Showing posts with label 1991. Show all posts
Showing posts with label 1991. Show all posts

Monday, July 31, 2023

"the world’s most recorded musician in the world’s most famous arena"


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.


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.

Tuesday, July 04, 2023

About Last Night

Hell may freeze over, but here I am. A new man. (Call it my epitaph for JGMF.) But I am going to post about the Post-Jerry-Garcia-Grateful-Dead-Cinematic-Universe (PJGGDCU). Just read Selvin 2018 for a sense of things. I think Thoughts On The Dead coined an acronym for this which is of course canon. I am just goofin'.

I have been mostly lukewarm, and so not paid much attention, to all of the members' doings since 1995. Phil in April 2000 from the 3rd row was utterly antiseptic, all brain and no soul. Ratdog in whatever year I went to the Tower Theater, we left at setbreak. Man needs his sleep. I never saw any of the others, I don't think, until Dead & Co., which I have seen a number of times because they come to me at Folsom Field. I have enjoyed those days in Colorado and grooving around, but the music was mostly incidental.

All that said, last night at Folsom Field was the first time I have felt the magic since I was in the same space as Jerry, that being:

GD August 14, 1991 at Cal Expo in Sacramento; and
GD December 28, 1991 in the Coliseum Arena in Oakland

Both were good, though I am not a fan of Vince's sound. The main thing was that I had to shift my energy to new things.

32 years later, I felt just a little bit, a flash, of that same ol' magic. I did the whole weekend volunteering with campus Guest Relations to wristband folks with floor seats for the first set, then free to roam in the second.

It was absolutely wonderful. If you have talked to me for 1 minute, you know I love Colorado with all my heard. I love Boulder. You know I love the University of Colorado Boulder. You know I love My People: Scholars, Students, Staff, Heads and Other! And you know I LOVE music.

It was all that! I think I may now be up to the mountains for some backpacking.

Monday, November 22, 2021

The "Little Cash Cow," Fall 1991 Edition

 

Table xxx. JGB Gig Income, Fall 1991 Tour

Table xxx. JGB Gig Gross and Income, Fall 1991 Tour


Monday, January 18, 2021

I need to post the relatively indifferent notes, as well: JGB, November 6, 1991 - Cap Centre, Landover

jg1991-11-06.jgb.all.aud-Brotman-Metchick.151224.t-flac1648

Skimming the cream is a natural tendency - who doesn't like cream? But I need to post a more representative sample of things.

Generous benefactors have recently put together and circulated the integral collection of Dave Brotman / Jeff Metchick's FOBs of the November '91 Garcia Band tour. Every show, same tapers, very nice for evaluative purposes because at least some factors are quasi-experimentally controlled. Oh, and the tapes KILL. I had a plan to listen through chronologically to the whole tour, but I won't be able to do it. It's one thing to do it with the Dead's Europe '72, when every night contains some of the best music ever made, *and* my OCD allows me to just listen while pedaling. It's too much to ask to put Jerry's bar band on, and to engage my OCD with notes, etc. etc. -- not something I can do while doing other things, to the same extent. And the payoffs just aren't that great.

That said, I did start with 11/6/91. My God, what a tape! Seriously, I have never heard something come out of that arena that sounded this good. So, first tip o' the cap to the tapers, and thanks to all involved in getting these amazing field recordings into general circulation with reliable metadata, etc.

The show, conversely, does not move me. Even Don't Let Go didn't earn a single note from me. And this is not just a period effect: I have just listened to another show from the same tour/tapers, and it blew me away. I will post my report at some point. So maybe it's just a mediocre night. Maybe just a warmup. Remember that this band had only played two shows --8/10 and 8/24-- since May. It seems reasonable enough that they'd need to shake off some cobwebs.

So, there we are: AMAZING tape, meh show. But I happen to know that better things would be yet to come on the tour.

Jerry Garcia Band
Capital Centre
1 Harry S. Truman Drive
Landover, MD 20774
November 6, 1991 (Wednesday)
Brotman-Metchick MAD shnid-151224

--set I (9 tracks, 8 tunes, 73:17)--
s1t01. ambience [1:37]
s1t02. Cats Under the Stars [9:24] [2:02]
s1t03. Stop That Train [7:53] [1:37]
s1t04. You Never Can Tell [7:52] [0:33]
s1t05. Run For The Roses [5:27] [1:10]
s1t06. Simple Twist Of Fate [13:18] [1:01]
s1t07. Ain't No Bread In The Breadbox [7:36] [0:10]
s1t08. My Sisters And Brothers [3:52] [0:10]
s1t09. Deal [9:25] (1) [0:10]

--set II + encore (10 tracks, 8 tunes, 84:28)--
--set II (8 tracks, 7 tunes, 
s2t01. ambience [1:48]
s2t02. The Way You Do The Things You Do [12:20] [1:20]
s2t03. Waiting For A Miracle [5:49] [0:15]
s2t04. Money Honey [7:11] [0:48]
s2t05. Shining Star [10:19] [0:52]
s2t06. Struggling Man [7:44] [0:18]
s2t07. Don't Let Go [15:28] [0:17]
s2t08. Everybody Needs Somebody To Love [12:05] (2) [0:06]
--encore (2 tracks, 1 tune, 7:48)--
s2t09. ambience [0:39]
s2t10. What A Wonderful World [6:56] (3) [0:13]

! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia - el-g, ac-g (s1t03 only), vocals;
! lineup: John Kahn - el-b;
! lineup: Melvin Seals - keyboards;
! lineup: David Kemper - drums;
! lineup: Gloria Jones - vocals;
! lineup: Jacklyn LaBranch - vocals.

JGMF:

! R: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [x:xx] = 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: https://etreedb.org/shn/16671; https://etreedb.org/shn/85429; https://etreedb.org/shn/87588; https://etreedb.org/shn/87600; https://etreedb.org/shn/137703; https://etreedb.org/shn/151224 (this fileset)



! venue: First Jerry Band show in this shed after 21 GD gigs.

! review: [positive] Joyce 1991. Took a few tunes to warm up, Joyce says, but "soon enough ... Garcia, firmly underpinned by bassist John Kahn and drummer Dave Kemper, was unfurling long, flowing, effervescent guitar improvisations or yielding the spotlight to organist Melvin Seals, who waxed both earthy and ethereal on a Hammond console."

! R: field recordists: Dave Brotman and Jeff Metchick

! R: field recording gear: 2x Schoeps CMC34 (ORTF) > Tao Research > M1000 cables > Panasonic SV-255mod (16/48) > Master DAT

! R: field recording location: FOB

! R: transfer: Master DAT > Panasonic SV-3800 (spdif out) > Digigram VX Pocket sound card > Panasonic Toughbook (spdif in) > Steinberg Nuendo > WAV 1648, by Anonymous. Edited & Mastered (Adobe Audition) by Joe Noel, December 16, 2020.

