowd as a bunch of acid casualties, and reportedly booed off that same stage not long after.) I don't have the personnel down, entirely. There were three guests on this tune: Garcia, Chuck Cochran, talented lead guitarist of the Santa Barbara reggae band called Wha-Koo, which had opened the show,and that same band's singer Dave Palmer, joining Elvin band members Jerry McKinney on saxophone, Johnny Vernazza ("Johnny V") on guitar, plus a bassist, Elvin and, perhaps, Melvin Seals. (Keyboards could have been manned by Bill Slais during the Garcia sit-in, but it is not clear -- see Corry.)

Conclusion

Well, here we are. This began as a question about Carl Lockett, and it became a little stroll through aspects of Georg Simmel's notion of triadic closure in social networks, here that two people who have crossed (or nearly done), are also more likely to have crossed some of the same others. It's amazing how bound up these networks really are, so that even though Lockett and Garcia never formally crossed, they are still woven from, into and through patches of the same cloth.

Hartbeats as Tempo Études

LN jg1968-10-30.hartbeats.163mins.sbd-gadsden.xxxxxx.flac1644

Well, we probably won't ever be able to identify everything about the various Matrix Tapes (dates, personnel, etc.), with 100% certainty. But there's no particular reason to doubt that this is something like Mickey and the Hartbeats (here, as Jerry Garcia, Phil Lesh, Mickey Hart, with guest Elvin Bishop on a few tunes) from around Wednesday, October 30, 1968.

Many people find this too noodly, but I appreciate them in all kinds of ways, among them that the middle section (t08-t16) is a like a long tempo Étude. I can appreciate this material as such.

I have listened closely to the bass playing and other context clues in the last fragment. I hear Phil repeatedly speaking and have to conclude that it's Phil-souding-like-Jack, rather than Jack-sounding-like-Phil.

Mickey and the Hartbeats
The Matrix
3138 Fillmore Street
San Francisco, CA 94123
October 30, 1968 (Wednesday)
163 minute sbd via Bill Gadsden 2008 reel transfer flac1644 JGMF

(23 tracks, 163:04)

t01. noodling [0:53] ->
t02. Dark Star [17:09] ->
t03. Death Letter Blues [8:57]
t04. talk (1) and tuning [2:19]
t05. The Other One // [15:57#] %

t06. talk and tuning [0:30] %

t07. // Turn On Your Lovelight [#9:30] [0:09] %

t08. talk (2) and tuning [0:40]
t09. noodling (New Potato Caboose theme) [1:10] ->
t10. talk (3, 4) and noodling [3:48]
t11. Clementine [3:57] ->
t12. The Seven [9:30] ->
t13. Elevens, Sevens and Sixes [2:04] ->
t14. The Eleven [7:35] ->
t15. Death Don't Have //% No Mercy [8:#32] (5)
t16. talk (6) and tuning [1:18]
-enter Elvin Bishop-
t17. untitled 19681030a [14:53] ->
t18. untitled 19681030b [6:20] (7) [0:10]
t19. talk (8) and tuning [0:33]
t20. Prisoner Blues [10:49] (9) [0:05] % [0:09]
-exit Elvin Bishop-

t21. ... The Seven [9:29] (10) [0:35]
t22. tuning and talk (11) [6:39]
t23. Dark Star ... [19:10#]

! Band: Hartbeats
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Phil Lesh - el-bass;
! lineup: Mickey Hart - percussion;
! guest: Elvin Bishop - el-g (t17-t20), vocals (t20).

JGMF:

! R: 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.

! Jerrybase: https://jerrybase.com/events/19681030-01

! db: http://etreedb.org/shn/1205 (Gadsden/Wise/Sacks, presumed same source tapes, but older transfer than the present fileset); http://etreedb.org/shn/112737 (PNW flac2496 presumed lineage MSR (Abrams) > R (Kafer) > R @ 7.5ips (Will Boswell) > digital, leading me to believe that 112737 has an extra reel gen, since IIRC Gadsden in 2008 transfered the Kafer "1st copy" reel, which is represented in this fileset; 112737 is also mono); http://etreedb.org/shn/116833 (Berger flac2496 from Moore unlineaged stereo reel, TT 89 minutes (so "incomplete).

! Deadlists Comments [abridged]: The 'On The Town" column in the San Francisco Chronicle newspaper, by Ralph J. Gleason, which which gave listings of what bands were playing locally, says that "Jerry Garcia & Friends" are playing at The Matrix" on these dates (see the San Francisco Chronicle for Monday October 28, 1968 p. 45). Bobby and Pigpen were absent. On page 26 of issue #34 (Summer 1996) of Dupree's Diamond News, Dick Latvala stated in an interview 'What I know exists in our Vault are the shows, and they are on four-track 15 i.p.s." and 'There are two dates, 10/28 and 10/29, both of which have four reels. On 10/30 there's a Dark Star Jam into a Jerry vocal, could be Death Letter Blues'. He also stated 'That's what's written on the box. I haven't listened to it.'"

