If ACT = JGMS and Taper = Louis Falanga, and YYMM = 7402, does XX = 17?

I recently wrote that

in engaging any Garcia event, I first want to pin down the who, the where, and the what. So I want the sociometric, geometric, and the chronometric particulars ... If I can pin down those three pieces about any given event with reasonable certainty, I feel like it "exists" in a way I can work with.

That has presented some challenges, as some events we know happen, but that don't have crisp metadata (especially the date, truthfully) sort of elude my understanding. I have tried to do the best I can with "placeholders" and such, but this kind of chronometric fuzziness really makes me itchy. Whatever - that's just how some stuff is.

Recently, two folks asked me about the fileset preserved as shnid-8654, a Louis Falanga (supposedly also Bob Menke) tape of Garcia-Saunders that was only labeled "February 1974". Two people asking me within a day or so tells me it was being discussed online somewhere. Anyway, these queries led me to revisit the fileset, which I haven't listened to in probably 15 and maybe as many as 20 years. I don't have huge love for early '74 Garcia-Saunders relative to later in the year, but I really, truly enjoyed revisiting this stuff. Let me draw especial attention to the 27-minute "He Ain't Give You None". I noted it

is absolutely stunning. God, what an overlooked masterpiece! It starts off slow and deep, Billy makes it hop a little in like the 7 minute mark while Jerry plays it clean. It finds some quiet passages, some spacy bits, hot passages (late 19-22 really driving). In 25 it almost sounds like 'Sitting In Limbo'. An amazing piece of musicianship all around, an incredible version --earliest one known-- of this tune.

I really mean it. Go check this fucker out.

But, enough about the music. What about the metadata? :)

I am going to suggest that we should assign this material the date of 2/17/74, not because that date is true, but because it might as well be. I don't have much to go on, but here is my logic.

1) Louis taped 1/17-18/74, and the datings of those tapes got confused over the years, such that 1/18/74 circulated as if it were a three-set show. So, consecutive shows that end up in confusing labeling.

2) I listened to both the 2/16/74 Falanga tape and the 2/xx/74 Falanga tape (both noted below) in close succession, including a side-by-side comparison of "Money Honey", which appears on both, and the room-and-crowd sound of each. The tapes are quite different, with 2/16 much sharper and cleaner. But it does sound like the same room to me, for whatever that's worth. (2/16/74 still has the second guitarist and conguero we can hear on the board tape, natch.)

3) Louis and Bob were known to hit the Great American Music Hall, and Jerry and Merl did play it on 2/5/74 and 2/12/74. We have complete board tape of the former from Ed Perlstein's master reel (thank you, Ed!). Go check it out and tell us [nick | JGMF] how to make sense of the two saxes one can periodically hear. The latter does not circulate, and we lack setlist for the first set. The 2/xx material could well be from this gig. But, see #2 above. We don't have enough tape for me to be confident that this is NOT the Music Hall, instead of Keystone, but there's nothing to suggest that it is.

4) There is also 2/7/74 at the Keystone, but we seem to have enough of a setlist that, if this stuff really is from one night, it's not from that one.

5) [contra] The GD Archives had a bunch of 2/74 material, including money reckonings, including notes on how the take from 2/16/74 was divvied up among band and crew, and also the 2/9/74 Rheem Theater contract. There was no evidence from 2/17 whatsoever. (I don't recall any from any of the other shows, though, either.) So the dog didn't not bark where it might have.

When I put all of this together, I conclude that we might as well call this stuff 2/17/74, unless and until new shit comes to light. Thoughts?

Listening notes for 2/16/74 and "2/17/74" below the fold.

LN jg1974-02-16.jgms.all-2.aud-falanga.8063.shn2flac
LN jg1974-02-xx.jgms.partial.aud-falanga.8654.shn2flac

They Really Are a Scree-um: Legion of Mary at Keystone, Thursday, May 22, 1975

LN jg1975-05-22.lom.all.aud-menke-falanga-motb-0044.87156.flac2496

I just revisited 5/21/75, and it left me a little bit ... whelmed.

By contrast, at some point between downloading the files in 2011 and today, I listened to and noted the next night, and I *loved* it.

The Bob Menke - Louis Falanga aud belongs in the freaking Smithsonian. This stands as one of the finest audience recordings in the Garcia canon, and there are a lot. Gorgeous. The vocals are very low, so it is "flawed" from the perspective of releasability. But the instrumentation is finely captured, Jerry's guitar far forward and everything else nicely balanced. Reportedly, on this night they actually placed the mics on stage near Jerry's feet, with one pointed into Jerry's stage monitor and the other pointed to the rest of the band, Bob and Louis on the rail at center stage. If you want to hear Jerry Garcia's guitar playing ca. May 22, 1975, check this out.

Song highlights for me were "Little Sunflower" and, especially, "He Ain't Give You None". Garcia once described having this fantasy of being a Mission Street blues guy. It's not clear how much such a creature ever really existed, but we know exactly what he looks like (and he looks different to each of us). We also know what he sounds like: listening to Garcia play HAGYN, I am put in mind of just a smoky little R&B bar. This is Keystone --certainly smoky, and funky in its own way-- but Jerry is just so drenched in this vibe, I'm almost surprised he's not seated and doing the B.B. King thing. "Boogie On Reggae Woman" is hot: the way Merl just jumps onto this, and everyone falls into line, is just wonderful. Merl is ready to boogie, ladies and gentlemen.

It looks like TPTB have released four tracks from this night from Betty's tapes, though none of the tunes that especially lit me up. The Garcia Vault seems to hold reels 1-3 and 5-7, and I now see that the Betty Board material in circulation is not really "snippets", as labeled, but is reel #4. So it seems likely that the whole show exists as Betty tape, if only the 6+1 pieces could be brought together.

Legion of Mary
Keystone
2119 University Avenue
Berkeley, CA 94704
May 22, 1975 (Thursday)
Menke-Falanga MAC MOTB 0044 flac 2496 shnid-87156

--set I (6 tracks, 69:32)--
s1t01. [0:04] Tore Up Over You [11:42] [0:29]
s1t02. Little Sunflower [16:23] [0:19] %
s1t03. tuning and crowd ]0:50] % [0:19]
s1t04. I Feel Like Dynamite [12:12] [0:16] % [0:05]
s1t05. [0:14] % [0:26] Every Word You Say [10:49][0:24]
s1t06. % [0:44] Mystery Train [14:02] (1) [0:13]

--set II (5 tracks, 72:55)--
s2t01. /He Ain't Give You None [12:27] [0:16] % [0:22]
s2t02. [0:11] Boogie On Reggae Woman [14:33] [0:17] % [0:02]
s2t03. % When I Die [11:50] [0:09] % [0:05]
s2t04. [0:48] Going, Going, Gone [18:52] [0:30] % [0:09]
s2t05. (I'm A) Road Runner [12:05] (2) [0:18]

! ACT1: Legion Of Mary:
! lineup: Jerry Garcia - guitar, vocals;
! lineup: Merl Saunders - keyboards, vocals;
! lineup: John Kahn - bass;
! lineup: Martin Fierro - saxophone, flute;
! lineup: Ron Tutt - 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/19750522-01

! JGC: https://jerrygarcia.com/show/1975-05-22

! db: http://etreedb.org/shn/89046 ("Betty Cantor snippets"); http://etreedb.org/shn/87091 (this recording, flac1644); http://etreedb.org/shn/87156 (this fileset, flac2496).

! map: https://goo.gl/maps/LDc43

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html

! venue: URL http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html

! venue: URL http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html

! official: Legion of Mary, vol. 1  (Rhino, R2 74692, 2005) (d1t04-When I Die [mislabeled "Since I Lost My Baby"]; d1t05-Tore Up Over You) - URL http://www.deaddisc.com/disc/Jerry_Garcia_Collection_1_Legion_Of_Mary.htm

! official: Legion of Mary, Absolute Mary (t02-Every Word You Say) - URL http://www.deaddisc.com/disc/Absolute_Mary.htm

! official: Jerry Garcia - Garcia Plays Dylan Again (t03-Going, Going, Gone) - URL http://www. deaddisc.com/disc/Garcia_Plays_Dylan.htm

! listing: "Country Joe McDonald Back In Area," Independent-Journal [San Rafael, CA], May 16, 1975, p. 21

! mention: San Francisco Examiner, May 16, 1975, p. 39.