! R: seeder notes: - Thanks to Dave Brotman & Jeff Metchick for recording the show. - Thanks to Anon for the transfer, while hiding out away from the Bay Area. - Thanks to Ted Mattes, aka 'Postmaster General' for organizing this project. - Each tape was adjusted electronically & mechanically in the SV3800 to ensure proper play. - None of these tapes have emphasis.

! R: Right out of the gate, this tape kills. Oh man. Bravo, gentleman, and thank you! This fileset emerged in late 2020 with the entire tour recorded by these guys with this gear. I can't wait to spend more time with these lovely recordings!

! P: s1t04 YNCT he is a little unsure of the words throughout.

! P: s1t06 STOF is extremely careful and gentle. John starts his feature about 5:20 and it is suitably fluttery until floating to a close at 7:30. JG brings a bit more volume after that.

! P: s1t07 ANBITB Melvin is playing piano here, and it's really nice. Sounds kinds of Hornsby-ish.

! s1t09 (1) JG: "Thanks a lot. We'll be back in a few minutes."
! P: s2t02 TWYDTTYD goes out around 8:40. Man, I love this vintage of the song. So interesting.

! P: s2t06 Struggling Man a little sluggish out of the gates. Definitely too slow for my taste.

! s2t08 (2) JG: "Thanks a lot. See ya later."

! s2t10 (3) JG: "See y'all later."

Friday, November 23, 2018

Morse Codes as Light, Sweet and Lyrical: JGB at the Worcester Centrum, November 13, 1991

LN jg1991-11-13.jgb.all.aud-mutterperl.81368.flac1644

I can't believe this is my first write-up of a Fall '91 show. I haven't really dug into this tour the way I need to. It's good.


Jerry Garcia Band
The Centrum
50 Foster St
Worcester, MA 01608
November 13, 1991 (Wednesday)
Mutterperl MAD flac1644 shnid-81368

-- set I (8 tracks, 69:00)--
s1t01. How Sweet It Is (To Be Loved By You) [7:01] [1:12]
s1t02. They Love Each Other [8:06] [1:01]
s1t03. The Hunter Gets Captured By The Game [7:05] [0:30]
s1t04. Dear Prudence [12:19] [1:12]
s1t05. Like A Road Leading Home [8:46] [0:46]
s1t06. Money Honey [6:05] [0:19]
s1t07. Señor (Tales Of Yankee Power) [5:57] ->
s1t08. Deal [8:36] (1) [0:06]

--set II (7 tracks, 60:01)--
s2t01. [0:15] The Way You Do The Things You Do [11:42] [1:35]
s2t02. You Never Can Tell [6:58] [0:12]
s2t03. Waiting For A Miracle [5:38] [0:10]
s2t04. Shining Star [12:56] [0:50]
s2t05. Ain't No Bread In The Breadbox [9:08] [0:14]
s2t06. My Sisters And Brothers
s2t07. Midnight Moonlight

! ACT1: JGB #21b (THE Jerry Garcia Band)
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: David Kemper - drums;
! lineup: Jacklyn LaBranch - backing vocals;
! lineup: Gloria Jones - backing 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/19911113-01

! db: https://etreedb.org/shn/16377 (Schoeps shnf); https://etreedb.org/shn/87502 (Carpenter MAC); https://etreedb.org/shn/81368 (this fileset).

! band: http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html

! map: https://goo.gl/maps/wa6DgDz7wmq

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/centrum-50-foster-st-worcester-ma.html.

! Review: Morse 19911114; Fusaro 1991. Morse: "If the ever-mutating Dead are draining some of Garcia's energy lately, as he has said in recent interviews, then you can see why he's refortified by his solo band. They're a comfortable, even-keeled quintet that played a sublime oldies party for a near-sellout 12,000 fans last night. ... The band is a lighter, more sweetly lyrical forum for Garcia, who avoids space jams in favor of tight, to-the-point soloing and deft rhythm chops. It's the same modus operandi as the Dead: no talking, just music. But it's a smaller band and he has less to compete against."

! note: video of set II circulates and is visible on youtube.

! R: field recordist: John Mutterperl

! R: field recording gear: FOB Schoeps CMC 44 blue dot cards with 90 degree capsule offsets > 6' Monster M1000 cable -> Oade PS -> 1' Monster M1000 > Oade mod'd Panasonic Sv-255.

! R: field recording location: FOB;  Mics were hung from a necklace, just under chin height with roughly a 4 inch spread and 90 degree angle.

! R: Transfer:  MAD > B. Fried DAT > B. Koucky DAT > Sony PCM-R500 playback > S/PDIF > Presonus Firebox > Firewire > PC, XP Pro > Wavelab 5 (recorded as 24 bit/48 KHz WAV) > Waves L3 Multimaximizer, high res CD rendering settings (Waves IDR type I dither/ultra shaping) > 16 bit/44.1 KHz WAV > CDWAV 1.9 > WAV > FLAC (level 8). Transfer and encoding by C.Ladner. Seeded @ bt.etree.org by the Green Mountain Bros, 1/2007.

! seeder comments: This recording is the same source as the shn set I circulated 4 years ago from a CDR source.  This flac fileset is derived from a higher bit/sample rate digital transfer of a lineaged DAT without the EAC/DAE generation.  The sound quality is spectacular for an audience recording and the performance is arguably one of the best of '91 outside the Warfield homebase.  Also this show features a rare live performance of "When The Hunter Gets Captured By The Game" (#8 [sic: 12] of only 10 [sic: 14] ever [sic: known versions]).

! R: really nice tape.

! P: Solid overall, though he (or I) ran out of gas toward the end.

! P: s1t03 THGCBTG excellent version, almost no lyrical flubs. See my "The Hunter Gets Captured by the Game" for more on this great tune.

! s1t08 (1) JG: "We'll be back in a few minutes."

Sunday, April 01, 2018

Certainly One of the Best and Most Interesting Shows of the 90s: JGB, March 1, 1991, Warfield

This is widely understood as one of the great Garcia Band shows of the 1990s, and I don't disagree. 

The setlist showed lots of novelty. "Struggling Man" had returned 11/20/90 (previous: 9/15/79 w/ Reconstruction). HAGYN had returned 1/30/91 (previous: 8/16/76 w/ JGB #3). Money Honey returns this night for the first time since 8/9/80. 4th Street returns this night first time since 2/23/80. ENSTL had debuted 1/29/91. So there's certainly evidence of Garcia challenging himself to do some interesting things. 

Performance-wise, maybe I was just hearing things, but both sets start with some ad hoc noodling/jamming, which is freakishly rare in the Garciaverse - I can't really think of any other instances of this, period. 

Set I doesn't strike me as exceptional but set II does, especially the last four tunes. Russian Lullaby is peppier than usual, and the band knows better than to let John try to go it alone during his feature. The Don't Let Go is truly exceptional, a candidate for best of the 90s (along with 2/6/94 in my book [see nick]), and even best post-coma (but see 5/19/89). (I don't compare the '88 versions which I love so much, because those are short and snappy, while this is a big-ass one.) Positively 4th Street is just about perfect - I think he gets all of the lyrics, and he does it with the right degree of bitterness. ENSTL finishes off well. Finally, 81 minutes seems like a very long second set, more kudos to the ol fella for bringing some juice this night. 

