Santa Cruz Blues

LN jg1985-10-16.jgjk.all.sbd-Miller.139756.flac1644

One of the most widely bootlegged Garcia performances, alongside the '82 Oregon State Penitentiary gig, is another Garcia-Kahn acoustic duet performance from the Catalyst in Santa Cruz on October 16, 1985. As with other beautiful recordings from this venue, an enterprising insider made a 4-channel tape combining stereo sbd feed and stereo ambient mics hung over the stage, and partly insofar as sound quality colors our perceptions of performance quality --and it does to a considerable extent, by what I think of as the Cornell Effect-- lots of people think highly of the performance, too.

The performance feels pretty standard to me, which is to say, since it's Garcia-Kahn in the Rock Bottom era, it's mostly OK, sometimes good, sometimes not so good.

I am more interested in drawing your attention to a review in the Santa Cruz Sentinel Spotlight by Dave Gingold. In this telling, the "fat man" made his fawning followers, who had been sprawling around town all day long keeping the bugs down with their characteristic homebrew of smoke and patchouli, waiting for more than two hours to start the early show.  Opener Paul Mehling claimed car problems, but "some cynics attributed the delay to nostril, rather than engine, trouble." Gingold liked the music, but then,

Poof! It was over. The audience was stunned at the barely 40-minute set, and took to 20 minutes of irate shouting and stomping to bring their deity back ... 'A dollar a song!', some muttered ...

Then, adding insult to injury, the operators turned the house, which Gingold calls nothing less than a "betrayal".

Maybe ol Jer just didn't want our intrepid recorder to have to flip his tape? Sheesh, take it easy on the guy.

Regular readers will, of course, recognize this dynamic from a Beverly Hills gig four and a half months earlier., when Jerry and John mailed in a sub-40 minute first show, eliciting angry chants of "Bullshit! Bullshit!" from the SoCal Deadheads, savvy enough about the biz to understand they'd been ripped off. Short sets were a key feature of Jerry's Rock Bottom period, of course. Hometown fans might raise legitimate questions --"awww, no last song?"-- or offer some heady wisdom --"Jerry's gotta clean up his act, man"-- , but often they'd just dance their asses off and sing along, knowing Jerry'd be back at the Stone soon enough, likely as not. Even as far away as Santa Cruz, though, visits were rare enough that even dready gon' raise a ruckus when things aren't right. When even the Santa Cruzers are irate and stomping, you know you've crossed the Minelli Line.

Sadly, Jer and John either didn't get the message, didn't care, or were too far gone to care, and the late show attendees got a mere 38 minutes. Deadheads are a very understanding and compassionate lot, but I conjecture that at least a few left shaking their manes, glad for the music but maybe worried about ol' Jer. He may even have lost a few fans this night, despite getting a "Ripple".

A few other random bits.

• I wonder if the idea for "The Fat Man Is Back" poster from Jerry's next Santa Cruz stop (2/24/87) was a "fuck 'em if they can't take a joke" reply to Mr. Gingold's earlier characterization? I know the phrase, which became a t-shirt and parking lot meme for the time, also appeared on posters for the Reno gig, but I do have to wonder of the Santa Cruz review didn't provide some inspiration.
• John Kahn picks a little bit of Mingus's "Haitian Fight Song" at the start of the late show, which almost redeems his otherwise-forgettable night for me.

Listening notes below the fold.

The Great Barcia

Rock Scully's book occasionally referred to Jerry as "the Great Barcia". I had originally thought it was Salvador Dalí, but looking back, I guess not. It still tickles me.