! R: MOTB Release: 0044 24bit/96Khz

! R: Release Date: 09/09/2007

! R: field recordists: Bob Menke and Louis Falanga

! R: field recording gear: Sony ECM-270 and ECM-250 [Positioned Onstage] > Sony TC-152 > MAC

! R: field recording media: Maxell UD90

! R: Transfer: MAC > Nak Dragon > LynxTWO Model B > WaveLab 5.0 > HD 24/96 WAV

! R: Transfer: Bob Menke

! R: Mastering: Jamie Waddell

! R: This is one of the finest audience recordings in the Garcia canon, and there are a lot. Gorgeous. The vocals are very low, so it is "flawed" from the perspective of releasability. But the instrumentation is finely captured, Jerry's guitar far forward and everything else nicely balanced. Reportedly, on this night they actually placed the mics on stage near Jerry's feet, with one pointed into Jerry's stage monitor and the other pointed to the rest of the band, Bob and Louis seated at the front table right there on the rail at center stage. If you want to hear Jerry Garcia's guitar playing ca. May 22, 1975, check this out :).

! P: s1t02 Little Sunflower is simply wonderful.

! P: s1t03 Addams Family tuning by Jerry @ start.

! s1t06 (1) JG: "We're gonna take a break for a little while, we'll be back a little bit later on."

! R: s2t01 HAGYN clips in

! R: s2t01 HAGYN, listen to fingers on steel strings around 6 seconds in.

! P: s2t01 Garcia once described having this fantasy of being a Mission Street blues guy. It's not clear how much such a creature ever really existed, but we know exactly what he looks like (and he looks different to each of us). Anyway, listening to Garcia play HAGYN, I am put in mind of just a smoky little R&B bar. This is Keystone --certainly smoky, and funky in its own way-- but Jerry is just so drenched in this vibe, I'm almost surprised he's not seated and doing the B.B. King thing.

! P: s2t02 BORW: Man, the way Merl just jumps onto this, and everyone falls into line, is just wonderful. Merl is ready to boogie, ladies and gentlemen.

! song: "When I Die" (s2t03): This is an instrumental rendition of the title track from an album that Motherlode released in 1969 on the Kama Sutra label. Written by band members William "Smitty" Smith and Steve Kennedy, it was a hit single and spent some time in the Top 20.

! P: s2t03 WID is a novelty, but it doesn't really go anywhere special.

! P: s2t04 @ 0:32 JG strums GGG, the song could be tracked to start here. This song is where this recording (and its cousins similarly taped) is so precious. You can hear Garcia's guitar so clearly, and the vibe is just so resonant. The performance doesn't knock me out on this listen, but maybe I am just not in the patient, contemplative mood required to really get it. It's very, very good.

! s2t05 (2) JG: "So long."

! R: Special Note: These are recordings done by Bob Menke and Louis Falanga at the Berkeley Keystone, made in May and June of 1975, that MOTB will be turning out, the subsequent Grateful Dead and related recordings are dedicated to Bob Menke's mom, Connie, who is suffering from pancreatic cancer. As you listen to what are certainly the most unique - if possibly not some of the best - audience recordings of Jerry Garcia in his prime, please send out healing vibes and prayers to Connie any way you see fit. We are all pulling for her, so please keep her in your hearts and prayers. The MOTB Team.

Take the Road Before Us and Sing a Chorus or Two: Legion of Mary at Keystone, May 21, 1975

jg1975-05-21.lom.all.mtx-tobin-motb-0050.87219.flac1644

I recently gave 6/16/82 a listen to evaluate whether it merited its lofty reputation, or whether it might be exhibiting a case of the Cornells. I decided it was as good as its reputation.

Staying with that démarche, a week ago I spun 5/21/75, Legion of Mary at the Keystone, which has long circulated from low-gen soundboard reels the provenance of which I do not know. (These are not "Betty Boards".) I have been moving through the world for the last week with the feeling that this one, too, deserved the esteem in which it is held. But now, looking back at my notes, I can't really see the basis for that feeling. I spun a lovely matrix done by Matt Vernon of the soundboard tape (MSR > 1R) and the killer Menke-Falanga aud under the auspices of the Mouth of the Beast (MOTB) project. The tapes are awesome, the music comes through, the room is very present even on $10 ca. 2005 computer speakers, and one can hear the band relaxed, tuning, chatting, etc.

Figure xxx. Extract from contract, dated 5/19/75, for Legion of Mary engagement at Keystone Berkeley, May 21-22, 1975.

I only really noted one musical highlight in Garcia's work on "You Can Leave Your Hat On". He finds some chukka-chukkas that put me a little in mind of the Dead's "Caution", and It Is Good. I found two sort of problematic parts. First, "Finders Keepers" just didn't survive the transition to 1975 intact. It dragged in all of the Legion versions that come to mind, and it just sounds like the band lost interest in it, whereas a year earlier it crackled. Second, "Harder They Come" is done here more slowly than any other version I can recall, and not to good effect (IMO, YMMV). It lacks urgency.

So, where does that leave me? Sounds great. Certainly provides a great listen. But it didn't destroy me. So, I'd say the esteem in which it is held surpasses the esteem it deserves. Still lovely 1975 Jerry, just not the crème de la crème.

Oh yeah, the post title arises because, for reasons that aren't clear to me --maybe it was snowing in May in Berkeley, wink-wink?-- Jerry noodles "Sleigh Ride" at the start of set II.

Legion of Mary
Keystone
2119 University Avenue
Berkeley, CA 94704
May 21, 1975 (Wednesday)
MTX MOTB-0050 shnid-87219

--set I (6 tracks, 74:14)--
s1t01. That's A Touch I Like [10:12] (1) [2:22]
s1t02. I Feel Like Dynamite [12:29] (2)
s1t03. Last Train From Poor Valley [10:57] [0:14] % dead air [0:06] % [0:27]
s1t04. Finders Keepers [12:30] [0:48]
s1t05. Tough Mama [8:05] [1:41]
s1t06. That's What Love Will Make You Do [12:00] (3)

--set II (6 tracks, 81:11)--
s2t01. (4) [0:23] I'll Take A Melody [9:09] [0:54]
s2t02. You Can Leave Your Hat On [15:52] [1:17]
s2t03. Mississippi Moon [8:38] [0:53]
d3t01. Harder They Come [20:32] [1:04]
d3t02. Creepin' [13:36] [0:28]
d3t03. How Sweet It Is (To Be Loved By You) [8:12] (5) [0:12]

! ACT1: Legion of Mary
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards, vocals;
! lineup: John Kahn - el-b;
! lineup: Martin Fierro - saxophone, flute (s2t03);
! lineup: Ron Tutt - drums.

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 [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/19750521-01

! JGC: https://jerrygarcia.com/show/1975-05-21

! db: https://etreedb.org/shn/4478 (sbd shnf); https://etreedb.org/shn/4479 (sbd shnf); https://etreedb.org/shn/87086 (Menke-Falanga MOTB0043 flac1644); https://etreedb.org/shn/87133 (Menke-Falanga MOTB0043 flac2496); https://etreedb.org/shn/87149 (sbd pitch-patch); https://etreedb.org/shn/87219 (this fileset); https://etreedb.org/shn/87526 (MOTB0050 DTS5.1); https://etreedb.org/shn/87573 (DVD-A); https://etreedb.org/shn/138651 (sbd); https://etreedb.org/shn/141905 (sbd).

! map: https://goo.gl/maps/LDc43

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html

! venue: URL http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html

! venue: URL http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html

! official: More of the Best [3 track bonus CD that was distributed with pre-ordered copies of  The Very Best Of Jerry Garcia] (Rhino, 2006) (t01-TWLWMYD)

! ref: URL http://www. deaddisc.com/disc/More_Of_The_Best.htm

! listing: "Country Joe McDonald Back In Area," Indepdent-Journal [San Rafael, CA], May 16, 1975, p. 21

! mention: San Francisco Examiner, May 16, 1975, p. 39

! R: MOTB Release: 0050 16bit/44.1Khz; Release Date: 09/12/2007

! R: Matrix of 2 sources; 1--Lineage: SBD > 15ips reel > 15ips reel > DAT; Transfer 1: DAT > Sony R500 > Genesis Digital Lens > Fostex CR200 > CD; transfer 2: CD > EAC > WAV > SHN. 2--Audience FOB Recording; Media: Maxell UD90; Lineage: Sony ECM-270 and ECM-250 Blended [Positioned Onstage] > Sony TC-152 > MAC; Transfer: MAC > Nak Dragon > LynxTWO Model B > WaveLab 5.0 > HD 24/96 WAV; Taper: Bob Menke and Louis Falanga; Transfer: Bob Menke, Mastering: Jamie Waddell. Matrix Mastering: Kevin Tobin

