All By Myself: Legion of Mary, April 5, 1975 late show at the Cap, Passaic, NJ

LN jg1975-04-05.lom.late.aud-SC.147761.flac1644

Ticket stub for Legion of Mary, April 5, 1975, Capitol Theatre, Passaic, NJ - 11:30 PM late show
NB misspelling of "Capital". Image courtesy of gdsets.com

Very listenable audience tape with everything present. Nice show - I like everything here, even "Sitting In Limbo", which I don't always love. "Wicked Messenger" - my goodness, what a great cover. Great energy throughout, including for the public debut of Fats Domino's "All By Myself", which might think would require the boogie-woogie piano, but does just fine here with the organ.

LEGION OF MARY

Capitol Theatre

326 Monroe Street

Passaic, NJ 07055

April 5, 1975 (Saturday) - Late Show

aud shnid-147761

--late show (8 tracks, 93:49)--

t01. /Let It Rock [12:30] [0:09] %

t02. /You Can Leave Your Hat On [14:56] [0:03] %

t03. /All By Myself [6:50] [0:12] %

t04. /Last Train From Poor Valley [8:20] [0:07] %

t05. Boogie On Reggae Woman [15:50] [0:08] %

t06. /Sitting In Limbo [15:12] [0:14]

t07. /Wicked Messenger [7:12] [0:07]

t08. Talkin' 'Bout You [11:44] [0:16]

! 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; [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/19750405-02

! db: https://etreedb.org/shn/147646 (same source, deprecated); https://etreedb.org/shn/147761 (this fileset)

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/capitol-theater-monroe-st-and-central.html

! historic: For the two shows, LOM gets $10,000 guarantee, plus 60% over $25,000. This show 3,201 sellout for gross of $19,125.75. For the night the band earned $16,708.

! ad: Village Voice, March 31, 1975, p. 110

! ad: Village Voice, April 7, 1975, p. 104

! seealso: JGMF, "LN jg1975-04-05.lom.early.aud-CC.xxxxxx.flac2448"

! R: Source: Unknown AUD > 7" Reel @ 3 3/4 ips.

! R: Original Transfer: Teac A-2300S playback > Tascam DA-3000 (96k/24bit) > Samplitude Pro X3 > Flac24 (@ 96k) > ID-147646.

! R: Remaster: ID-147646 > TLH > WAV 2496 > Wavelab > R8Brain > CD-Wave > TLH FLAC 1644.

! R: seeder notes: The following changes have been made to the original files from ID-147646: - Tape speed adjustments - Aligned channels & merged to mono - Small edits around crowd noise, song transitions, & tape pauses - SRC to 16bit/44.1kHz. Most songs cut-in slightly. Thanks to everyone at LL for making this available!

! P: t01 LIR in the 6 range Garcia's guitar work is fantastic. Some years later, listening again, I still hear it. Yeah!!!! Check out the peak at 6:29. Again, ca. 6:55.

! P: t03 ABM great energy

! song: All By Myself (t03): This is understood to be the debut of this song in the Garciaverse, and it pops! It seems like such a piano song, but the organ does just fine.

! P: t05 BORW also raging. Great energy!

! R: t05 BORW cut at 10:46

! P: t06 SIL played at a langorous pace, Tutt singing harmonies. Gorgeous run early 5 gets a cheer. This is beautiful stuff.

! P: t07 Wicked Messenger my goodness do I love this. The tone and glassine picking late 4 over 5 just about kill me - daggers.

! P: t08 TBY hear Jerry come in 6:35 with great energy!

DOWN in South Jersey? JGB at Glassboro State College, February 15, 1981

LN jg1981-02-15.jgb.all.aud.137422.flac1644

Rock Scully's book Living with the Dead (1996) gets mixed reviews for all kinds of reasons, among them that he presents lots of factually inaccurate information. But, on another intepretation --and, I think, relaying something Corry has expressed-- the book may not be right, but it contains lots of truth. Here is some of his narrative around early '81:

We use the airlines to ship dope. I have somebody run it out to the airport in an envelope, put it on a plane, and it gets there like clockwork until some weird hippie at TWA recognizes Jerry's name on the package and takes it. The first time it happens, we're in Philadelphia. I'm jonesing in the Philadelphia Arport waiting for the shit to arrive and it never shows up. I know it got onto the plane, but somewhere along the line somebody stole it. This little glitch leads to a day and a half of the shakes. Garcia is too junk sick to perform the following night. Prescriptions from the hotel doctor help, but we use up all the pills the first night to get rid of the shakes.