So, putting all of this together, I think this show deserves its very favorable reputation.

Very good, ol' Jer.

Jerry Garcia Band
The Warfield
982 Market Street
San Francisco, CA 94102
March 1, 1991 (Friday)
B&K 4011s MAD flac1648 shnid-141449

--set I (8 tracks, 7 tunes, 64:44)--
s1t01. crowd and tuning [2:54]
s1t02. Cats Under The Stars [9:15] [1:18]
s1t03. He Ain't Give You None [8:10] [0:50]
s1t04. Struggling Man [7:46] [0:15]
s1t05. Forever Young [8:54] -10:27
s1t06. Run For The Roses [5:10] [0:21]
s1t07. The Night They Drove Old Dixie Down [8:47] ->
s1t08. Lay Down Sally

--set II (8 tracks, 7 tunes, 81:36)--
s2t09. crowd and tuning [1:40]
s2t10. [1:00] The Harder They Come 1:01-
s2t11. Money Honey [6:48] [0:57]
s2t12. And It Stoned Me
s2t13. Russian Lullaby [11:35] [0:52]
s2t14. Don't Let Go [19:46] [0:47]
s2t15. [0:24] Positively 4th Street [8:49] ->
s2t16. Everybody Needs Somebody To Love [8:33] (1) [0:16]

! ACT1: JGB #21b (THE Jerry Garcia Band)
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: David Kemper - drums;
! lineup: Jacklyn LaBranch - backing vocals;
! lineup: Gloria Jones - backing 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/19910301-01

! db: http://etreedb.org/shn/4372 (B&K 4011 EAC gen shnf); http://etreedb.org/shn/6627 (B&K 4011 no EAC shnf); http://etreedb.org/shn/7329 (B&K 4011 via C. Miller shnf); http://etreedb.org/shn/109050 (Da Weez, flac1644); http://etreedb.org/shn/141449 (this fileset).  I haven't bothered to compare the various B&K tapes, but they may well be from the same source.

! band: http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2013/02/warfield-982-market-street-san.html

! map: https://goo.gl/maps/ZW52vfHTbjs

! seealso: JGMF, "At Wolfgang's Warfield: JGB, March 2, 1991 orchestra tape," http://jgmf.blogspot.com/2014/03/ln-jg1991-03-02jgballaud-mk4.html.

! R: field recordist: unknown, maybe Rob Darroch and Sara Paul?

! R: field recording gear: 2x B&K 4011 (hand-held @ 6', ORTF 110 degrees) > Neuman Power Supply > Panasonic SV-255

! R: field recording location: in the sweet spot

! R: DATx copy archived and transferred By Stuccoholmes 2018; Edited and Mastered by Jamie Waddell in Wavelab 7.2, 16bit 48kHz FLAC Level8 in TLH.

! P: Overall: see above

! P: s1t01 there is a little jam happening here! Whoa.

! P: s1t02 CUTS Ol' Jer is pretty lost on the lyrics. Don't know how to end it, and the effort includes a few off-key notes by ol' Jer.

! setlist: "Struggling Man" had returned 11/20/90 (previous: 9/15/79). HAGYN had returned 1/30/91 (previous: 8/16/76). Money Honey returns this night for the first time since 8/9/80. 4th Street returns this night first time since 2/23/80. ENSTL had debuted 1/29/91.

! P: s1t04 SM things are not on the same page at the start. JG and Kemper are out of sync, or Jer's own guitar is not in sync with when he's singing.

! P: s2t10 They are teasing TWYDTTYD before the tune, and then doing other weird little jams. Something in the water this night.

! P: s2t11 Money Honey love the guitar tone here.

! P: s2t13 RL John takes a feature, but Jerry and Kemper stay nicely forward, so he doesn't have to carry to heavy a load. It works. This RL is played at a very peppy tempo, to the good!

! P: s2t14 DLG This is a great DLG. He flubs the return lyric, but it's all good. An exceptional DLG.

! s2t16. (1) JG: "Thanks a lot. We'll see y'all later."

Monday, December 11, 2017

Woody's Rag

For years, I have wanted to know the name of the second song from the first "real" live Garcia-Grisman gig, 2/2/91 at the Warfield, which has previously just been identified as "Instrumental". They played it again the next night, and they would never play it publicly again.

Well, the great Neil V. Rosenberg, whose book Bluegrass: A History, is totally essential, has sent along an identification. It's "Woody's Rag", written by the one and only Woody Guthrie, and done among others by The Weavers.

Thank you, Professor Rosenberg!

Sunday, September 10, 2017

Merl Saunders and the Rainforest Band, featuring Jerry Garcia

Here's a weird one bottom of column 1 to top of column 2:

"Merl Saunders and the Rainforest Band, featuring Jerry Garcia. Performing music from their album Blues From the Rainforest, July 26 at the Great American Music Hall and July 27 at the Cotati Cabaret"

Several possibilities.

First, perhaps most likely (?), whoever called this in to the Petaluma Argus-Courier dropped Jerry's name in connection with Merl's 1990 Blues From the Rainforest release, and the person at the paper was somehow left with the impression that Jerry would play the listed gigs. It wouldn't be the first time that Garcia's name would pop up in unexpected ways in the promotion of a Saunders gig that Garcia really wasn't involved in. For example, almost a year after their last shared agglomeration had knocked off, a preview for an August 1980 Saunders gig in far northern California teased that Merle [sic] was "currently playing with Jerry Garcia under the name of 'Reconstruction'." (1)

Second, maybe Gar really was going to play these gigs, but, as with two other prospective July 1991 engagements (JGB on the Eel, 7/13/91 cum 8/10/91, at the Frost on 7/14/91, and at Telluride, 7/19/91), he ended up not doing them because he was in rehab (as I surmise about the other three dates), or just forgot.

update: heh heh, my own files would help me. I know he was scuba diving on 7/27/91 in Hawaii, which would likely involve flying out no later than 7/26. I don't know if that trip would have been planned by whenever the 7/19/91 item was called in, but I strongly suspect so. This makes Hypothesis 1, that the Saunders camp somehow, surely innocently, gave mistaken impression that Jerry would play, to the Petaluma paper, seem most likely.

Thoughts?

REFERENCE:
(1) "A weekend of jazz planned at the Back Door Aug. 8, 9," Ukiah Daily Journal, August 6, 1980, p. 10.

Wednesday, July 26, 2017

The Dates of All of the Tracks on the Late-Era Arista JGB Releases

Internaut jmoleton posted sometime back a more or less complete set of dates for the 1990s-2000s official JGB releases, Jerry Garcia Band (1991), How Sweet It Is (1997), and Shining Star (2001), over at the Workingman's Tracker.