! Historical/dating: Note that Dick's statement contradicts itself in saying that there are two days (28 and 29) but then describing what's on the tape of the 30th. I do not know whether the GD Vault copies are masters, copies from Abrams's house tapes, or something else. I suspect they're copies from Abrams's house tapes, but I do not know for sure. Regarding how this relates ... [edit: not sure where I was going to go with that]

! R: Tape Provenance: Peter Abram's 7" 1/4 track SBD reels @ 7.5ips > Peter Kafer/Bill Gadsden's 7" 1/4 track Maxell reels @ 7.5ips > Revox B77 playback > Alesis Masterlink (sampling @ 24 bit, 96kHz) > CD > EAC > CDWave > TLH (FLAC level 8) > foobar2000 (tagging).

! R: the sound quality is what you'd expect for a Matrix Tape. This is a stereo recording.

! historical: on shnid 116833 Berger speculates that only the first 90 minutes is from this date, while the rest is from 10/8/68. I don't think so. I have listened to and noted both, and I can confirm that the talk around the various pieces of music is different. I haven't A-B'd them directly, which would seal the deal, I think.

! P: t02 Dark Star: Phil Lesh is a monster right from the get-go. He is fiercely melodic right from the start. This really is an attempt to have two lead instruments simultaneously, because Lesh and Garcia are on the same plane. Jerry seems to quote Tighten Up @ 1:49, and he's still dancing with some of that feeling around 2:15. Very sweet stuff. . Back to Star at 2:30. @ 6:24 Garcia quotes Born-Cross-Eyed for a a little bit. At 11 min mark things take a darker, slower turn. While JG is signalling the return of Dark Star @ ca. 13:00, Mickey makes a little statement on the toms. Jerry considers but re-asserts Dark Star. Mickey and Phil assent, Mickey picking the scrapy-turny things again and Philip doing his Dark Star melodic statement. That rough breadcrumb framework established, Garcia wanders around again, but with Dark Star now providing a tighter backbone.

! setlist t03 Death Letter Blues is the Leadbelly song (see Jackson 1987); @ 6:24 Jerry early engagement with a little bit of what would become the And We Bid You Goodnight/Goin' Down The Road Feelin' Bad theme. This is just about a one-off version.

! t04 (1) JG: "Thank you. Uhh, I might explain, uh, that we're ...we're really here just playin' ... just goofin'. I mean, we really don't have anything in mind or anything. Yeah. (laughs) We're just thrown together by fate ... and so we're uh playin' Fate Music. Also called Luck Music." Someone else: [inaudible]. JG: "Good one, good one. ... fateful."

! P: t05 TOO @ 7:20 Jerry starts a crazy hot, pretty fast 12-beat up-down pattern -- very unique. Phil hears the promise and jumps on it right away. @ 8:17, a little Latin feel. Jerry picks up that earlier progression @ 8:31. It's real nice, very power-tro-ish. Not quite Latin (though there were some Spanish inflections between the two groups of 12-note runs), but hot as hell. @ 8:52-9:02 Phil lands on some pretty deep two-beat march space, then a little Spanish 4-beat, then they are back on the Other One by 9:15.

! R: t05 TOO cuts out.

! R: t07 Lovelight cuts in.

! t07 Lovelight is insrumental.

! R: t08 there are various tape splices and some static during this long tuning

! t08 (2) can hear Elvin Bishop say something like "Let's play, man." @ 0:35 JG: "I don't think we have any straps. ... I'll sit down [?if we need?]." Maybe they are looking for a guitar strap for Elvin.

! t10 @ 1:49 (3) Mickey Hart: "Hey Ram?" Ramrod: "Yeah." MH: "Did you get the hammer? Did you get the [inaudible]?" More inaudible talk.

! t10 at end (4) Phil Lesh: "Wanna try the six?" JG: "Yep. Sure."

! setlist: t11 Clementine: This is an instrumental version. See LIA's post for an analysis of the song and how this version fits into its short, uneven history.

! t12 The Seven: I track "The Seven" where I track it, but the whole 3-minute range of "Clementine" is really the gradual transmogrification of The Six into The Seven. I put it here because I take Mickey's hard assertion of the tempo at this point to signify the change. Since this is a series of tempo Études, well, the tempo *constitutes the "song".

! P: t12 This version of "The Seven" , notes from a musical person, MJ: "3/4 time jazz waltz, but technically not because and it swung of course because it was a jazz waltz. If it is a 6/8 it's slow. The fact that it's swung means that if it was a normal 6/8 it would ... usually if it's in 6/8 at a normal speed ... so the combo of 6/8 with swing beat makes it unusual. A slow 6/8. Sounds more like a 3/4" to MJ.

! P: t12 Note the sequence: "The Six" -> "The Seven" -> "The Eleven" ... this is a tempo Étude. Insofar as we like attributions from The Horse's Mouth, we might even consecrate (by officializing, naturally) this track as "The Six", per Phil's identification (see note 4, above).

