Jerrybase: https://jerrybase.com/events/19911115-01
The Red Light folks tagged GarciaLive 16 (MSG 11/15/91) with the subject line, and I have to say that it's badass. That crew does a good job, IMO. I am not kissing up. It's a hard job and they have released some amazing stuff. And that's just a good line. Tip o' the cap.
I wanted to post my review of this release from Grateful Dead Studies.
It contains some pretty good distillations about which you will read again in Fate Music.
The performance by the ... JGB at Madison Square Garden on November 15, 1991, represents the acme of Garcia’s solo career, the culmination of a nearly quarter-century name-claiming journey by which he established his identity as an individual American musician, Jerry-Garcia-full-stop, beyond and distinct from his wider fame as Jerry-Garcia-of-the-Grateful-Dead....Jerry Garcia never planned a solo career; it just sort of happened as he sought more and different avenues for expression than the Dead allowed. Inchoate jams at the Carousel Ballroom became tempo études (“Mickey and the Hartbeats”) at the Matrix, which became regular but musically formless Monday night jams with Howard Wales, which morphed into ongoing and more musically grounded gigs with Merl Saunders. Even after four years, the amorphous aggregation resisted naming itself, going by “The Group” in the Bay Area, or just listing members’ names, before coalescing into “Legion of Mary” for its last eight months. The meantime saw numerous aggregations under other (and others’) names, playing diverse musics, cutting some records, running some drive-by tours, and banking an increasingly sizeable pile of accomplishments, including the country New Riders of the Purple Sage, the space-jazz Hooteroll? proj- ect with Wales, and the incandescent bluegrass all-stars Old and In The Way. Otherwise off-nights found Garcia making a singular solo record, engaging protean Dawg Music (David Grisman’s Great American Music/ String Band), renewing bluegrass ties with the Good Old Boys, vibrating electrons with Ned Lagin, and making time for a vast array of sessions, sit-ins, dalliances, and one- and few-offs.But the Jerry Garcia Band (1975–1995) bore his name, and it played the music its eponym liked, the way he wanted to play it. Over the years the JGB, always featuring Garcia’s friend bassist John Kahn but with an evolving array of other musicians, grooved to soul, R&B, Motown, contemporary gospel, reggae, and other Black idioms that fit the band’s changing personnel, especially after the arrival of church organist Melvin Seals in 1981 and his handpicked backing vocalists starting the next year. A second tranche of cover tunes drew from the contemporary White Anglosphere, both the British Isles and North American settler colonies, heavy on the Americana. Garcia-Hunter originals, some shared with the Dead and others exclusive to the JGB, rounded out the repertoire. The six players integrate seamlessly. This is the canonical Jerry Garcia Band, a lineup that lasted 1984–1993, the core three plus steady David Kemper on drums and harmony vocals by Jackie LaBranch and Gloria Jones, Oakland church singers with day jobs who took to calling themselves the Jerryettes.
Read the whole thing as they say. I dig this show, and I dig imagining how this son of an immigrant musician might have felt seeing that family name in lights at the Garden.