! R: match and patch notes: I matched the speed of this recording to the MAC - it was slightly faster overall (about 1/2 a second per minute) and more consistent than the sbd recording. Audio Patches: 1) Between The Touch I Like I Like and I Feel Like Dynamite, 48.033 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 2) Aprox 4 minutes into I Feel Like Dynamite, 19.564 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 3) Between I Feel Like Dynamite and Last Train From Poor Valley, 27.500 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 4) Between I Feel Like Dynamite and Last Train From Poor Valley, another 35.900 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. Note: This includes the first few notes of Last Train From Poor Valley. 5) Aprox 7 minutes into Last Train From Poor Vallery, 21.273 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 6) Between Last Train From Poor Valley and Finders Keepers, 33.900 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 7) Between Finders Keepers and Tough Mama, 12.007 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 8) Aprox 7 minutes into That's What Love Will Make You Do, 36.803 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 9) At the end of That's What Love Will Make You Do, 11.116 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 10) Before I'll Take A Melody, 17.000 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 11) Between I'll Take A Melody and You Can Leave Your Hat On, 21.423 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 12) Aprox 4 minutes into You Can Leave Your Hat On, 22.372 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 13) Between You Can Leave Your Hat On and Mississippi Moon, 18.883 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 14) Aprox 4 minutes into Mississippi Moon, 24.773 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 15) Between Mississippi Moon and Harder They Come, 16.966 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 16) Between Mississippi Moon and Harder They Come, another 1.593 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 17) Aprox 8 minutes into Harder They Come, 02.139 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 18) Aprox 11 minutes into Harder They Come, 20.807 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 19) Between Harder They Come and Creepin', 18.339 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 20) Aprox 4 minutes into Creepin', 22.035 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 21) Between Creepin' and How Sweet It Is (To Be Loved By You), 15.893 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 22) Aprox 3 minutes into How Sweet It Is (To Be Loved By You), 5 minutes and 36.666 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better.

! s1t01 (1) Several members of the band repeat Merl's request to have his vocal mic turned on.

! P: s1t02 IFLD "you might not agree with me .. betcha" repeatedly (4x) 11:20-11:40, then he messes up the feelin' hittin' him, back on track 11:48.

! s1t02 (2) Martin: "Hey, could you send some water up here?"

! P: s1t04 FK lost some zip as it aged - the 1974 versions bring tons more pop than the Legion ones do. This might be just about the last version?

! s1t06 (3) JG: "Thank you. We're gonna take a break for a little while. We'll be back a little bit later. Thank you."

! s2t01 (4) Garcia is noodling "Sleigh Ride" and someone, maybe John, says "Merry Christmas."

! P: s2t02 YCLYHO Garcia proliferates the notes in 9, and it is good. Around 12:40 and forward, he puts out some "Caution" style chukka-chukka, and it, too, is good.

! P: s2t04 HTC starts off normally paced, then drops into a very slow iteration, the slowest I can recall.

! s2t06 (5) JG: "Thanks a lot. We'll see y'all later on."

Jim Nelson on the Drums and Several Great Rarities: JGMS at Keystone, October 4, 1974

LN jg1974-10-04.jgms.all.aud-falanga.8649.shn2flac

This is great to hear.

Three points of historical interest.

1) Louis Falanga's onstage audience tapes are great documents.

2) Lots of interesting material including, here, some great jazz ("Valdez In The Country", "People Make The World Go Round", "Freedom Jazz Dance"), and a great rare (in the Garciaverse) Motown, "Ain't No Mountain High Enough".

3) personnel: Bill Kreutzmann had been drumming with JGMS since about November 1973, by my reckoning, and then, after 9/2/74, JGMS goes in another direction. Here we have Jim Nelson on a tryout, it would seem. Paul Humphrey would be present in Santa Cruz on the 11th and Santa Barbara on the 13th, and is presumed to continue through October. I think it's pretty well established that he was drumming for the Fall 1974 East Coast tour, though truth be told I have never seen a shred of hard contemporary evidence for that. It's "understood". I don't doubt it, but wouldn't it be funny if Jim Nelson were really the drummer in some of these slots?

Jerry Garcia and Merl Saunders
Keystone
2119 University Avenue
Berkeley, CA 94704
October 4, 1974 (Friday)
Falanga-Menke shnid-8649 retrack shn2flac

--set I (6 tracks, 58:27)--
s1t01. //That's What Love Will Make You Do [13:43] % [1:43]
s1t02. Valdez In The Country [12:56] ->
s1t03. Space [1:54] ->
s1t04. People Make The World Go// Round [4:#10] [0:33] % [0:32]
s1t05. (I'm A) Road Runner [10:59] (1) [0:40]
s1t06. /It Ain't No Use [11:01#] (2) [0:16]

--set II (6 tracks, 54:07)--
s2t01. tuning [0:57]
s2t02. Tough Mama [7:34] [1:00]
s2t03. Freedom Jazz Dance [14:42] [1:22]
s2t04. Sitting In Limbo [11:41] [0:09] % [0:30]
s2t05. Ain't No Mountain High Enough [6:26] ->
s2t06. How Sweet It Is (To Be Loved By You) [9:37] [0:08]

! ACT1: Jerry Garcia and Merl Saunders
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards;
! lineup: John Kahn - el-bass;
! lineup: Jim Nelson - 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/19741004-01

! JGC: https://jerrygarcia.com/show/1974-10-04-keystone-berkeley-ca/

! db: shnid-8649 (this fileset).

! map: https://goo.gl/maps/LDc43

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html | http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html | http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html.

! ad: SFSECDB19740922p31

! listing: SFSECDB19740929p05

! ad: SFSECDB19740929p31

! listing: San Francisco Examiner, October 3, 1974, p. 35

! listing: Hayward Daily Review, October 4, 1974, p. 28

! seealso:  JGMF, "Finders Keepers: JGMS with Jim Nelson on Drums, Keystone, October 5, 1974."

! historical: Three points of historical interest. 1) Louis Falanga's onstage audience tapes are great documents. 2) Lots of interesting material including, here, some great jazz ("Valdez In The Country", "People Make The World Go Round", "Freedom Jazz Dance", and great rare (in the Garciaverse) Motown, "Ain't No Mountain High Enough". 3) personnel: Bill Kreutzmann had been drumming with JGMS since about November 1973, by my reckoning, and then, after 9/2/74, JGMS goes in another direction. Here we have Jim Nelson on a tryout, it would seem. Paul Humphrey would be present in Santa Cruz on the 11th, BCT on the 12th, and Santa Barbara on the 13th, and is presumed to continue through October. I think it's pretty well established that he was drumming for the Fall 1974 East Coast tour, though truth be told I have never seen a shred of hard contemporary evidence for that. It's "understood".

! personnel: Betty's reel notes that this is Jim Nelson on drums! I note lots of hi-hat, lots of quick stuff, and find that in general this guy is great, even as the group tries to learn how to play together. It's not entirely successful, but it is super-interesting.

! R: field recordist: Louis Falanga (?and Bob Menke?)

! R: field recording gear: 1x Sony ECM-70 + 1 x Sony ECM-250 Sony TC-152

! R: field recording location: onstage from stage left/house right. The sought-for setup would have been seated at Garcia's feet, one mic pointed into his stage monitor and one mic aimed at the rest of the band.

! R: lineage: unknown cassette master transfer by Bob Menke, ca. late 1990s, unknown process to CDx (Jim Powell) > CDx (Jack Warner) > CDx; re-tracked, shortened, and seeded by jupillej@mediaone.net.

! R: Utterly breathtaking. The vocals are nearly inaudible. We are getting them direct from Jerry's mouth from about 8-10 feet away or whatever, with no amplification. But Garcia's guitar is crystal-clear: this is the best example so far of the technique that Falanga and/or Menke used for these tapes, which was to directly mic Jerry's stage monitor and point another mic toward the center of the stage soundfield. His guitar has incredible tone and volume. The bass is also pretty loud and direct-sounding. Is it possible that what we are hearing is a kind of monitor mix for Jerry? Sorry, summing up: guitar and bass crystal clear and loud, drums real nicely present, keys and horns real low in the mix.

! R: s1t01 TWLWMYD cuts in; drums come up a little @ 9:20

! setlist: s1t02 "Valdez In The Country" originally given as "Boss Martin", per old Jerry Site nomenclature, changed 9/13/2009.

! P: s1t02 VITC Martin takes the first solo, and he is blowing beautifully. This song really suits him. Do we know whether it was him who brought it in to the band? The little thing Jerry and the drummer get together in the 11-min mark is really interesting. The drummer is doing some syncopated percussive stuff with one hand and a nice tight snare in the other. And Jerry really seems to respond. He's noodling low, but check right at the start of the 11-minute mark for some really, really gorgeous musical ideas from the Great Barcia.

! setlist: s1t03 Space is well-placed here. This is completely unmoored from the song, Valdez In The Country, out of which it oozed.