I have appropriated jmoleton's info, asked commenter Nick to check a few things, verified a few things myself, and have produced a table of this material. The image below is static. But, depending on how well well Google Sheets handles sorting, you might be able to follow this link to a Sheet which allows you to sort by, for example, real chronological order (sort on date and track number). Or, you could reconstitute a show structure by sorting first on track number. Or whatever. Have at it.

Friday, January 08, 2016

Reading Notes: Henke 1991

I wasn't paying attention at the time, but my sense is that these September 1991 interviews (I think there might have been some separate remarks in the Boston Globe) caused a good deal of consternation in Deadlandia - and why not? The golden-egg-laying-goose sounds like he'd love to leave the reservation at this point.

Lots of good stuff here.



Henke, James. 1991. The Rolling Stone Interview: Jerry Garcia. Rolling Stone, October 31, 34-40, 103, 106, 108.

Two September 1991 afternoons, hotel room overlooking Central Park.

July 1991 was release of JG DG, August 1991 was release of double live JGB. Meantime, JGB was a stone-cold junkie, waiting in line for methadone like everyone else.

“solo jaunts are often more entertaining than his work with the Dead, and one gets the feeling that if he felt he could easily extricate himself from the Dead and his attendant responsibilities, he might just do it. Still, when pressed, Garcia claimed the Dead take precedence. … We’ve all put so much of our lives into it by now that it’s too late to do anything drastic” (Henke 1991, 37).

Two separate interview sessions September 1991 NYC. In a family way with Manasha and Keelin.

“recent” meeting in which Garcia told the other band members that he wasn’t having fun anymore, that he wasn’t enjoying playing with the Dead. Garcia confirms this. “The band is the board of directors, and we have regular meetings with our lawyers and our accountants. And we’ve got it done to where it only takes about three or four hours, about every three weeks. But anyway, the last couple of times, I’ve been there screaming ‘Hey, you guys!’ Because there are times when you go onstage and it’s just plain hard to do, and you start to wonder, ‘Well, why the fuck are we doing this if it’s so hard?’

We’ve been running on inertia for quite a long time. I mean, insofar as we have a huge overhead, and we have a lot of people that we’re responsible for, who work for us and so forth, we’re reluctant to do anything [38] to disturb that. We don’t want to take people’s livelihoods away. But it’s us out there, you know. And in order to keep doing it, it has to be fun” (Henke 1991, 37-38).

we’re … going to have to construct new enthusiasm for ourselves, because we’re getting a little burned out. We’re a little crisp around the edges” (Henke 1991, 38).

They are trying to work up to taking a long break, a la 1974, “aiming for six months off the road” (Henke 1991, 38).

p. 38 Gar talks about how he dislikes trying to write songs. “It’s like pulling teeth.”

They saw Brent’s death coming. “About six or eight months earlier, he OD’d and had to go to the hospital, and they just saved his ass. … I think there was a situation coming up where he was going to have to go to jail. He was going to have to spend like three weeks in jail, for driving under the influence or one of those things, and it’s like he was willing to die just to avoid that. Brent was not a real happy person. And he wasn’t like a total drug person. He was the kind of guy that went out [39] occasionally and binged. And that’s probably what killed him” (Henke 1991, 38-39).

Getting older, people dying. Rick Griffin just died. “[F]or me at this point, I’m just happy if someone dies with a minimum of pain and horror” (Henke 1991, 39).

“I’m not a religious person” (Henke 1991, 39).

The Grateful Dead is not where you’re going to find comfort. In fact, if anything, you’ll catch a lot of shit. And if you don’t get it from the band, you’ll get it from the roadies. They’re merciless. They’ll just gnaw you like a dog. They’ll tear your flesh off. They can be extremely painful” (Henke 1991, 39). Note that one word from Garcia could have put a stop to that, but he didn’t roll that way.

“Brent had a deeply self-destructive [40] streak.” (Henke 1991, 39-40). Talks about Brent lacking in culture.

“My life would be miserable if I didn’t have those little chunks of Dylan Thomas and T.S. Eliot” (Henke 1991, 40).

#drugs “I’ve been round and round with the drug thing. People are always wanting me to take a stand on drugs, and I can’t. To me, it’s so relativistic, and it’s also very personal. A person’s relationship to drugs is like their relationship to sex. … For me, in my life, all kinds of drugs have been useful to me, and they have also definitely been a hindrance to me. So, as far as I’m concerned, the results are not in. Psychedelics showed me a whole other universe, hundreds and millions of universes. So that was an incredibly positive experience” (Henke 1991, 40).

Still dabble with mushrooms: “It’s one of those things where every once in a while you want to blow out the pipes. For me, I just like to know they’re available, just because I don’t think there’s anything else in life apart from a near-death experience that shows you how extensive the mind is” (Henke 1991, 40).

“as far as the drugs that are dead-enders, like cocaine and heroin and so forth, if you could figure out how to do them without being strung out on them, or without having them completely dominate your personality … I mean, if drugs are making your decisions for you, they’re no fucking good. I can say that unequivocally. If you’re far enough into whatever your drug of choice is, then you are a slave to the drug, and the drug isn’t doing you any good” (Henke 1991, 40).

“I’m an addictive-personality kind of person. … with drugs, the danger is that they run you. Your soul isn’t your own. That’s the drug problem on a personal level” (Henke 1991, 40).

Says he was doing H on and off for 8 years.

Hard to quit H, but real problem now is smokes, that last thing left. “My friends won’t let me take drugs anymore, and I don’t want to scare people anymore. Plus, I definitely have no interest in being an addict” (Henke 1991, 40).

“I still have that desire to change my consciousness, and in the last four years I’ve gotten real seriously into scuba diving.” Also gives him some physical exertion (Henke 1991, 40).

With Keelin “I have a little more time to actually be a father. My other daughters have all been very good to me, insofar as they've never blamed me for my absentee parenting. And it was tough for them, really, because during the sixties and seventies, I was gone all the time. But they've all grown up to be pretty decent people, and they still like me. We still talk. But I never did get to spend a lot of time with them." (Henke 1991, 40).

Garcia got together with Heather (daughter of Jerry and Sara Katz) for 18 or 19 years at one point (Henke 1991, 103).

At this point, JG and MG are in the process of getting divorced. “She’s real glad to get rid of me. We had a great time, a nice life together, but we went past it. … We haven’t really lived together since the 70s” (Henke 1991, 103).

Joe died when Gar was 5. Joe played clarinet and other woodwinds, in a big ol 40 piece jazz orchestra. “My father’s sister says he was in a movie, some early talkie.” (Henke 1991, 103).

“I remember him playing me to sleep at night. I just barely remember the sound of it” (Henke 1991, 103).

Jerry watched Joe go under and drown. “It was horrible. I was just a little kid, and I didn’t really understand what was going on, but then, of course, my life changed. “ (Henke 1991, 103).