In Washington, a desperate Garcia decides to do a radio interview in the middle of the night and "put the code out." Garcia's nodding into the mike during the interview. On air he asks fans — in code — to bring their stashes down to the station and he will sign albums for them. He says, "Uh, anybody down with Garcia out there tonight? You wanna come down to the station? I'll come down from up here and sign autographs, but bring me some down." Thirty kids show up at the station reception with grass, 'ludes, uppers. Uh oh, the wrong drugs! Oh God, now he wants to get more specific on the air, spell out what precisely he needs. We send kids out to get downers and tranks to get us through the night (Scully 1996, 314).

I relay this here because seeder extraordinaire AF has relayed the following in connection with a recording of JGB in Esby Gym, Glassboro State College, February 15, 1981:

Before the show, Jerry went on the radio [campus radio WGLS] to invite people DOWN and if you were DOWN with it, then come on DOWN to the show. The story goes that they were at the end of the tour, way down in the boonies of South Jersey, and the stash was dry. Jerry had to put out the call for someone from Philly or nearby to drive over with a fix for him and Kahn.

Naturally, this sounds like the second part of Rock's little vignette above. I trust AF to have the date, time, and specifics more accurate than Scully. As for our jonesing hereo, maybe the trip into Glassboro, a charter flight from E. Farmingdale (Republic Airport) to Philly on an 8-passenger twin-engine King Air 200, had him just a little jumpy. (Take that, Rock!)

Plea: does anyone know of tape of that particular interview, 2/15/81 from campus radio WGLS? I will inquire with the school, though odds are strongly against there being a copy there.

What about the rest of Rock's narrative? It kind of fits Corry's characterization. First, I think he swaps Philly (end of the tour) and DC (start of the tour), with the package of drugs not making it to them in Washington. Second --and, yes, I see how petty this is-- they didn't fly TWA, but United (#58, since you asked). Third, there is no canceled show anywhere in the tour. Fourth, the interview was apparently before the show, not in the middle of the night.

Some of this other stuff might have happened on Dead tour, or on a different Jerry tour. He doesn't explicitly say this is the Feb. 81 JGB jaunt - I am just making the connection because of the radio interview, which it seems safe to say can only have happened once. Overall, all of this stuff probably sort of happened, and so Rock's account is true ("truthy," you might say), if not exactly right.

One of the great benefits to me of doing these listening notes, and trying to integrate them into the broader fabric of the Garciaverse, is how LITTLE the drug stories tell us about the music. Here we have relatively firm evidence that Garcia was jonesing hard for the show, specifically needing stuff to take the edge off, and that he got some stuff to get him DOWN to some level of comfort. Yet the show sounds peppy. I don't make a lot of notes, but they all point in the same direction: torrid scrubby goodness in "Catfish John", punch great energy in "Tangled Up In Blue", Gar sounding enthused on "Tore Up Over You". All of this speaks, as Twitterato and all-around great guy Mr. Completely might say, to the limits of drug determinism.

Ticket for JGB 2/15/81 at Glassboro State College, courtesy of gdsets.com.

Sounds like the place was packed, sweltering hot (Chambers 1981), and ol Jer, jonesing or not, put on a good strong show to end the tour. (Since you were wondering, fly home next day, 10:15 AM departure on United #719 through Denver to land at SFO by  2:30 PM, or TWA #31, out at 3:30 PM to hit tierra santa at 6:30 PM. I leave it to you to imagine which flight Jerry caught, and why.)

Listening notes below the fold.

Kean College Tour Closer: JGB, November 15, 1982 (Late Show)

jg1982-11-15.jgb.late-1.aud-vita-minches.78008.flac1644

Pretty standard late '82 gig to my ears, not the equal to 11/11/82 late or 11/13/82, IMO. Errico's Gatling Gun start to HTC is awesome.