! s1t04 PMTWGR This version is absolutely classic, just how you want it to be: Kahn announces and starts it. Garcia swoops in @ 0:48 with the roundabout strumming he does in this tune ... but Merl wants to keep it spaced out for awhile, and I gotta say the drummer is right there with him. And who is Garcia to say no to some noodly weirdness? Thet let it bounce around for a minute or so, Garcia coming back to his strum @ 1:48, then Merl joins in with the melody. It's really, really nice because it's still really echoey and vibey, Merl using lots of reverb patience. Then the splice, though, and we are winding up. And we don't know what we are missing. Could have been legendary!

! R: s1t04 PMTWGR splice @ 2:29

! s1t05 Road Runner again shows the distinctive style of the drummer, Jim Nelson. Not so much high-hat here, but lots of quick, tight rolls. Guy can hit, all right, and these Holland/Dozier/Holland rollers are presumably pretty well encoded in all the players' respective hardwiring.

! s1t05 (1) @ 11:29 Nelson (presumed): "You guys are treating me rough, man." I think that's Jim Nelson speaking, and he's probably referring to them throwing him out there with a bunch of songs and just telling him to keep up! That's how it sounds to me, anyway.

! setlist: s1t06 "It Ain't No Use" previously known as "It's No Use", changed 9/3/2011.

! R: s1t06 IANU cuts in

! s1t06 (2) JG: "Thanks a lot. We're gonna take a great for a little while. We'll be back pretty soon."

! R: s1t08 there may be a brief splice during the tuning @ 4:28. Then the clear splice @ 4:43

! P: s2t02 There is some really grungy stuff happening off the keyboards, or is it saxophone? at the start of Tough Mama. Can't tell if someone's trying to get some of that, or if it's a bad cable somewhere. Goes away by 1:20. Jerry's vocals are also more audible on the tape here than they had been at the start of set I. Tough Mama gets a little loose for awhile toward the end. They are working on it.

! P: s2t03 old note: "I think they keep trying to end FJD, but they keep forgetting to tell the drummer." new note: That said, this FJD is profoundly interesting to me. I think this is outstanding. Yes, they should have ended it at 12:04. Everything from that point is a little wonky. Though the drummer is super-interesting, they just are not together 12:04ff. Try to end again 12:50, he misses it. OK! They all decide to do some stuff, Jerry playing some realyl plucky 13, Merl does a real nice run 13:08ff, very nice job Merl! Goes high 13:25, Jerry glassy sraping chunking behind him, Merl swirling up some goodies 13:45. Martin adding percussion 14:01. Then they hit it 14:42, so it was just those two misses in the 12 minute range, and then they made some lemonade with them in any case. Very good.

! R: s2t05 Ain't No Mountain High Enough static blip @ 2:40

! P: s2t05 ANMHE amazing to hear this. Great energy. Martin misses once early on, things are a little loose in terms of arrangement, but this has a great groove! 4:30 it is driving beautifully and Garcia does some incredible guitar work, splashy long threads on top of some killer rhythm with an amazing piece of American music at his fingertips. Great. Listen to Nelson drum 5:38! They pull a little minor decay to signal end ... I could have stood for it to go a little longer ... they let it melt and decay, lots of reverb, echoey space, closes to the echo that becomes HSII. Nice!

Finders Keepers: JGMS with Jim Nelson on Drums, Keystone, October 5, 1974

LN jg1974-10-05.jgms.all.aud-falanga.8665.shn2flac

I have no idea who Jim Nelson, the drummer, might be. There are some tempo issues all night long.

I really like this period for JGMS. "La-La" and "Freedom Jazz Dance" are standouts to me. "Finders Keepers" is also pretty good.

When these tapes came into the light, back before 9/11, they were such a revelation. We had never heard much Jerry stuff between the Rheem show (2/9/74) and the show in the Park on 9/2/74 (confusing, yes!).

Jerry Garcia and Merl Saunders
Keystone
2119 University Avenue
Berkeley, CA 94704
October 5, 1974 (Saturday)
Falanga-Menke shnid-8665 shn2flac

--set I (6 tracks, 71:51)--
s1t01. The Harder They Come [15:53] (1) [1:23]
s1t02. Finders Keepers [10:51] [1:42]
s1t03. He Ain't Give You None [11:29] [0:10] % (2) [2:48]
s1t04. La-La [14:42] ->
s1t05. space [1:57] ->
s1t06. Mystery Train [10:45] (3) [0:09]

--set II (6 tracks, 60:02)--
s2t01. tuning [0:42]
s2t02. Freedom Jazz Dance [12:47] [1:19]
s2t03. Neighbor Neighbor [8:28] [1:19]
s2t04. Sitting In Limbo [11:30] [0:06] % [0:43]
s2t05. Someday Baby [8:28] [0:46]
s2t06. I Second That Emotion [13:25] (4) [0:06]

! ACT1: Jerry Garcia and Merl Saunders
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards;
! lineup: Martin Fierro - flute, sax, percussion;
! lineup: John Kahn - el-b;
! lineup: Jim Nelson - 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/19741005-01

! db: http://etreedb.org/shn/8665 (this fileset)

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html; http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html

! personnel: Jim Nelson on drums. Real snazzy. There are certainly some tempo issues, e.g., in Mystery Train, suggestive of a drummer who's trying to find his way with The Group.

! seealso: JGMF, "Jim Nelson on the Drums and Several Great Rarities: JGMS at Keystone, October 4, 1974."

! R: field recordist: Louis Falanga and Bob Menke

! R: field recording gear: Sony ECM-270 + Sony ECM-250 > Sony TC-152

! R: field recording location: onstage mics, one directly in front of Jerry's amp, the other pointed stage center to catch the rest of the band;

! R: lineage: Menke transfer, cassette > DAT? > CD to Jim Powell; Jim Powell CD to jack Warner; EAC > shn, by jjoops; shn2flac, rename to sets, etc. 3/16/2014 by JGMF.

! R: mic placement said to be onstage, with the Falanga setup (one mic into Jerry's amp, the other pointed center stage), but his guitar is not very prominent here, which deviates from one of the key characteristics of the onstage Falanga tapes. Also, after FK it sounded like a bigger hall than Keystone. Is this GAMH?

! s1t01 (1) a couple of knowledgeable audience members request "Expressway", which is a great call. "Keepers" will have to do.

! P: s1t02 FK I really like how the drummer is hitting and how they are letting the song open up right from the get-go, like after the first time through the main melody, some nice breathing in the break, then Jerry comes back sounding really nice. It doesn't sound to me like the mic is in his monitor, or else he's turned way down. They are really putting the drummer to it, making him hold the whole break. Now Merl takes a turn, drummer is killing. John sounds pretty good. Jerry staying way back. Merl is on electric piano with synth. They open up another space @ 5:30, Martin steps up. He's a pro - he had signaled himself stepping forward with the ten note declension that's the key progression of the song. Now he steps up. The band listens to each other, and they are playing well this night. Martin has found a nice little riff first half of 10 min mark, which he uses well to finish off the song. Wow, right on the '1' to finish! Nice.

! P: s1t03 HAGYN starts off powerfully, but it feels a little draggy in the 6-minute mark. There's not enough power coming from stage. Merl's organ solo isn't very loud, Kahn isn't particularly audible. It all sounds a little hollow. Could be mix and mic'ing as much as what they are playing, for sure. 7:10ish JG steps up and he's playing some very nice melodic stuff. Drummer needs to be more in the bass drum or something. This is not totally happening. Drummer needs to fill it more, IMO.

! s1t03 (2) JG: "Hey Martin. Let's do that [he's strumming the La-La chords]". Chick talking sounds really hot and really sweet. She can be heard talking about Great American String Band, I think. She recognizes La-La coming up, and she hums the melody, and she yells with pleasure when the song starts. She called it, she loves it, and it's good.

! s1t05 I label "space", GD style. It's open collective improvisation, but it's rather dissonant, very much in a "free" feel. Martin has got his effects up to '11', and they bring it down to total silence. Nice!

! P: s1t06 MT drummer is a little off. Jerry has to do a little improvising, Jerry starts vox, trying to get the drummer in line, and he gets there about 1:08. Still a little off. They never really get it together, even to end. Oh well.

! s1t06 (3) JG "Thank you. We're gonna take a break for a little while. We'll be back a little bit later."

! s2t06 (4) JG: "Thanks a lot. We'll see y'all later."

The Tutt Rule: JGMS at the Keystone, June 22, 1975

LN jg1975-06-22.jgms.all.aud-menke-falanga-motb-0048.87236.flac1644

Update: 4/20/2020: I now refer to this as JGMS, because Ron Tutt is not drumming, and Greg Errico is. Less importantly, but not unimportantly, while all of the external materials refer to the group as Legion of Mary, Rex Jackson labeled his tape boxes Jerry & Merl.