Ruth was an RN, but after Joe died she took over his bar. “He had this little bar right next door to the Sailor’s Union of the Pacific, the merchant marine’s union, right at First and Harrison, in San Francisco. It was a daytime bar, a working guy’s bar, so I grew up with all these guys who were sailors. They went out and sailed to the Far East and the Persian Gulf, the Philippines and all that, and they would come and hang out in the bar all day long and talk to me when I was a kid. It was great fun for me. I mean, that’s my background. I grew up in a bar. And that was back in the days when the Orient was still the Orient, and it hadn’t been completely Americanized yet. They’d bring back all these weird things. Like one guy had the world’s largest collection of [106] photographs of square riggers” (Henke 1991, 103, 106).

His third grade teacher Miss Simon hipped him to the possibility of being a creative type. “’You mean you can spend all day painting pictures? Wow! What a great piece of news’.” (Henke 1991, 106).

Dwight Johnson was another teacher, “he’s the guy that turned me into a freak” (Henke 1991, 106). He was a motor cycle guy, 7th grade teacher.

Talks about liking Dylan songs: “they speak to me emotionally on some level. Sometimes, I don’t even know why. Like that song, Señor. There’s something creepy about that song, but it’s very satisfying in a weird sort of way” (Henke 1991, 106). “This is talking about a kind of desperation that everybody experiences” (Henke 1991, 108). Songs-S

More fun outside the Dead. “that’s always dangling in front of me, the thing of, well, shit, if I was on my own, God, I could … “ (Henke 1991, 108).

Bruce, Branford, Rob Wasserman and I have talked about putting something together. I had this notion of putting together a band that had no material, that just got onstage and blew. And maybe one of these days we’ll make that happen” (Henke 1991, 108). Him saying this is the verbal equivalent of gazing forlornly out Grisman's picture window.

Garcia listens to Django, Art Tatum, Charlie Parker, Coltrane. “Michael Hedges is great. And my personal favorite lately is this guy Frank Gambale, who’s been playing with Chick Corea for the past couple of years” (Henke 1991, 108).

“Living Colour is a great band … Jane’s Addiction is another band I like” (Henke 1991, 108).

“I feel like I’m a hundred million years old” (Henke 1991, 108).

Why kids keep coming to see the Dead: “There must be a dearth of fun out there in America. Or adventure. Maybe that’s it, maybe we’re just one of the last adventures in America” (Henke 1991, 108).

Friday, August 14, 2015

more Garcia summer 1991 cancellations

Jerry Garcia Band (electric) was scheduled to play Frost Amphitheatre at Stanford University on July 14, 1991, but July 11th announced that
Citing "mounting health problems," Jerry Garcia has postponed his upcoming tour dates, including his show scheduled for Sunday at Frost Amphitheater.
This ended up being canceled.

I had earlier noted that that summer's Eel River show had been moved from 7/13/91 to 8/10/91, speculating that Jerry was rehabbing his latest fall from the wagon on the heels of yet another GD intervention after the Denver Dead show (6/28/91). The rare candor of the Stanford cancellation announcement feels to me like strong confirmation of rehab as the reason.

I also found a ticket stub at Wolfgang's Vault showing JGB at The Telluride Mid-Summer Music Festival, in beautiful Telluride, CO, Friday, July 19, 1991. (Also billed that day: Jackson Browne / Joe Cocker / Allman Brothers Band.)  This performance was also canceled.
So Gar is off the road a little bit, giving up some paydays trying to get himself clean again.

REFERENCE:
"No Jerry Garcia concert Sunday," Stanford Daily, July 11, 1991, p. 18.

Thursday, July 30, 2015

Reading Notes: Henke 1991

LIA posted a quote from this, I stumbled across it amidst my materials, and I decided now was as good a time as any to annotate it.

Henke, James. 1991. The Rolling Stone Interview: Jerry Garcia. Rolling Stone, October 31, 34-40, 103, 106, 108.

Two September 1991 afternoons, hotel room overlooking Central Park.

July 1991 was release of JG DG, August 1991 was release of double live JGB. Meantime, JG was trying to kick H again.

“solo jaunts are often more entertaining than his work with the Dead, and one gets the feeling that if he felt he could easily extricate himself from the Dead and his attendant responsibilities, he might just do it. Still, when pressed, Garcia claimed the Dead take precedence. … We’ve all put so much of our lives into it by now that it’s too late to do anything drastic” (Henke 1991, 37).

Two separate interview sessions September 1991 NYC. In a family way with Manasha and Keelin.

“recent” meeting in which Garcia told the other band members that he wasn’t having fun anymore, that he wasn’t enjoying playing with the Dead. Garcia confirms this.

“The band is the board of directors, and we have regular meetings with our lawyers and our accountants. And we’ve got it done to where it only takes about three or four hours, about every three weeks. But anyway, the last couple of times, I’ve been there screaming ‘Hey, you guys!’ Because there are times when you go onstage and it’s just plain hard to do, and you start to wonder, ‘Well, why the fuck are we doing this if it’s so hard?’”

“We’ve been running on inertia for quite a long time. I mean, insofar as we have a huge overhead, and we have a lot of people that we’re responsible for, who work for us and so forth, we’re reluctant to do anything [38] to disturb that. We don’t want to take people’s livelihoods away. But it’s us out there, you know. And in order to keep doing it, it has to be fun” (Henke 1991, 37-38).

“we’re … going to have to construct new enthusiasm for ourselves, because we’re getting a little burned out. We’re a little crisp around the edges” (Henke 1991, 38).

They are trying to work up to taking a long break, a la 1974, “aiming for six months off the road” (Henke 1991, 38).

p. 38 Gar talks about how he dislikes trying to write songs. “It’s like pulling teeth.”

They saw Brent’s death coming. “About six or eight months earlier, he OD’d and had to go to the hospital, and they just saved his ass. … I think there was a situation coming up where he was going to have to go to jail. He was going to have to spend like three weeks in jail, for driving under the influence or one of those things, and it’s like he was willing to die just to avoid that. Brent was not a real happy person. And he wasn’t like a total drug person. He was the kind of guy that went out [39] occasionally and binged. And that’s probably what killed him” (Henke 1991, 38-39).

Getting older, people dying. Rick Griffin just died. “[F]or me at this point, I’m just happy if someone dies with a minimum of pain and horror” (Henke 1991, 39).

“I’m not a religious person” (Henke 1991, 39).

The Grateful Dead is not where you’re going to find comfort. In fact, if anything, you’ll catch a lot of shit. And if you don’t get it from the band, you’ll get it from the roadies. They’re merciless. They’ll just gnaw you like a dog. They’ll tear your flesh off. They can be extremely painful” (Henke 1991, 39). Note that one word from Garcia could have put a stop to that, but he didn’t roll that way.

“Brent had a deeply self-destructive [40] streak.” (Henke 1991, 39-40). Talks about Brent lacking in culture.

“My life would be miserable if I didn’t have those little chunks of Dylan Thomas and T.S. Eliot” (Henke 1991, 40).