Three little oddities jump out to my pattern-obsessed brain.

First, no early show tape. Hm. Second ... , both the Vita aud and the soundboard tape are missing the encore. Hm. never mind. Third, all of the newspaper listings, some of the tickets, and the band's in-house itinerary show the venue as De'Angelo Gymnasium, but other tickets, the handbill/poster, and at least one recollection (from someone involved in planning the show) place it in the theatre, as the '80 and '83 shows at the college were. Update: it was moved from the gym to the theatre because of concerns for the court surface.

One of these is not like the others.

No biggy, but contradictions are fun.

Jerry Garcia Band

Wilkins Theatre, Kean College

1000 Morris Avenue

Union, NJ 07083

November 15, 1982 (Monday) - Late Show (10 PM)

Vita MAC missing 1 tune shnid-78008

--8 tracks, 7 tunes, missing encore, 74:12)--

l-t01. crowd and tuning [1:23-1:00] 

l-t02. Mission In The Rain [1:00 + 8:53] [0:16] % [0:21]

l-t03. Harder They Come [13:45] [0:11] % [0:12]

l-t04. It Ain't No Use [9:55] [0:02] % [0:03]

l-t05. Mystery Train [8:52] [0:27]

l-t06. Run For The Roses [5:01] [0:33]

l-t07. Dear Prudence [12:44] ->

l-t08. Tangled Up In Blue [11:20] (1) [0:12]

[MISSING: --Encore-- Midnight Moonlight]

! ACT1: Jerry Garcia Band #15b

! lineup: Jerry Garcia - el-g, vocals;

! lineup: John Kahn - el-bass;

! lineup: Melvin Seals - keyboards;

! lineup: Greg Errico - drums;
! lineup: Elisecia Wright - vocals;
! lineup: Shirley Faulkner - vocals.

 

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! Jerrybase: https://jerrybase.com/events/19821115-02

! JGC: https://jerrygarcia.com/show/1982-11-15-wilkins-theatre-kean-college-union-nj-2/. Commenter Matthew Turkin posts (November 25th, 2015): "was one of the people on the concert committe (CCB) that put on this night and the next year's shows at Kean College. Great shows w great people that helped bring these shows 4 ourselves and all the heads that we knew. The theatre was rockin from the seats to the rafters. 'Never had such a goodtime, in my life before'."

! db: https://etreedb.org/shn/23339 (sbd, shnf, also missing encore); https://etreedb.org/shn/78008 (this fileset). It appears that the early show does not circulate, though Jerrybase gives a setlist.

! map: https://goo.gl/maps/lhE48

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/07/wilkins-theatre-kean-college-1000.html

! listing: Daily Record (Morristown, NJ), November 12, 1982, p. 17; Courier-News (Bridgewater, NJ), November 13, 1982, p. B-13; Philadelphia Inquirer, November 14, 1982, p. 13-J.

! venue: the band itinerary, three newspaper listings, and some tickets give the venue as De'Angelo Gymnasium, while other stubs and conventional reckoning have it as Wilkins Theatre. The JGC comment by Matthew Turkin seems to confirm it was in the Theatre, so somewhere either wires were crossed or plans were changed. update: plans changed

! seealso: JGMF, "Armistice Day Rocker: JGB at Felt Forum, November 11, 1982," URL https://jgmf.blogspot.com/2018/01/armistice-day-rocker-jgb-at-felt-forum.html; JGMF, "Greg Errico hits like a linebacker," URL http://jgmf.blogspot.com/2017/07/greg-errico-hits-like-linebacker.html.

! R: field recordist: Jim Vita

! R: field recording gear: 2x Sennheiser 421 > Sony D-5

! R: field recording location: 16th row center

! R: Transfer and FLAC encoding by David Minches: Master cassette played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.

! R: Jim Vita pulled a pretty good one this night - the vocals are low, but that's fine since they sound fatigued here at the end of the tour (as they may well have at the start, in this period). The bass is especially well captured, and the drums are very present, not least because Errico just crushes those fuckers.

! R: l-t01 mistracked, tune starts at about :23

! P: l-t02 MITR vocals shaky out of the gate, as they often were. Nice energy, fluid playing. John is making himself heard here. Errico bashes.