Sometimes I have a modest tendency to read too much into too little. Ya think? So you’ll discount appropriately if I say that the above calendar is a gift from the data gods, not to mention whoever had it printed on that attractive blue paper. Working from the edges in toward the center, at least a local center, of my chosen topic of Garcia On The Side, we can begin with some of the obscure Bay Area bands, vintage summer 1975. I’ll let you determine for themselves which those are. Then we can look at some of the not-too-obscure ones … hello, Freddie King! Yes, I do feel the blues, thank you for asking.

Kingfish, with Garcia’s once and future bandmates Bob Weir and Dave Torbert, play a Thursday-Friday (19-20), while Keith and Donna Band played the previous weekend, Friday, June 13 and Saturday, June 14, 1975. We know Jerry was out of town on that Saturday (Legion of Mary, 6/14/75, Fox Theatre, Venice, CA), but we are given to wonder whether he tried his luck Friday with Keith, Donna, Billy K. and the gang.

Anyway, the most striking feature about this calendar as it relates directly to my engagement with GOTS is the duplicity of billings for Garcia’s June 1975 gigs with Merl. On Tuesday-Wednesday June 3-4, 1975, and again on Wednesday June 11, they are billed as “Jerry Garcia and Merl Saunders”, or “Garcia and Saunders”. I will refer to this, as usual, as JGMS. On Saturday-Sunday, June 21-22, 1975, they are billed as Legion of Mary, LOM. June 1975 in general (beyond the Keystone) features a more or less even split between the two billings. (update: actually, June was 10-3 in favor of JGMS, by my count as of 4/20/2020.) Since we know of many, many LOM-billed gigs between the name’s ca. March 1, 1975 “official” debut and June, the old idea that there was a linear progression from JGMS to LOM, with a clean, speciating break between them, is untenable.

So, what’s going on? First is the “Tutt Rule”, which comes to us via recollections by Bob Menke and others: “If Ron Tutt was there, it was Legion of Mary.” Tutt was necessary and sufficient to the LOM designation (insofar as Jerry-Merl bands go). For example, a note in the MOTB 0045 seed of the June 3, 1975 show [16 bit: shnid 87198; 24 bit: shnid 87217] explains that “This is listed as Garcia and Saunders since it has been confirmed Ron Tutt did not play drums at this show” (see also the June 4, 1975 MOTB 0046 seeds [16 bit: shnid 87204; 24 bit: shnid 87234]). Cryptdev, who was also around and attending shows, shares this understanding of arrangements (i.e., that Tutt=LOM).

The Tutt Rule holds up well, on its face, against the evidence of the June 1975 Keystone billings. Ron Tutt was drumming with Elvis at the start of the month (helpfully extracted by Corry from the quite extraordinary site http://www.elvisconcerts.com): every night from May 30-June 10, inclusive. Those shows are billed as JGMS. We also know that Tutt was not drumming at El Camino Park on June 8, 1975, as established in cryptdev’s comments to Corry’s Paul Humphrey post (note cryptdev mistakenly calls it June 7). So far, so good.

There is also a second rule of thumb, slightly more elaborate, which I’ll call the alternation rule. According to received understandings, the Garcia/Saunders/Kahn/Fierro outfit used Paul Humphrey on the weeknights (because of his weekend obligations filming Lawrence Welk) and Tutt on the weekends (because he played with Elvis during the week). This one also helps to make sense of the June 1975 billings: all three JGMS listings fall on weeknights, and both LOM listings fall on weekend nights (if Sunday counts that way). Over at Hooterollin’ Around, for example, commenter Keats relays a conversation with Merl in which he recalls that “Humphrey would show up to play in his monochromatic leisure suits from the Welk show.” While Corry’s courageous research into the Lawrence Welk TV show suggests that Humphrey didn’t start that until 1976, the year after JGMS/LOM ended, he notes that it could well have been some other show filmed in Burbank or wherever. So we might imagine that the June 3-4 and 11 shows feature Paul Humphrey on drums.

But we just don’t know. Leaving aside the question of the overall contours of Humphrey’s playing with JGMS, it remains unknown whether he played at these June ’75 shows. I will be revisiting June 3-4 as soon as I can. We know that the El Camino Park drummer (June 8) was black, but cryptdev doubts it was Mr. Humphrey. What we really need is someone with great ears to check this stuff out and make stylistic notes on the drummers – while I will give it a go, it’s really beyond what my ears can detect.

Whatever the case, the show at Keystone Berkeley, 2119 University Avenue, Berkeley, CA, 94107 on Sunday, June 22, 1975 falls foul of the Tutt rule and belies any assumption we might make about Humphrey being there when Tutt was not. An unimpeachable but unnameable source identifies the drummer at this show as “Gregg Ricero”, a misspelled first name and anagrammatic rearrangement of the last name of Greg Errico. And, as is so often the case, the tape gives us a confirmatory piece of evidence when, after the first song, a crowd member yells “That drummer’s outta site!” Errico is not identified by name, but I am constantly amazed by how knowledgeable Garcia audiences were, even at this relatively early date. The attendee just sounds like he’s making special note of a drummer he hasn’t seen before. When I put these two facts together, I can only conclude that, notwithstanding the Legion of Mary billing, the drummer this night is Greg Errico. This further makes me wonder about the rest of the month, and whether we might not have an opportunity to scrutinize the alternation rule more closely, e.g., by comparing Errico’s drumming here with the drumming on June 3, 4 and 21, among others.

The show is a little sluggish to my ears, but I love it. No one song or passage really stood out for me as particularly great or particularly off. Within about two weeks, Legion of Mary would be no more.

Listening notes follow …

Legion of Mary

Keystone

2119 University Avenue
Berkeley, CA 94704

June 22, 1975 (Sunday)

--Set I (6 tracks, 80:10)--

d1t01. //Think [#8:14] (1) [0:19] % [0:16]

d1t02. Favela [17:07] [0:14] % [0:33]

d1t03. Last Train From Poor Valley [12:12] [0:54]

d1t04. [0:25] I Feel Like Dynamite [12:25] [0:21]

d1t05. I Second That Emotion [14:52] [0:17] %

d1t06. That's Alright, Mama [11:55] (1) [0:15]

--Set II (5 tracks, 72:20)--

d2t01. After Midnight [15:40] [0:25] % [0:27]

d2t02. Wondering Why [23:10] [0:26]

d2t03. Tough Mama [8:16] [0:17] % [1:34]

d2t04. My Problems Got Problems [12:54] [0:27]

d2t05. How Sweet It Is (To Be Loved By You) [8:38] (2) [0:03]

! ACT1: Jerry Garcia and Merl Saunders
! lineup: ! lineup: Jerry Garcia – el-guitar, vocals;

! lineup: Merl Saunders - keyboards, vocals;

! lineup: John Kahn – el-bass;

! lineup: Martin Fierro - saxophone, flute;

! lineup: Greg Errico - drums.

MOTB:

MOTB: MOTB Release: 0048 16/44.1

Release Date: 09/14/2007

Band: Legion Of Mary

Date: 06/22/1975. Sunday

Venue: Keystone

Location: Berkeley, CA

Source: Audience FOB Recording

Media: Maxell UD90

Lineage: Sony ECM-270 and ECM-250 [Positioned Onstage] > Sony TC-152 > MAC

Transfer: MAC > Nak Dragon > LynxTWO-B > WaveLab 5.0 > HD 24/96 WAV

Taper: Bob Menke and Louis Falanga

Transfer: Bob Menke

Mastering: Derek McCabe

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.

! TJS: http://www.thejerrysite.com/shows/show/1178

! db: http://db.etree.org/shn/87236 (this fileset); http://db.etree.org/shn/87237 (same tape and transfer, preserve at 24bit/96kHz); http://db.etree.org/shn/12558 (deprecated copy of same master); http://db.etree.org/shn/103435 (deprecated copy of same master, misidentified as a soundboard).

! R: this is one of the great set of audience recordings ever made, the 1974-1976 recordings made by Louis Falanga and Bob Menke of Bay Area Jerry Garcia shows. These guys came into the bar, went to the front, grabbed the table at Jerry's feet (right of center from the audience perspective) as soon as the doors opened. As the evening progressed, they would prepare cassette decks (e.g., this Sony TC-152), presumably complete with fresh batteries. Cassettes would be opened, maybe labeled, made ready (e.g., these Maxell UD90s). Two separate microphones, a Sony ECM-250 and (I presume) a newer Sony ECM-270, probably discrete while the lights are up, I figure? Lights go down, mics come out and are, apparently, placed onstage right in front of Garcia, one of them pointing into his stage monitor and the rest angled stage-center to catch the other players. You can hear the clinking of glasses, the low talk of the players onstage, the beautiful fuzz around the monitored guitar … so very much. Wonderful.