This just came back to mind as I came across two ads, a month apart, for Reconstruction at the Catalyst in Santa Cruz on 3/31/79. Someone at the Sentinel was either a Prankster or confused, and not just about Jerry (see also "Greg Kihm"). I wonder if Rock got this "Barcia" thing from the second ad posted here? Anyway, I am sure that, especially in Reconstruction, the Great onedidn't mind having some of his higher fans possibly thrown off the scent.

update: commenter Nick points out that the Eldon Porray tapes understood as Reconstruction at the Catalyst on 3/30/79 are probably really from this date, 3/31/79. This pertains to shnid-11673 (deprecated) and the MOTB transfer, shnid-106004. He raves about the "Sama Layuca" as well, which you should take very seriously.

ad for "Re Construction" at the Catalyst, featuring mystery guitarist "Jerry Garsia", Santa Cruz Sentinel, February 23, 1979, p. 16.

ad for Reconstruction at the Catalyst, featuring mystery guitarist "Jerry Barcia", Santa Cruz Sentinel, March 23, 1979, p. 13.

LN19810129 JGB Catalyst Santa Cruz

Jerry Garcia Band, Sunday, January 29, 1981, The Catalyst, Santa Cruz, CA. shnid 111412.

So I thought I'd check out an early Melvin Seals JGB show as a reward for having concluded that his public debut with JGB was 1/22/81. Randomly picked this one. Pretty nice tape that puts you FOB, but the show is not much of a treat. In fact, it's a total trainwreck. I cannot recall hearing Jerry sound this out of it this early on. It's not quite as bad as ca. August-December 1984, but it's pretty bad. Melvin is bringing it, the drummer seems on, and it sounds to me like the main culprit is Garcia.

Anyway, this is a quintet, post-Ozzie Ahlers and pre-arrival of the backup singers in June, featuring Jimmy Warren and Melvin Seals on keys and Daoud Shaw on drums. By my reckoning this is their fourth show together. Things would get better very, very quickly ... the February '81 east coast tour is quite hot right from the get-go. So this sounds like a down night, warming up a new band, fighting technical gremlins. Can't win 'em all.

Jerry Garcia Band
The Catalyst

Santa Cruz, CA zzzzz
January 29, 1981 (Thursday)
JS MAC

--set I (4 tracks, 47:12)--
d1t01. How Sweet It Is [8:55] [0:12] % [1:15]
d1t02. Catfish John [8:55] [0:07] % [0:26]
d1t03. Like a Road [16:18] [0:03] % [0:09]
d1t04. Deal [10:23] [0:13]

--set II (6 tracks, 62:15)--
d2t01.  //Harder They Come [12:39] [0:10]
d2t02. % [0:05] Mission in the Rain [12:59] % [0:22]
d2t03. That's What Love Will Make You Do [9:29] [0:02] % [0:40]
d2t04. The Night They Drove Old Dixie Down [8:21] ->
d2t05. Dear//Prudence [#9:24] ->
d2t06. Midnight Moonlight [7:54] [0:09]

This originally listed as shn 17145 with incorrect attribution and lineage.

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Daoud Shaw - drums;
! lineup: Melvin Seals - keyboards (organ);
! lineup: Jimmy Warren - keyboards (electric piano)

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [mm:ss] = 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 [mm:ss] 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/19810129-01  

! R: field recordist: JS

! R: field recording gear: 2x Electrovoice RE-10 microphones > Sony TC-D5m

! R: Transfer: Nakamichi Dragon (Dolby B decoded) > Macintosh with Digidesign AudioMedia III sound card(A/D 44.1/16) > Pro Tools (minor "nip and tuck" edits, normalization and tracking - no EQ or digital noise reduction) > AIFF > CD > Toast > xACT (FLAC level 8 files with sector boundaries verified); transfer by JS.

! Recording: Nice FOB tape. Vocals are low, bass is pretty near inaudible, but the drums are right on you and guitar is pretty good. Keyboards nice and clear. Not too much crowd.

