Wednesday, April 27, 2016
Tuesday, April 26, 2016
RIP Michael Hunt
http://www.marinij.com/arts-and-entertainment/20160415/michael-hunt-who-made-marin-rock-history-booking-rock-stars-at-the-lions-share-in-the-1970s-dies-at-73
Sunday, April 17, 2016
Banjo
Dubois, Laurent. 2016. The
Banjo: America’s African Instrument. Cambridge, MA: Belknap Press of
Harvard University Press. en route as of 20160417
Keïta, Cheick M. Chérif. 1995. Massa Makkan Diabaté: Un Griot mandingue à la rencontré de l'écriture. Paris: Éditions L'Harmattan. to read
Keïta, Cheick M. Chérif. 1995. Massa Makkan Diabaté: Un Griot mandingue à la rencontré de l'écriture. Paris: Éditions L'Harmattan. to read
Saturday, April 16, 2016
The Mecca
These Dead shows from The Mecca in Milwaukee, WI, from April of 1989 are outstanding.
Garcia is burning a hole in the atmosphere in "Little Red Rooster", of all places. This band is Locked. In.
Garcia is burning a hole in the atmosphere in "Little Red Rooster", of all places. This band is Locked. In.
Saturday, April 09, 2016
Investing in Marmaduke
Some notes-to-self.
Corry:
I do think this slips a little into "functional fallacy", of postulating as the cause of some beneficial thing the mere fact that it is beneficial, ergo, folks must have wanted it and caused it to be produced. It might have been that they loaned him a bunch of money as friends, and then contributed so as to increase the probability of future repayment. So that would be "money -> idea" rather than "idea -> money" (in which case we are 180 degrees from our usual positions).
LIA seems to agree that the idea of Dawson as a "solution" doesn't follow from what we know: "we don't know what the purpose of the Dawson demo was, if Garcia himself had any plan or record-label in mind, or if Dawson just wanted to shop around various companies, or if there was thought to be any leverage from Dawson's 'Dead connection'."
Either way, cool insight: this is "as if" it were an early investment in a more diversified portfolio of commercializable music - absolutely fascinating.
Corry:
The Grateful Dead family was interested in turning John Dawson into a recording artist as early as 1968, and willing to spend their own studio time to do it, even though nothing ever came of it, so the New Riders project can be seen as a solution rather than a random idea.
I do think this slips a little into "functional fallacy", of postulating as the cause of some beneficial thing the mere fact that it is beneficial, ergo, folks must have wanted it and caused it to be produced. It might have been that they loaned him a bunch of money as friends, and then contributed so as to increase the probability of future repayment. So that would be "money -> idea" rather than "idea -> money" (in which case we are 180 degrees from our usual positions).
LIA seems to agree that the idea of Dawson as a "solution" doesn't follow from what we know: "we don't know what the purpose of the Dawson demo was, if Garcia himself had any plan or record-label in mind, or if Dawson just wanted to shop around various companies, or if there was thought to be any leverage from Dawson's 'Dead connection'."
Either way, cool insight: this is "as if" it were an early investment in a more diversified portfolio of commercializable music - absolutely fascinating.
updates
LIA comments "If indeed the Dead were giving some of their studio time to an old buddy, it strikes me as a precursor to the Round Records idea", an interesting thought. JGMF, in comments:
JGMF, in comments, where apparently I have already had the same urge to think through the titular proposition. At least I agree with myself that this is interesting!
LIA comments "If indeed the Dead were giving some of their studio time to an old buddy, it strikes me as a precursor to the Round Records idea", an interesting thought. JGMF, in comments:
I agree with LIA (in comments) and you that Round becomes the formalized expression of some basic elements of the Garciaverse: he wanted to help out his friends with paying gigs, and the world demanded that he monetize himself (in addition to giving time, effort and layers of skin) to achieve that. For all of his other flaws, Garcia was an unusually generous friend. Think about how many lives were "made," how many properties in Marin and Sonoma made affordable, by professional involvement with Jerry. Man had the Midas Touch.
JGMF, in comments, where apparently I have already had the same urge to think through the titular proposition. At least I agree with myself that this is interesting!
[Corry says] "I find it strange that no record company was interested in John Dawson's demos." Here's a flyer: maybe the record companies insisted on some demonstrable GD/Garcia connection, e.g. a playing contribution from Jerry, as a condition of signing on his friends? This necessity drove (at least to some extent) Garcia's constitutive role in the NRPS, which is consistent with your idea that the NRPS was a solution (a band with Garcia, i.e., one that could sell records) to a problem (Jerry's desire to help his ol' pal Marmaduke).
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:
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
'Kidd' 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.
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".
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:
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.
! db: http://etreedb.org/shn/15850 (same source reel,
probably different source DAT and definitely more primitive DAT > CD
transfer - deprecated); http://etreedb.org/shn/132401 (this fileset - best
source).
! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/12/freeborn-hall-uc-davis-104-freeborn.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 Beacon Theatre 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.
Tape of the JGB's first New York City gig, at the Beacon Theatre 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.
! Jerrybase: https://jerrybase.com/events/19751028-05
! 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://etreedb.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.
! 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://etreedb.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.
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