! R: The vocals are low ... persistent buzzing, especially set II?

! R: d1t01 Think enters in progress, maybe 30 seconds missing.

! P: d1t01 Martin does a Lonely Avenue quote about 5-minutes in.

! d1t01 (1) @ 8:23 crowd guy yells "That drummer's outta site." Someone on stage: "Really?"

! P d1t01-d1t02 both of these opening numbers are a little sluggish.

! P: d1t06 TAM they don't quite know how to start, consistent with this being a less acclimated drummer.

! d1t06 (1) JG: "We're gonna take a break for a little while. We'll be back a little bit later."

! P: I find the performance sluggish. Nothing really takes off in Set I.

! P: d2t01 After Midnight is plodding

! d2t01 @ 16:01 chick asks for "Sing Me A Rainbow" ... odd. Wasn't that a NRPS tune?

! R: d2t02 the buzzing is really bad in WW. It's a monitor buzz. Really bad in Tough Mama, down @ 0:27, back up.

! d2t05 (2) JG: "Thank you."

Third Night Out with Tony Saunders: JGMS, Keystone Berkeley, June 6, 1974

**updated 21:18 Eastern 20111213, mostly up front with some more historical context**
LN jg1974-06-06.jgms.all.aud-falanga.6375.shn2flac

A wonderful tape and a wonderful performance. Tony Saunders on bass, Billy K on the drums.

We get to hear what I presume to be Freddie Herrera a time or two, interesting given how central was the Herrera-Garcia partnership over the years.

Get it for the rarity "Darben The Redd Foxx" (formerly known as "Ptah, The El Daoud", FKA "Bag's Groove"). Love it for most every note.

This three-night, midweek run of shows (Tues., June 4 and Wed., June 5, 1974 at the Lion's Share in San Anselmo, then Thursday at Keystone Berkeley) is part of a jam-packed week of shows.

I have written about the Inn of the Beginning shows on May 31-June 1, 1974, which may have had a quite different set of players (Tony Saunders on bass, whoever was drumming for Merl On The Side [MOTS] on the drums). Shows at the Great American Music Hall always seemed to be special, and I'd bet that 5/30/74 show (which exists on tape in the Third Betty Batch) is interesting. On the other end is the huge GD show in the Oakland Athletics' centerfield at the Oakland Coliseum, about which Corry has an important post that I have barely had time to engage. Mix in a little studio work, and you've got Jerry Garcia, vintage May 30-June 8, 1974, the slacker who only works nine out of these eleven nights.

Midweek runs are always worth looking at, it seems like. Just not the modal gig, and interesting things are often involved, including better paydays for club owners than they'd normally get on a [fill in midweek day here] night. Things maybe a little looser, guests are called up, etc. On my view, the three night run at hand got better as it went along, so that 6/6/74 P 6/5/74 P 6/4/74. Where on 6/4 it sounded like Jerry wasn't listening (or hearing) very well, by this night everyone is together and they're all bringing their A game. Maybe the Berkeley juice is different than the San Anselmo juice ... either way, a top-notch show. Listening notes follow.

Jerry Garcia and Merl Saunders
Keystone
2119 University Avenue
Berkeley, CA 94704
June 6, 1974 (Thursday)
Falanga aud shnid-6375 shn2flac

--set I (7 tracks, 90:43-2:22, ca. 88 mins)--
s1t01. talk (1) and tuning [0:24]
s1t02. Someday Baby [12:10] (2) [2:15]
s1t03. Expressway (To Your Heart) [20:15] [1:49]
s1t04. He Ain't Give You None [13:28] [0:36]
s1t05. My Funny % // Valentine [21:#12] [0:17] %
s1t06. tuning [1:34]
s1t07. I Second That Emotion [14:09] (3) [0:09] % pre-set II tuning, talk [2:22]

--set II (3 tracks, 2:22+53:23, ca. 56 mins)--
s2t01. My Problems Got Problems [20:58] [0:18] %  (4) [1:15]
s2t02. Darben The Redd Foxx [19:52] [0:10] % (5) [0:25]
s2t03. How Sweet It Is (To Be Loved By You) [10:15] (6) [0:10] %

! ACT1: Jerry Garcia and Merl Saunders
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards;
! lineup: Martin Fierro - saxophone;
! lineup: Tony Saunders - el-bass;
! lineup: Bill Kreutzmann - 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/19740606-01

! db: http://etreedb.org/shn/6375 (this fileset). There are no other known recordings.

! R: Field Recordist: Louis Falanga [possibly with Bob Menke]

! R: Field Recording Equipment: Sony ECM-270 + Sony ECM-250 microphones > Sony TC-152 cassette deck; [JGMF note: I think this is two early for that setup. I think that setup was probably for ca. May-June 1975 Falanga/Menke tapes, or maybe even later (e.g., 1976). I am really just speculating. Might have been a TC-110.]

! R: Field Recording Location: from front tables, microphone onstage, one mic directly in front of Jerry's amp, the other pointed stage center to catch the rest of the band;

! R: Subsequent lineage: unknown transfer to DAT x1 > CD > EAC > CD > EAC > SHN. Probable chain of Bob Menke to Jim Powell to Jack Warner to jjoops. Extraction and compression using EAC and mkwACT by jupillej@mediaone.net. shn2flac conversion by jgmf 9/13/2009.

! R: What a breathtaking recording. It's hard to imagine that Louis (and maybe Bob) set up at the table in front of Jerry (R of center) and put their mic(s) onstage, one near his feet pointing into his monitor and the other aimed to center-stage. The sound quality is breathtaking, and the vocals aren't even as low on this tape as on other onstage recordings. This is one of the best, to be sure. Puts you right there.

! P: Overall, I think this is an outstanding show, combining the tightness and upbeat temps of the '73 band with the more exploratory band of August 1974 and the increasingly sluggish unit of thereafter. For example, I note that Expressway [Allan | Scofield]  is very long, but it never drags. Over and over throughout this show, I find myself marveling at how coherent, energetic and expressive Garcia is. Hell, the whole band is on. I am not sure if the bass player is John Kahn or Tony Saunders. There's no reason to assume it's anyone but John, but if it is him then his playing is exceptionally inventive, his bottom thicker and fatter than just about any other time. If this is John Kahn, he's positively on fire. Merl also has a lot going on this night, as he did the two nights' prior. He's got a really nice tone working and mixes up the brighter, more carnivalesque Jimmy Smith stuff (which I hear more in these June shows than in your typical show), with the slightly darker and more downmarket sounds characteristic of Merl's own compositions. He's doing it all. Martin Fierro plays with exceptional tastefulness, maybe really in the sweet spot of his time with Garcia and Saunders. In '73 and early '74 he's feeling his way around. By August 1974 he's doing more honking and squawking as things really stretch and lengthen out. Here, he's right there with everyone, dropping some straight jazz and lots of his original licks that are delivered with some restraint. Very nice. Finally, I have no idea who the drummer is. I guess we'd traditionally say it's Bill Kreutzmann. I can't tell. But whoever it is, the guys is a freaking monster. This tape really captures the drumming crisply, but I think it's also that this guy, is really hitting and always right where he should be. Overall, an A+ show from my perspective. @@

! personnel: upshot: I can only confirm Garcia, Merl Saunders and Fierro. I am about 99% sure this is Tony Saunders on bass.

! s1t01 (1) JG: "Whoever's got control of the light dimmer ... it's the light dimmer that's making that buzzing sound. It increases the intensity of this stuff. It's nice."

! s1t01 @ 12:58 (2) Freddie Herrera: "You guys need some kind of help up there, man? What's happening?" @ 13:15 Garcia: "What are we doin'?", strums Expressway @ 13:31.

! P: s1t03 Expressway The bassist and drummer are both in the pocket. The bassist does some nice fat funky stuff, including that distinctive little run @ 0:46, 1:18, a little six-note descent that I heard on the 6/4/74 version (s1t02 of that tape, about 40 seconds in). Is this Tony? This version is a little slower and more elaborated than earlier versions, over three minutes longer than the one from two nights before. Merl nice solo in the 8-9 min mark, very tasteful, while Garcia strums rhythm underneath. Martin gets his CTI on @ 10:40ff with a little bit of Red Clay. This is a long version of Expressway, but it doesn't feel like it meanders. By 16-minutes in I am telling myself that this is one of the hottest versions of @@ Expressway they ever did. I think the Soul Survivors would dig it.
! R: s1t03 ETYH a little muffling @ 1:35ish. Digi-chirp @ 16:22.