! R: d1t01 HSII some tape funkiness at start

! P: d1t01 HSII @ 1:22 Melvin does an 8-second sustain and then comes in with a nice solo. This is clearly early Melvin, and he is tearing it up! HSII goes for almost three minutes instrumentally, as they try to find the groove and as the sound people try to get things right. Jimmy solo, but Melvin solos over him, @ 2:12. Jerry's guitar is completely absent, then there's a crowd cheer @ 2:24 and Jerry's guitar comes in. Sounds like technical difficulties. First vocals don't start until 2:57! Then there is a lot of playing around before they land back .... Jerry starts the song back over at 6:46 with first vocals again ... yikes! He hits two clams in a row and sounds really, really bad. HSII vocals almost inaudible, more technical difficulties, @ start. Jerry sounds pretty sick on the opening vocals of HSII. Ragged. HSII @ 7:32 second vocals another horrible vocal clam. OUCH.

! Performance: Jerry's vocal weaknesses on this show, and his overall sound, lead me to conclude that he was probably not making healthy choices this night, or in any case was just off his game. I was going to lambaste the four-song first set, but I think equipment problems dictated that. There's a longish delay before the setbreak announcement (after Deal), Jerry sounds a little exasperated, and there are audible electronic gremlins out of the PA while he's talking.

! P: d1t04 Jimmy Warren is really not bringing much to Deal

! R: d2t01 HTC cuts in, enters on "battle won"

! P: MITR bad vocal flubs ca. 2:45. He sounds lost, and so he forgets the words, and he gets embarrassed and sings in a more constricted way, and so forth. A struggle. He is LOST.

! R: d2t05 Dear Prudence tape flip @ 0:05.1.

When did Melvin Seals begin with JGB?

Edited 20110216

The Jerry Garcia Band show listed as Saturday, December 20, 1980, Keystone Palo Alto, Palo Alto, CA, has always struck me odd. I argue here that (1) "12/20/80" is a "phantom" listing, a mislabel of 12/20/79. Along the way (2) I argue that "1/18/81" is also a phantom, a mislabel of 1/18/83. This leads to a new-to-me understanding of when Melvin Seals joined the band; I (3) conclude here that Melvin Seals's public debut as keyboardist with the Jerry Garcia Band was Thursday, January 22, 1981 at the Keystone Palo Alto, Palo Alto, CA. This can be seen as a companion piece to my query about the start of the Garcia-Saunders relationship.

Observation #1: all circulating tapes of "12/20/80" are actually copies of 12/20/79. No-one with ears to hear (or eyes to see, if one had been there) could confuse Melvin and his Hammond B-3 with Ozzie Ahlers and his electric piano (can't remember the precise gear right now).

Observation #2: the last reasonably well documented JGB show before "12/20/80" is August 9 (*shiver*), 1980, Keystone Palo Alto, Palo Alto, CA (shnid-29088 [partial sbd]). As we presently understand it, that is the last show of the Garcia-Kahn-Ahlers-Errico quartet version of the Jerry Garcia Band. (Errico would return on October 13, 1982, for another 8-month stint.)

Observation #3: I know of no hard evidence (newspaper ad, ticket stub, attendee recollection, distinct tape, etc. etc.) of a JGB show on 12/20/80. Gordon Sharpless, credited as contributor at TJS, has shared his conclusion that "12/20/80" is a misdate of 12/20/79 in comments.

Observation #4: there have been tape recordings labeled "Melvin Rehearsals", dated Wednesday, January 14, 1981 through Friday, January 16, 1981, at Club Front in San Rafael, CA. I have January 16th to listen to (thank you, wk!) but haven't gotten around to it yet. It's the kind of thing that is going to be all consuming for 90 minutes, and I tend not to have chunks of time like that. Tape datings are among the least reliable data sources we have --I have created a new tag called 'methodology', by the way-- but the coincidence of Wed-Fri rehearsals right before starting up the new configuration the next week is a strongly suggestive one. (I would have guessed that they'd gig on Saturday 1/17, but if they weren't ready they probably spent a few more nights rehearsing.) There may well have been further rehearsals, but there is no public information about that. Anyway, these rehearsals are consistent with a later starting date than "12/20/80" ... I don't think workaholic Jerry would have been rehearsing this new band for the 3-4 weeks required to have started up before 12/20/80 and still been rehearsing in the third week of January.