#drugs “I’ve been round and round with the drug thing. People are always wanting me to take a stand on drugs, and I can’t. To me, it’s so relativistic, and it’s also very personal. A person’s relationship to drugs is like their relationship to sex. … For me, in my life, all kinds of drugs have been useful to me, and they have also definitely been a hindrance to me. So, as far as I’m concerned, the results are not in. Psychedelics showed me a whole other universe, hundreds and millions of universes. So that was an incredibly positive experience” (Henke 1991, 40).

Still dabble with mushrooms: “It’s one of those things where every once in a while you want to blow out the pipes. For me, I just like to know they’re available, just because I don’t think there’s anything else in life apart from a near-death experience that shows you how extensive the mind is” (Henke 1991, 40).

“as far as the drugs that are dead-enders, like cocaine and heroin and so forth, if you could figure out how to do them without being strung out on them, or without having them completely dominate your personality … I mean, if drugs are making your decisions for you, they’re no fucking good. I can say that unequivocally. If you’re far enough into whatever your drug of choice is, then you are a slave to the drug, and the drug isn’t doing you any good” (Henke 1991, 40).

“I’m an addictive-personality kind of person. … with drugs, the danger is that they run you. Your soul isn’t your own. That’s the drug problem on a personal level” (Henke 1991, 40).

Says he was doing H on and off for 8 years.

Hard to quit H, but real problem now is smokes, that last thing left. “My friends won’t let me take drugs anymore, and I don’t want to scare people anymore. Plus, I definitely have no interest in being an addict” (Henke 1991, 40).

“I still have that desire to change my consciousness, and in the last four years I’ve gotten real seriously into scuba diving.” Also gives him some physical exertion (Henke 1991, 40).

With Keelin “I have a little more time to actually be a father. My other daughters have all been very good to me, insofar as they've never blamed me for my absentee parenting. And it was tough for them, really, because during the sixties and seventies, I was gone all the time. But they've all grown up to be pretty decent people, and they still like me. We still talk. But I never did get to spend a lot of time with them." (Henke 1991, 40).

Garcia got together with Heather (daughter of Jerry and Sara Katz) for first time 18 or 19 years ... (Henke 1991, 103).

At this point, JG and MG are in the process of getting divorced. “She’s real glad to get rid of me. We had a great time, a nice life together, but we went past it. … We haven’t really lived together since the 70s” (Henke 1991, 103).

Joe died when Gar was 5. Joe played clarinet and other woodwinds, in a big ol 40 piece jazz orchestra. “My father’s sister says he was in a movie, some early talkie.” (Henke 1991, 103).

“I remember him playing me to sleep at night. I just barely remember the sound of it” (Henke 1991, 103).

Jerry watched Joe go under and drown. “It was horrible. I was just a little kid, and I didn’t really understand what was going on, but then, of course, my life changed. “ (Henke 1991, 103).

Ruth was an RN, but after Joe died she took over his bar. “He had this little bar right next door to the Sailor’s Union of the Pacific, the merchant marine’s union, right at First and Harrison, in San Francisco. It was a daytime bar, a working guy’s bar, so I grew up with all these guys who were sailors. They went out and sailed to the Far East and the Persian Gulf, the Philippines and all that, and they would come and hang out in the bar all day long and talk to me when I was a kid. It was great fun for me. I mean, that’s my background. I grew up in a bar. And that was back in the days when the Orient was still the Orient, and it hadn’t been completely Americanized yet. They’d bring back all these weird things. Like one guy had the world’s largest collection of [106] photographs of square riggers” (Henke 1991, 103, 106).

His third grade teacher Miss Simon hipped him to the possibility of being a creative type. “’You mean you can spend all day painting pictures? Wow! What a great piece of news’.” (Henke 1991, 106).

Dwight Johnson was another teacher, “he’s the guy that turned me into a freak” (Henke 1991, 106). He was a motor cycle guy, 7th grade teacher.

Talks about liking Dylan songs: “they speak to me emotionally on some level. Sometimes, I don’t even know why. Like that song, Senor. There’s something creepy about that song, but it’s very satisfying in a weird sort of way” (Henke 1991, 106). “This is talking about a kind of desperation that everybody experiences” (Henke 1991, 108). Songs-S

More fun outside the Dead. “that’s always dangling in front of me, the thing of, well, shit, if I was on my own, God, I could … “ (Henke 1991, 108).

“Bruce, Branford, Rob Wasserman and I have talked about putting something together. I had this notion of putting together a band that had no material, that just got onstage and blew. And maybe one of these days we’ll make that happen” (Henke 1991, 108).

Garcia listens to Django, Art Tatum, Charlie Parker, Coltrane. “Michael Hedges is great. And my personal favorite lately is this guy Frank Gambale, who’s been playing with Chick Corea for the past couple of years” (Henke 1991, 108).

“Living Colour is a great band … Jane’s Addiction is another band I like” (Henke 1991, 108).

“I feel like I’m a hundred million years old” (Henke 1991, 108).

Why kids keep coming to see the Dead: “There must be a dearth of fun out there in America. Or adventure. Maybe that’s it, maybe we’re just one of the last adventures in America” (Henke 1991, 108).

Saturday, March 29, 2014

At Wolfgang's Warfield: JGB, March 2, 1991 orchestra tape

LN jg1991-03-02.jgb.all.aud-mk4-orchestra.123611.flac1648

Obviously I don't get much into the 1990s, though I'll need to do more to do the whole GOTS story justice. (seealso: JGB 3/1/91 listening notes)

This is a totally professional gig, musically excellent. Old Jerry has his charms. He's a sophisticated storyteller and themeweaver on the guitar. I have performance notes below, and you'll see I find an awful lot to like here. But I find myself not liking all this polish as much as I like some of his more problem-era grungy edges. De gustibus non est disputandum.

The vocals are very low on this tape, but in general I am not a fan of the high nasal he had to use late in the game, for example with Struggling Man. They have the arrangements pretty locked in so that the ladies help him robustly in lots of places, but obviously he's the leader singer. His vocals are not bad here, like they were, say, 1984-1985. They're not painful. They're just not very strong. A little thin and reedy.

The Warfield. So much to say, can't believe I haven't done it yet. Graham finally elbowed Freddie Herrera and his clubs aside in mid-1987, capturing Garcia for the rest of his side life's life (and the rest of his lives' lives, too, natch), luring him with the seductions of money, physical comfort, convenience, predictability, privacy, and top-level professionalism. The bastard. (This is not an implied criticism of Freddie, not in the least. He ran world-class clubs. It's a clubs vs. theaters problem as much as anything.)

Early 1991 is an intense period of Warfield shows, as the first 8 months of 1990 had been: thirteen gigs in the first five months of 1991! See the table below.

Table xxx. Garcia at Graham's Warfield, 1991.