! personnel: s1t04 Is there a second guitarist audible @ 3:56 of HAGYN? Sometimes the more closely I listen, the less I hear.

! s1t04 @ 13:38 almost sounds like we can hear a cash register - cha-ching! Nice contextual color from the tape.

! s1t05 MFV Garcia calls the tune.

! R: s1t05 My Funny Valentine gap @ 8:53-8:58

! R: s1t05 My Funny Valentine skip/pop/click @ 10:10-10:11

! s1t05 MFV @ late 19-min mark, the drummer starts doing some nice march stuff. He's great!

! P: s1t07 ISTE @ 9:20 ish Jerry is doing some very tasteful picking, very expressive all the way through the 9-min mark, and into early 10-min mark.

! s1t07 (3) JG: "We're gonna take a break for a little while, we'll be back a little later."

! R: s2t01 Problems Got Problems drop @ 19:40

! s2t01 MPGP Garcia doing some fantastic twangy soloing in the 10-11-12 minute mark ... Steely and glassy at the same time. In the 12:30 mark he does some inventive syncopated upwards progressions that I really like.

! s2t01 (4) Garcia calls the tune, "Oh hey, let's do that [inaudible, but strumming the chords]".

! s2t02 Darben The Redd Foxx: As of 1/24/2015, that's how we know it. These old notes pertain to the notion that it was "Ptah, the el Daoud": It's amazing how well they perform this relative obscurity. Alice Coltrane's album of the same name [wiki | discogs] was released on Impulse in 1971 (AS-9196; my CD version is Impulse IMPD-201, 1996). I am sure I am copping from some of the reviews I just eyeballed (see Stacia Proefrock's Allmusic entry), but the titular composition and the whole record are indeed rich and lush. Garcia and Saunders are only known to have performed this song twice, on June 4th and June 6th, 1974, and both performances are quite memorable.

! s2t02 @ 20:17 (5) ?Freddie Herrera?, over the PA, but to the band: "We're startin' to run in to the after hours [inaudible]", at which Garcia starts strumming How Sweet It Is, right on cue.

! s2t03 (6) JG "Thanks a lot. See y'all ... later."

August 9, 1974 is probably August 10, 1974: a fine show either way

LN jg1974-08-09.jgms.s1s2p.aud-falanga.8073.shnf

More listening around August 1974, as with 8/11/74 and a mention of 8/15/74.

I have some doubts about the date. The always-excellent "Rock Talk by KG" column (by Kathie Staska and George Mangrum) in the Hayward Daily Review (August 9, 1974, p. 40), says "Clifton Chenier does Keystone Berkeley tonight and Jerry Garcia & Merl Saunders with Paul Pena play the same place Aug. 10-11". update 20110906: Man oh man, I am dumb as a bag of rocks. The setlist for this show is identical, with one exception, to the setlist for August 10, 1974, Keystone, Berkeley. That setlist comes from Rob Eaton, who transferred the master reels of this show from the "third batch" of Betty Cantor-Jackson tapes. Rob was forensic in his listening and in his tapebox notations. (Parenthetically, if those tapes reveal a three-song second set, we can of course eliminate the speculation that what's represented on the Falanga-Menke tape is incomplete.)

The only difference in the setlists of "8/9/74" and 8/10/74 is the placement of Think. Yet since it's surrounded by tape discontinuities on the Falanga tapes, it's just as plausible to think it was the first song, but somehow ended up out of place. (This would, in turn raise some lineage questions ... how could a master tape have the second song first? Sigh.)

Anyway, I am arguing here that the Staska-Mangrum mention, on the very day of the show, in addition to the (correlated) calendar listing in the Hayward Daily Review, and the identical setlists attributed to "8/9" and 8/10, the latter of which has a full setlist of impeccable provenance, all outweigh a tape label. We should eliminate the spurious Listing for August 9, 1974, and merge our data from that show with the show from August 10, 1974.

Listening notes follow. 

Jerry Garcia and Merl Saunders
Keystone
2119 University Avenue
Berkeley, CA 94704
August 9 [sic: 10], 1974 (Friday [sic: Saturday])
Falanga MAC shnid-8073

--set I (7 tracks, 86:41)
s1t01. tuning [1:14]
s1t02. Expressway (To Your Heart) [22:42] [0:08] % [1:06]
s1t03. [0:05] //Think [#7:54] [0:19]
s1t04. % [0:03] Are You Lonely for Me [25:06] [0:11] %
s1t05. tuning [1:49]
s1t06. Soul Roach [9:13] [0:34]
s1t07. I Second That Emotion [15:55] (1) [0:25]

--set II (3 tracks, 53:55, ?incomplete?)--
s2t01. [0:18] Mystery Train [17:54] [0:15]
s2t02. Lonely / Avenue [27:#08] ->
s2t03. How Sweet It Is (To Be Loved By You) [8:12] (2) [0:07]

! ACT1: Jerry Garcia and Merl Saunders
! lineup: Jerry Garcia - el-g, vocals.
! lineup: Merl Saunders - keyboards;
! lineup: John Kahn - el-bass;
! lineup: Martin Fierro - horns;
! lineup: Bill Kreutzmann - drums.

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [m: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 [m: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/19740809-01 [presumed spurious]; https://jerrybase.com/events/19740810-01

! db: http://etreedb.org/shn/8073 (this source).

! map: https://goo.gl/maps/LDc43

! JGBP: https://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html

! metadata: First, as my title here indicates, the circulating tape puts this as August 9th (*shiver*), but there is no other evidence for that data and loads of evidence that it's actually 8/10. I am well into the p < .05 range on dating this as 8/10. Second, I used to have question marks around BK just out of an abundance of caution, but I am not at least as certain that this is him as I am about the dating. Third, I used to wonder if the second set was incomplete. I now think they were probably just running up against closing time, though I reserve the right to update on that question.

! P: This show is excellent. There's more deliberateness than fire here, to my ears. So we have three exceptionally long (22-27 minute) numbers which actually stay pretty close to their constitutive themes for a very long time if not throughout. There's lots of elaboration and less exploration, maybe. Interesting. Jerry was in a mood to play and sing some old R&B this night, and that's what we have. "A Mission Street R & B guy," as I think he once described himself. Nice.

! R: field recordist: Louis Falanga;

! R: field Recording equipment: 1x Sony ECM-270 + 1x Sony ECM-250 > Sony TC-152 cassette deck

! R: field recording location: microphones on-stage at Garcia's feet (stage ?right xxx left?), one directed toward Garcia's monitor and the other pointed to center stage.

! R: lineage: unknown MAC transfer to DAT by Bob Menke; DAT > CD transfer ?ca. 2001? ?by Menke?; CD copy made for Jim Powell ca. 2001; CD copy made for Jack Warner ca. 2001; CD copy made for jjoops ca. 2001; extraction [EAC], re-joining [WavMerge], re-tracking [CDWave] and shn encoding [mkwACT] by jjoops, 8/14/2001. Subsequent circulation via vines and tol.etree.org; shnid 8073. JGMF shn2flac conversion, file renaming (by sets), tagging (foobar2000) 7/20/2011.

! R: What an amazing recording. Everything is right where you want it. Thank you Louis Falanga, Bob Menke and everyone else.

! s1t02 ETMH Martin quoting "Red Clay" from 7:40 for quite awhile, even still in the 16:30 range.

! R: s1t03 beginning of Think is mangled.

! s1t07 (1) @ 16:06 JG: "We're gonna take a break for a little while, be back in a little bit."

! s2t02 Lonely Avenue @ 5:57 Martin almost hits an "Ain't No Sunshine" riff.

! R: s2t02 Lonely Avenue gap @ 11:14-11:18

! P: the transition from Lonely Avenue to HSII is pretty smooth. Nice job!

! P: s2t03 this HSII reminds us of what a great bass player John Kahn was, when he was. Listen to him in the first 5 minutes of this. He is locked in.

! s2t03 (2) JG: "Thanks a lot. We'll see you all later."

Ain't No Woman (Like The One I've Got)

LN jg1974-08-11.jgms.all.aud-falanga.6382.shnf

I wanted to listen around August 1974 a bit more, to see if there was anything else like the mystery trumpet player on "8/15/74". So I checked out 8/11. This strikes me as one of the weaker shows of this great month, though it's been so long since I listened to most of them that I can't be sure. "Ain't No Woman (Like The One I've Got)" is the very interesting setlist rarity here.