Observation #5: The next conventionally-listed JGB gig is Sunday, January 18, 1981, Catalyst, Santa Cruz, CA. This would be a plausible first gig for a band with a new lineup: Sunday night at the relatively out-of-the-way Catalyst. I see three reasons to conclude that this date is bogus, though. First, the tapes circulating with this date are all from January 18, 1983 (same venue, the Catalyst). Mislabels being what they are, this doesn't mean an '81 show on this date and venue didn't happen. Second, TJS had this note: "DeadBase's setlist for this show is a duplication of their 01/18/83 setlist and incorrect", and it credits gorshar as a contributor. This is exactly like the profile of 12/20/80, of course. Third, the manucript tradition (i.e., Corry's lists) never contained information on this show. Strike three and this date is out, as far as my current reasoning goes.

Interim Analysis. Here's what I think happened for both "12/20/80" and "1/18/81". The old manuscript tradition correctly had no listing for these shows. At some point a tape of 1/18/83 gets mislabeled "1/18/81" (easily enough), just as a tape of 12/21/79 became "12/20/80" (though this one has a less obvious orthographic explanation). This tape forms the basis of a Deadbase listing (most of which, but obviously not this one, drew from Corry's lists). When the Jerry Site comes around in ca. ?1999? or ?2000?, gorshar tells Ryan about the mislabel, but Ryan (rightly, conservatively) makes the note but keeps the entry in, just in case. But I am prepared to conclude here that 1/18/81 is also a bogus listing.

Observation #6: the next known JGB show is Thursday, January 22, 1981, the first of two nights at the Keystone Palo Alto in Palo Alto, CA (Jerrybase, shnid-97266 [Latvala's partial audience recording]). These are Melvin's presumed third and fourth shows, after "12/20/80" and "1/18/81". But I argue there that 1/22/81 is the correct dating for Melvin Seals's public debut with the Jerry Garcia Band. The two preceding dates, "12/20/80" and "1/18/81", are both phantoms, by my analysis.

Aside, re: personnel: Melvin would never leave the JGB's keyboard chair, putting in an astonishing 14+ years. Without checking the numbers, I think this makes Melvin Jerry's #2 onstage musical collaborator (in terms of frequency) outside the Grateful Dead, following Jerry's ol' buddy John Kahn. There is obviously much, much more to say about Mr. Melvin Seals, who continues, 30 years on, to engage this music as "Melvin Seals and JGB".

Aside re: venues: Corry's pathbreaking work on the Keystone complex, including his Garcia shows at Keystone overview, deserves to be borne in mind at all times. His economic analysis is especially important, really providing some good hard evidence about the Garcia-Keystone (let me use that as shorthand for Freddie Herrera and the whole complex here) symbiosis. He mentions the nice complementarities of Jerry being able to rotate through the various clubs, especially in this period when the Keystone Berkeley, Keystone Palo Alto, and the Stone (San Francisco) were all operating. I don't read him as identifying any further division of labor, but I have a hypothesis: the Keystone Palo Alto was more likely to be used midweek than either of the other two clubs. That's not to say the KPA never got weekend shows, just that, by the early 80s, if there was woodshedding to be done and a Keystone club was to be involved, it was more likely to happen in Palo Alto than in Berkeley or SF. Otherwise, it seems like slightly more out-of-the-way places such as the Catalyst and the River Theater got a disproportionate share of the "debut" action. And given the fluidity of JGB membership in the early 1980s (e.g., in terms of backup singers and drummers), there was an unusual amount of woodshedding to be done. I do think we could get at this with some very simple statistic tests, but I'll add that to the "to-do" list.

And a meta point underneath (or "over", anyway) that: maybe the fact that less central venues tended to get the "debut" performances in the early 80s is why information on precise starting and ending dates has been so inconsistent. Fewer notetakers and tapers = less carry-though to the present. An interesting sociology of knowledge involved in all this, but I digress ...