! t13 @ ca. 0:13ff Jerry is playing The Eleven while Phil is back to Clementine/The Six! @1339 hear someone say something. Now Phil is playing The Seven while Garcia is playing The Eleven. That's really what Hartbeats is all about. Mixing tempos. Garcia is mostly staying on 11/8, while Phil plays around with sixes (Clementine) and sevens. So I am just coining a term for this: Elevens, Sevens and Sixes.

! t14 The Eleven is instrumental.

! R: t15 DDHNM a little static @ 0:53, 1:14; hiss seems to come up during this track.

! R: t15 DDHNM splice @ 5:08, unknown amount missing.

! t15 (5): JG: "Thank you."

! t16 (6) JG: "Well, where's Elvin? Where'd he go? Where'd that skunk go? Where'd he go?"

! personnel: t17 Elvin Bishop is present from this point forward (from 94 minutes in). As far as I can hear, he is only present until the end of t20 (about 33 minutes).

! t17 untitled 19681030a is a nice mournful theme. It has a name, I think (hence me calling it untitled 19681030a-I think this can be substituted with an actual name ... if it were just a theme, I might have called it "mournful theme" or something like that). Before the track mark, you can hear Jerry asking something like "what's that tune?" I want to say that it's probably an Elvin Bishop melody, but I have no idea. It's really pretty. Damnit, what is the name of this? It surely has a name. @ 6:38ff Elvin is doing a theme that sounds almost related to New Potato Caboose thing. It sounds a little bit like Donovan's First There Is A Mountain, as well. @ 7:40 quotes The Seven a little bit. He, especially, is focused on these tempo Études. In the 11-12 minute marks it has more NPC feel. Around 12 minutes in, someone yells a change to someone else, but I can't hear what it is. Things slow down. By 14-min mark Phil is referencing The Seven again. @ 14:18 Garcia takes up a four note repeating thing, and then by 14:30 he is doing a slowed-down version of his ending riff from Born Cross-Eyed! His work here is very much more reminiscent of early 1968 than of, say, the Fillmore West shows four months later.

! t18 untitled 19681030b is a blues instrumental. It sounds very similar to Prisoner Blues. It cooks pretty well. In the late 3-min mark it has a little Death Letter Blues vibe. In the 4-minute mark Jerry and Elvin have some very nice call-and-response going ... Jerry is being the gunslinger here, for sure.

! t18 (7) JG seems to say "That's right" at the end. Then he says, obviously in answer to a query about what to play (presumably from Elvin): "Anything you like. Just start it."

! t19 (8) JG: "JG: "Hey, you got a vocal mic for over at that end? Elvin's gonna sing one." He's smiling behind his (?non-? beard) as he mentions Elvin singing.

! setlist: t20 Prisoner Blues: This is presumably just a way of being conventional about this. It's not a song so much as a theme around a slow blues.

! t20 (9) Elvin Bishop: "Thanks."

! setlist: We can't know for sure if the stuff from this last piece (t21-23, 35+ minutes) is from the same night as the other material. For that matter, it's really impossible to know whether anything on opposite sides of any tape discontinuity is from the same night. This could be snippets. I have separated out what I view as the different pieces with an extra line in the tracklist. I don't know that it is from one night or several, and I am not trying to sow obscurity or confusion. We might as well assume that this is from the same night and that that night is approximately correctly dated as October 30, 1968. I mention this only to get in front of the question that might arise from the presence of "repeat" engagements with The Seven and Dark Star. Given the exploratory nature of these Hartbeats dates, it's entirely possible that they took repeated, separate passes at these tunes. But it's also possible, given the nature of Matrix Tapes, that this material is a separate snippet from a separate night or set.

! personnel: There is no second guitar on the last piece.

! R: t21 The Seven cuts in.

! t21 @ 1:36 JG is yelling something. Sounds like he says "It all falls in, man", mentions Phil and the bass.

! t21 (10) JG: "That's not necessary. You don't really have to do that. We're ... uhhh ... We're here primarily to screw around. And, uh .. so don't expect anything that isn't screwing around. Because everything we're doing is screwing around unless otherwise stated in advance." JGMF NB this makes me think this piece is from early in a set/show/date.

! R: t22 tick @ 1:16.

! t22 (11) Phil Looney Tunes goof @ 2:45. They are talking about drinks, I think. Phil asks "Ohhh, 7-Up this time?" @ 4:11 Mickey says "Hey Ramrod?" Around 6-minutes in Mickey's gear is ready and he says "OK, now let's play." So this long interlude sounds like it was to do with gear. Indeed, the drums seem to be audible in the right at the start of the track, then move middle/left. Phil: "A little bossa nova, huh?" JG: "Bossa nova?"

! t23 compare this Dark Star with the "November 1968" version. This one starts off with the bass and guitar together, jumping right into the guiro -- a classic start to primal Dark Star. I think that one is different.

! R: t23 hard for me to tell if it's a tape fade (I think it is) or if they just soften to a close with Dark Star.

REFERENCE:
Jackson, Blair. 1987b. Roots, part 14. Golden Road no. 14 (Summer): 44.