Jerry Garcia and Merl Saunders
Keystone
2119 University Avenue
Berkeley, CA, 94109
August 11, 1974 (Sunday)
Falanga-Menke shnid-6382 shn2flac

--set I (5 tracks, 58:18-0:18)--
s1t01. ambience [0:11]
s1t02. That's What Love Will Make You Do [12:52] (1) [1:49]
s1t03. La-La [16:49] [1:29]
s1t04. It Ain't No Use [10:36] [0:17] % [0:20]
s1t05. Mystery Train [13:24] (2) [0:11] % pre-set II tuning [0:18]

--set II (5 tracks, 0:18+64:41)--
s2t01. The Harder They Come [18:59] [2:58]
s2t02. Ain't No Woman (Like The One I've Got) [16:38] [0:10] % [0:33]
s2t03. It's Too Late [8:48] [0:13] %
s2t04. (I'm A) Road Runner [9:53] [0:02] % [0:25]
s2t05. The Night They Drove Old Dixie Down [6:00]

! ACT1: Jerry Garcia and Merl Saunders
! personnel: Jerry Garcia - el-g, vocals;
! personnel: Merl Saunders - keyboards;
! personnel: John Kahn - el-bass;
! personnel: Martin Fierro - saxophone, flute;
! personnel: Bill Kreutzmann - 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.

! JGC: jerrygarcia.com/show/1974-08-11.

! JB: https://jerrybase.com/events/19740811-01

! db: shnid 6382 (this fileset).

! official: Garcia Live volume 9  

! map: https://goo.gl/maps/LDc43

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html.

! venue: http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html.

! venue: http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html.

! historical: A Sunday night in Berkeley in August 1974, two days after Nixon resigned. Paul Pena opened. The "It's Too Late" and TNTDODD from this gig were released on "9/1/74". Old Kingbee list showed reels dated 8/10/74, 2x 10" Scotch 207 @ 7.5ips to a Revox master. In Kingbee-speak, "4.8, 119min, Sbd, A0D1, Reel M->Dat 1, 44k". I presume that that was a copy of vault reels transcribed by Latvala, but I don't know that. To be officially released, I presume from vault reels, 7/28/2017.

! ad: Oakland Tribune, August 4, 1974, p. 3-RAP.

! JGMF: "The real dates of the 'September 1, 1974' material," http://jgmf.blogspot.com/2016/05/the-real-dates-of-september-1-1974.html.

! mention: Kathie Staska and George Mangrum, "Topnotch Stanford show by Loggins and Messina," Hayward Daily Review, August 9, 1974, p. 40.

! mention: "Happenings for South County Teens," Hayward Daily Review, August 10, 1974, p. 5.

! listing: Hayward Daily Review, August 9, 1974, p. 40;

! listing: "Scaggs, Smothers and Sete, Too," San Francisco Chronicle, August 9, 1974, p. 47.

! mention: "Docker Hill Boys Set Stand at Lion's Share"" [image Merl Saunders caption 'Merle [sic] Saunders With Jerry Garcia'], Independent-Journal [San Rafael, CA], August 9, 1974, p. 20.

! R: Given lineage: "AUDMC (Bob Menke and Louis Falanga's Sony ECM-270 + Sony ECM-250 [onstage, one mic directly in front of Jerry's amp, the other pointed stage center to catch the rest of the band]  > Sony TC-152) > DATx1 > CD > EAC > CD > EAC > SHN; via Jack Warner. Extraction and compression via EAC and mkwACT by jupillej@mediaone.net." It's not clear whether both Menke and Falanga were there, nor whether this is the correct gear.

! setlist: Disc/set one and the first three songs of disc/set two derive from a cassette master that was labeled 8/10/74. However, the music is identical to that found on an alternate source of 8/11/74, and the vault research as reported at the Jerry Site would seem to confirm 8/11/74 as the true date. The alternate source (AUDMC [unknown gear] > 1R > 1D > 2CD > EAC >  SHN) supplies the last two songs of disc/set two.  It is inferior sounding and may need speed-correction.

! R: seeder note: No flaws noted.

! R: A pretty stunning audience recording. Puts you there, for sure.

! R: set II sounds nicer?

! P: s1t02 TWLWMYD messed up start, but settles in.

! s1t02 (1) @ 13:00, Jerry: "Thank you."

! s1t03 La-La, song proper, ends around 15:52, then drops off into some real drippy, creepy space.

! setlist: until ca. mid-2011, s1t04 was known in Garcia/GD circles as "It's No Use". But the title used here appears to be correct, based on research by Eric Levy. See Alex Allan's entry for more information.

! s1t05 (2) JG: "We're gonna take a break for a little while. We'll be back a little bit later. Thank you."

! s2t01 @ 20:15 JG strums Ain't No Woman. @ 20:23 he asks something like "Wanna do that one?" and mentions "Ain't No Woman".

! s2 guess I don't have much more to say about this set. Ain't No Woman is a special setlist rarity, and I like it a lot.

LOM 19750522 note

Thank you, Bob Menke and Louis Falanga. That's all.

Second Guitarist, No Martin: JGMS, Keystone Berkeley, July 12, 1974

19740712: Jerry Garcia and Merl Saunders: Friday, July 12, 1974, Keystone, Berkeley, CA.

There is a second guitarist on this show. I am concluding it's David Nelson, but I am really uncertain. Can anyone else with this recording take a listen? Can anyone shed any more light?

Jerry Garcia and Merl Saunders
Keystone
Berkeley, CA
July 12, 1974 (Friday)

Disc One (6 tracks, 73:35)
--Set I--
1. //Hi-Heel Sneakers [#8:52] [0:49]
2. //Expressway [16:09#] [1:30]
3. He Ain't Give You None [12:08] [0:25]
4. Wondering Why [11:14] [0:16]
5. I Second That// Emotion [12:04#] [1:08]
--Set II--
6. It Ain't No Use [8:37] [0:19]

Disc Two (5 tracks, 46:09)
--Set II (con't)--
1. tuning [0:59]
2. (I'm A) Road Runner [9:19] [0:19]
3. [0:14] That's Alright, Mama [9:54] [0:13]
4. [0:12] It's Too Late [9:4x] [0:10]
5. [0:15] Harder They Come [14:26] [0:20]

! ACT1: Jerry Garcia and Merl Saunders
! lineup: Jerry Garcia - guitar, vocals;
! lineup: Merl Saunders - keyboards;
! lineup: ?Bill Kreutzmann? - drums;
! lineup: John Kahn - bass;
! guest: ?? - guitar.

JGMF Notes:

! 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.

! TJS: http://www.thejerrysite.com/shows/show/1070. They mention a 90-minute sbd tape ("complete except missing the last two songs of Set 2") about which I am very skeptical. I got a copy of this from what I think is related to the copy TJS is noting, and I determined it to be a mislabel/hodgepodge of stuff. I am prepared to be disproven on this, and hope indeed that there is a legit alternative recording of this!

! db: (this recording). "MAC (Louis Falanga's onstage Sony ECM-250 > Sony TC-110) > DATx1 > CD > EAC > CD > EAC > SHN. Extraction, re-tracking, and compression using EAC, CD Wave & WavMerge, and mkwACT by jupillej@mediaone.net." These are non-seekable shns, and the fileset in this format should be retired. shnid 8072.

! Recording: Unbelievable what Louis Falanga was able to do with these onstage recordings. Kudos and thank you, sir. I am not sure about the gear (didn't a TC-110 have a built in mic, for example)? I believe that Bob Menke did these transfers in the early 2000s. He made CD copies for Jim Powell, who made them for Jack Warner, who made them for Joe Jupille, who created shnid 8027 out of them. There are a few blemishes here and there but overall this is just great to listen to. Special thanks to Mr. Menke for all he has done over the years.

! Personnel: Martin Fierro is not present on this recording. All we really know is Garcia & Saunders. Kahn is a pretty safe assumption. Kreutzmann on drums is nothing more than a conventional understanding, as far as I know. Do we really have any idea who was drumming this night? I don't doubt it's him, but just not sure how we "know" it is.

! Personnel: There is a second guitar player throughout the show. This is an electric player, a little country, who likes to play high up the neck. I have horrible ears for this stuff, but if forced to guess I'd say it's David Nelson.

! Personnel: The guest performer on It's Too Late is playing mandolin for awhile, I think. This has previously been noted as David Grisman, but I wonder if it isn't David Nelson? To check out this person's soloing, check the following spots: d1t03 HAGYN @ 4:50; d1t05 ISTE @ 6:58; d2t05 HTC @ 5:30.

! R: d1t01 Hi-Heel Sneakers cuts in

! R: d1t02 Expressway cuts in; pop/click @ 0:49

! R: d1t05 Second That Emotion cut/splice @ 10:35

! R: there are small pops at several of the track markers.