Upshot:

1. I argue and conclude that the "12/20/80" JGB date is a phantom
2. I argue and provisionally conclude that the "1/18/81" JGB date is a phantom.
3. I argue and conclude that Melvin Seals's public debut with the Jerry Garcia Band was January 22, 1981, following at least some rehearsals the week prior.

Source Check:
McNally, LST: no mention
Jackson, Garcia, p. 321: Melvin's arrival and tenure noted, but no starting date/timeframe given.
Jackson, cutting room floor: no mention.

The Debut of the Last Quartet: The Catalyst, 10/13/82

The Debut of the Last Quartet

was "Listening Notes: JGB, Wednesday, October 13, 1982, The Catalyst, Santa Cruz, CA"

--http://etreedb.org/shninfo_detail.php?shnid=110792

Some listening notes for this recording. See show and recording notes below.

Jerry Garcia Band
The Catalyst
Santa Cruz, CA
October 13, 1982 (Wednesday)

Recorded live and mastered to CD by N. Hoey with:
2x Sennheiser 441 mics > Sony TC D-5m (Dolby B) (Maxell XLIIS 90)
Nakamichi Dragon (Dolby B decoded) > Apple Powerbook G3-VX Pocket interface-Soundedit editing > Jam > Apogee gold CD > Toast 9 > Xact

--set I (6 tracks, 55:00)--
s1t01. [0:07] How Sweet It Is (To Be Loved By You) [7:47] [0:16]
s1t02. Love In The Afternoon [10:13] % (1) [0:12]
s1t03. Valerie [6:26] [0:08] %
s1t04. Let It Rock [8:09] [0:02] % [0:06]
s1t05. Simple Twist Of Fate [13:19] %
s1t06. //Deal [#8:09] [0:06]

--set II (6 tracks, 59:30)--
sd2t01. [0:09] Sugaree [11:51] % [0:21]
s2t02. I'll Take A Melody [13:50] % [0:12]
s2t03. Dear Prudence [10:26] [0:02] % [0:06]
s2t04. Tore Up Over You [9:55] % [0:03]
s2t05. Tough Mama [7:46] ->
s2t06. Run For The Roses [4:37] (2) [0:14]

! ACT1: Jerry Garcia Band #15a
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Melvin Seals - keyboards;
! lineup: Greg Errico - drums.

JGMF:

! R: notation: % = tape discontinuity; // = cut music; / = clipped music; # = truncated timing; -> = continuous music ("guzinta")

! Jerrybase: https://jerrybase.com/events/19821013-01

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

! Show: A very rare quartet show (no backing vocals). The fact that this is Wednesday show a week before the next scheduled JGB gig (10/21) in the relatively off-the-beaten-path Catalyst suggests that they are woodshedding a few things.

! personnel: Drummer Greg Errico returns for his longest known (as of 2/2011) continuous stint in the JGB, from October 13, 1982 through June 5, 1983. His previous known stint was also in a short-lived quartet version of the JGB, comprising a handful of shows, including a presumably very-profitable east coast swing, in July-August 1980.

! Personnel: I wouldn't be surprised if there weren't rehearsals with some backup singers during the intervening week. Were there "tryouts"?

! Recording: Nice tape. Vocals are very low

! d1t02 (1) JG: "The drummer is Greg Errico. [inaudible]"

! d2t04 Tore Up vocals seem especially low. But this Tore Up is unbelievably good. Go, Jerry, go! (5-min mark jam really nice!).

! d2t05 JG has a hard time with the first verse and some of the other vocals of Tough Mama. Doesn't sound really bad, just doesn't remember the words. Garcia's solos are pretty good. In the melody part he is pretty choppy, some pretty straight chukka-chukka rhythm playing. Remember that the previous and subsequent versions of Tough Mama would be 7/8/77 (with the Keith/Donna/Tutt band), 7/26 and 8/20/81 (who was drumming at these shows?), this one, another one the next week (10/22), and then it would hibernate for 7+ years, making five appearances in 1990 and then disappearing for good.

! d2t06 (2) JG: "Thanks a lot, we'll see ya later."