For the year, sixteen shows at the Warfield, plus three summer shows (8/10/91 on the Eel River and 8/24-25/91 at Squaw Valley) for Bill Graham. My sense (I have not checked!) is that in other years there'd be fewer Warfield shows but more BG shows in SoCal. That's probably the case for 1987, 1992, 1994, at least. Anyway, I don't have a sense of why there were so many shows in this early 1991 window. I wonder if Jerry wanted cash to finance the JGB record, from the tapes pulled at the Warfield in 1990? Arista could surely have done it. Maybe he just felt like playing it that way, and the only reason there's not more in the fall is the east coast tour. Maybe there's no particular reason.

At this stage in his life, at 49, Jerry increasingly wanted some of the things I listed above (viz. "money, physical comfort, convenience, predictability, privacy, and top-level professionalism"). His business arrangements with Graham (as with Scher when it came to touring the east - see McNally 2002, 494) were massive win-win propositions, as those with Fred Herrera had been. Creative destruction can be achingly beautiful.

This tape remains unattributed, with the classic "DAT Brat" setup - that's what some older tapers called the Young Digital Turks pulling psychoacoustic masterpieces from the Warfield ether, night after night, during this period - Schoeps MK4s, Oade custom power supply, Panasonic SV-255. Most Warfield tapes come from the drink rail, which was, per psychoacoustic science, The Spot from which to record Garcia at the Warfield. This one, instead, is from the orchestra pit. It ain't perfect, but it's really good and interesting. I think at least a few great tapes walked out onto Market at the end of this night.

Which reminds me, this may be the formal debut of incomplete timings in listening notes. 

Jerry Garcia Band
The Warfield
982 Market Street
San Francisco, CA 94102

March 2, 1991 (Saturday)
Schoeps MK4 flac1648 shnid-123611

--set I (7 tracks, 64:46)--
s1t01. [0:33] How Sweet It Is (To Be Loved By You) [6:41] [0:35]
s1t02. I Shall Be Released [11:42] [0:44]
s1t03. You Never Can Tell [7:18] [0:31]
s1t04. Mississippi Moon [8:17] [1:58]
s1t05. Tore Up over You [7:27] [0:19]
s1t06. [0:04] My Sisters And Brothers [4:24] [1:00]
s1t07. Let's Spend The Night Together [13:05] [0:06] %

--set II (8 tracks, 77:38)--
s2t08. [0:09] The Way You Do The Things You Do [12:42] [0:54]
s2t09. Señor [7:00] [0:35]
s2t10. Struggling Man [7:26]
s2t11. Money Honey
s2t12. Everybody Needs Somebody To Love [10:04] [1:14]
s2t13. Evangeline
s2t14. That Lucky Old Sun (Just Rolls Around Heaven All Day) [10:39] ->
s2t15. Tangled Up In Blue [13:25] (1) [0:13] %

! ACT1: Jerry Garcia Band #21b
!lineup: Jerry Garcia - el-guitar, vocals;
!lineup: Gloria Jones - vocals;
!lineup: Jacklyn LaBranch - vocals;
!lineup: Melvin Seals - organ;
!lineup: John Kahn - el-bass;
!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.

! Jerrybase: https://jerrybase.com/events/19910302-01

! db: http://etreedb.org/shn/123611 (this fileset); http://etreedb.org/shn/15584 (unattributed aud, shnf); http://etreedb.org/shn/114535 (DaWeez flac1644).

! map: https://goo.gl/maps/fJThC.

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2013/02/warfield-982-market-street-san.html; see also http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html. I can't believe I haven't written up the Warfield yet. These latter years so often disappoint me, I know I need to do them but I can rarely motivate for it. [update 12/31/2020: I have wandered to the later years in the intervening 6+ years and find a great deal to like!] This one was good and will have inspired me to listen and write more around the late period, I think. I don't quite know when the name of the venue has been Fox-Warfield, etc., but during this period all official references (tickets, handbills, etc.) are to The Warfield.

! band: THE Jerry Garcia Band, JGB #21b (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

! LLBase: http://www.shnflac.net/shndetails.php?shnid=123611&band=garcia. I don't believe this fileset has been seeded at LL as of this date (3/29/2014).

! R: field recordist: unknown;

! R: field recording location: orchestra pit;

! R: field recroding gear: Schoeps MK4/CMC3 > Oade PS > Panasonic SV-255 @ 48khz;
! R: transfer: SONY PCM-R500 > TASCAM SS-R05 > AUDACITY > FLAC @ 48khz, transferred on January 26, 2013 by greens_n_beans@yahoo.com.

! bt: http://bt.etree.org/details.php?id=561730. Seeder greens_n_beans, 2013-06-24, 11:10:52: "This was recorded from the pit at the Warfield, so quite up front, hence the low vocals....and Jerry's hot amps right in your face."

! P: s2t09 "Señor (Tales Of Yankee Power)" Garcia just doesn't have a handle on the lyrics, and that holds him back a little bit. He hits the "gimme a minute, lemme get it together" line, but then mumbles the next lines. Steps back for a very beautiful guitar solo early 5-minute mark. There are moments at which this is sublime, but the overall effect lacks something to my ears.

! P: s2t10 "Struggling Man". I have historically harbored the view that the return of this tune in the late-era Garcia Band was artistically unsuccessful. But this is really, really nice. Garcia's guitar work over the 3 minute mark and forward is simply outstanding, brilliant. Learned. Erudite. Not only that, but he is controlling sound in a room that he knows very well, which he has played a lot. He's comfortable. His gear is locked in. He has been with these same players for eight years! So he takes another turn over 4 minute mark, the band on the '1' 4:35 and Jerry is playing so beautifully. He clearly trusts these players. Tight tight tight playing. @@ And What a fucking recording! Holy camoley. Jerry steps back to comp, inviting Melvin up, and Melvin takes a synthy turn until about 5:41, they're together on the main melody. John is totally inaudible, for which he, not tapers, is to blame. @ 6618 "sun lights the day" verse. This is really a reach for Jerry vocally. I am not a huge fan of how thin his voice sounds, how nasally, in this period (and, a fortiori, later). It's not horrible or scratchy or clammy, just strained. They hit the finish on the freaking money. Jerry must have given them a head signal. Tight.

! P: s2t11 Money Honey Kemper is such a man on the drums. He's just right on the snares and traps here. The ladies hold Jerry up vocally, really nicely, on these R&B numbers, but also generally. The arrangements are mature, the pacing is relaxed, everything is controlled. It hardly sounds like Garcia is sweating here --though, eww, I'm sure, ick in an objective sense, a "big ugly man doll", quoth Amy to Barbie in Toy Story 2. Even when he's soloing pretty grungily in the 3-minute range, it's a contained and channeled energy.

! P: s2t15 after TLOS they gotta shake off the honey and get warmed back up for TUIB. It's chugging out of the gate a little ponderously. It's like the neighbor's Suburban. Kemper is trying to push the pace a little bit 1:20ff. It's true that Jerry's vocals are very low on this, but his guitar sounds nice. No bass at all. What we are hearing is the stage. And Jerry had his own guitar turned up, his vocals turned down onstage. John is totally inaudible, contributing nothing to the stage mix. Melvin is exactly on-chart, the ladies are on-chart, Kemper sounds fresh, and Jerry's the X-factor. This first serious solo late 2-minute mark is workmanlike, but uninspired. This tape is really mic'ing Kemper beautifully, and he plays beautifully, crisp high-hatting 3:45ff. Next solo over 5 is nothing special. Remembering all these lyrics (this is "basement on Montague Street" verse) is limiting Jerry's guitar playing, keeping it pretty rudimentary over the verses. Remembering any Dylan song is impressive, so I shouldn't be too critical. I wonder if he was using lyric sheets, charts, etc. on an occasion like this? Jerry's solo he has stepped back, pedaled and dialed in some stuff, and he picks up tempo 7:30ff, Kemper right behind him and then right where he needs to be, right underneath him. Jerry Garcia plays his well-wahed guitar, some grunge outside of the soft middle, a fresh hot plain cake donut (which I am sure Garcia occasionally enjoyed - who wouldn't?). 9:30 he clearly has a kind of theme, but it just ain't moving me. Then he weaves around and through his theme over 10, now higher and scaling down, lower and scaling up, a half-measure, a quarter-measure, layering on a little more 10:40, interesting theme, now some very interesting phrasings, crossing 11 he references TUIB and now it feels like he's laying out his patch back to it for good, neat little thing 11:30, higher up 11:35, letting it peak higher now, now a little higher 11:45 11:55, right after 12:000 fanning, determinedly, then a fast run to 12:12, the fanning was kind of deliberate, but then he ran that little run to remind ya he could be fast, too. Then he hits the reprise 12:30 or so and we are heading into the barn. Nice job, all (though I think John has already wandered away). Good show.

! s2t15 (1) JG: "see ya later"

Sunday, February 23, 2014

The Grateful Dead: Top-Grossing Act of 1991

I just picked up a copy of Pollstar's 1991 Year-End Special Edition, entitled Year of the Dead, dated December 31, 1991.


Though I don't do much GD stuff, blogger's stats tell me that GD posts are the most popular. People are funny. But I digress. One of the reasons I don't do it is that others are just so much better at it, and there's so much to do. I like my quieter, Garcia-on-the-side view of things.

But I couldn't pass this up. I just loved some of the data that I found in this magazine, and so want to present a few pictures, each with a few associated thoughts (though, thankfully, not a thousand words).

The GD was the top-grossing American live music act in 1991, bringing in almost $35 million for the year. At this point, Garcia is founder and de facto leader of a company grossing well over this amount, once we factor in GD merchandising, record sales, licensing, royalties (I'd love to know the details), in addition to all of that stuff from his "other" bands. He was an entrepreneur (I need to read Barry Barnes's book, I know). A lot of the messed up shit (such as the 1978 tax liens) that I report on needs to be put into this context. The Dirty Fucking Hippie was a massively successful businessman. He wasn't just some junkie rock star. He was an American success story: Jerry Garcia, Inc.

Here's the key table, with data from Pollstar. I have independently calculated the gross per ticket stuff and the column totals. Pollstar's narrative has some weird numbers, for example "76 shows in 27 cities", while I count 58 paid shows (plus free Bill Graham Memorial show on 11/3/91, no tickets of revenue, of course) across 23 cities.

Table xxx. Grateful Dead 1991 concert grosses.
I'll leave it to GD people to comment and parse as they might like. Let me just elaborate with one more picture from these data, focusing on promoters.

Figure xxx. Grateful Dead 1991 concert grosses, by promoter. Man that is some ugly-ass graph, isn't it?

Here are a few observations, bullet style.

  • There is so much continuity in promoters! I was looking at tour information from the October 22 - November 2, 1975 JGB tour, and you see not only John Scher all over it, but Cellar Door in DC and Don Law in Boston, as with here. Seems like there were lots of first-mover advantages in this particular market.
  • Barry Fey was the only holdout to the total market domination of Bill Graham and John Scher.
  • This distribution is such a great artifact of high modernism. It's perfect how Scher and Graham divide the country, each with his domaine réservé or his chasse gardée, exclusive territoriality on a par with the sharply distinct domains of Westphalian states. No overlapping authority, à la the pre-Westphalian Holy Roman Empire, with its thousands of princes, dukes, suzerains and assorted monarchs and their associated principalities, duchies, suzerainties, and kingdoms.  Sharp lines. Modernity. From the article:
Grateful Dead Productions had the band's yearly excursions down to a science in '91 with Bill Graham Presents and Metropolitan Entertainment splitting the country in their roles as tour producers. All the Dead dates were co-promoted by one or the other except for a stop in Denver, where the two companies couldn't agree on who had the territory. It's safe to say the plan won't change much in the future. If there's one thing to learn from this success story in a year that had so few, it's 'If it ain't broke, don't fix it.'
  • Why would Bill Graham have co-promoted the May 1991 Shoreline shows, but not the August ones?
  • Garcia, like all of us, wanted to simplify out the shit that didn't appeal to him (e.g., the business side of things) to make maximal room for the stuff that did. We should, and probably do, all strive for that sort of thing. Specialization and exchange. Pay the promoter to handle that stuff. Delegate.
  • Look at how lucrative the eastern half of the country is. Man oh man! We have talked on the blogs, and the books talk a lot, about the importance of the core northeast fanbase over the years. It began very early on. The Dead perceived the importance of these folks (or are they markets?) early on and drew the appropriate conclusions in terms of engagement, marketing, outreach, etc. Constituency service, the pols would call it.
  • The annual MSG and Boston Garden runs are just unbelievable. Again, high modernism. Capitalism at its finest.
  • Scher seems to have been smart about working with local partners, and I am sure the GD folks were more than glad to have him sub-contract as he needed to. The Dead and Scher worked well together, they obviously trusted him, and you can't particularly argue with the results.
  • The fact that the Dead staged an intervention after the Denver show 6/28/91, that Garcia entered a methadone-based recovery program that summer, and seemed burned out beyond all recognition in the fall (the Hornsby recollections, the Boston statement about taking a break from touring), gives us a little peek, as if we needed any reminder that life is full of tradeoffs, at the human toll, on Garcia in particular, of the "Year Of The Dead". A Year of Dying, too. Ain't creative destruction great?

One last point, on data and methodology: the entertainment industry has always documented itself very thoroughly, and especially in quantitative (and, specifically, monetary) terms. I guess that's true of all industries, but, like any ad-based industry, music, television, film, and the rest of the entertainment-industrial complex had a great incentive to make at least some data public. From very early on there are charts and lots of information about grosses and such.

So how is it possible that we don't have better quantitative data in the field of Grateful Dead Studies? We need  more graduate students writing more dissertations to start compiling more data; we oldsters can't handle the strain. Billboard, Pollstar ... etc. etc. I want graphs of the chart position of every Dead/Garcia record ever ... stat! (so to speak)