! P: l-t03 HTC man, Errico is just HAMMERING the start. Great energy from John, too.

! P: l-t05 MT frenetically paced

! l-t08 (1) JG: "See ya later."

Find Someone Who Looks at You the Way John Looks at Jerry

VN jg1977-07-09.jgb.late.voodoonola

Jerry Garcia Band

Convention Hall

1300 Ocean Avenue
Asbury Park, NJ 07712
July 9, 1977 (Saturday) –Late Show 10 PM

complete (128:25) B&W proshot video via Music Vault, URL https://www.youtube.com/watch?v=Glq7yzbfy-o

re-do the time markers

0:00:00 – [0:47 The Harder They Come 0:48-15:04 -15:06

0:15:07 - Stage Noise

0:17:42 - They Love Each Other -25:42

0:25:46 - Stage Noise

0:30:05 - Midnight Moonlight

0:40:13 - Stage Noise

0:43:38 - Russian Lullaby (incomplete)

! R: RL splice @ 58:05, not much missing

0:58:57 – noodling

1:00:51 - Tore Up Over You

1:14:06 - crowd noise

1:14:54 - Knockin' On Heaven's Door

1:31:32 - Stage Noise

1:33:51 - Tangled Up in Blue

1:45:46 - crowd noise

1:51:00 - Not Fade Away (Incomplete)

! ACT1: Jerry Garcia Band

! lineup: Jerry Garcia – el-g, vocals;

! lineup: John Kahn – el-b;

! lineup: Keith Godchaux – el-piano (Polymoog keyboard), ac-piano;

! 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/19770709-04

! db: http://etreedb.org/shn/8659 (Mattson early and late shows shnf); http://etreedb.org/shn/76441 (Mattson early and late shows flac1644); http://etreedb.org/shn/124426 (Steve Strange late show flac1644).

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

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/convention-hall-1300-ocean-ave-asbury.html

! band: JGB #xxx. Notice that neither Donna Jean Godchaux nor Maria Muldaur is present.

! JGMF: see also "Rockabilly JGB Doing Not Fade Away: July 9, 1977," http://jgmf.blogspot.com/2013/12/ln-jg1977-07-09jgblate-2aud-strange.html.

! ad: Asbury Park Press, June 26, 1977, p. 14.

! expost: "Arrests Follow 2 Rock Concerts," Asbury Park Press, July 11, 1977, p. unk.

! historical: "More than 30 persons, most of them from North Jersey and New York, were arrested Saturday night and early yesterday morning" after the Garcia Band shows ("Arrests Follow 2 Rock Concerts"). 22 police. Crowd of 250-300 (per police) gather at Bradley Park, across Ocean Avenue from Convention Hall, about 6:30 pm. Drinking. Cops announce they're gonna bust the drinking, etc. over the bullhorn. Crowd mostly dispersed 7:30, when JGB scheduled to start. Arrests begin at 10:30 pm, after the early show. "Police arrested people as they came off the Boardwalk and were visibly intoxicated. The arrests continued until about 1:25 am [text not clear]". Most was possession of alcohol, maybe 28? That'd be a summons or $100 bail. Nine for possession of marijuana or LSD, $500 bail. One Prince Charming got three charges and $5,000 bail: possession of a large knife, assault and battery of a police officer, and resisting arrest. (Your mother will love him!) Wage: $20,557. Only 120 tickets shy of a sellout (3,776 of 3,896).

! R: seeder notes: Thanks to BGA LLC.

! R: Original audio from video mastered using Adobe Audition

! R: audio patch in NFA from shnid 76441 taped by Mark Mattson

! R: audio and video editing by Voodoonola

! R: the video and audio quality are breathtaking.

! P: HTC catch Tutt do a great run around 3:15. Keith's electric keyboard is clearly shown 7:15ish. Watching JG play 8:30 is wonderful. At 10:10 he looks at John with such love. The admiration is so great. Swaying and smiling 10:25 as the crowd cheers. So, so, so nice.

! P: TLEO Tutt doing some harmonies visibly @ 20:10. Keith now on acoustic piano.

! P: MM KG has baritone and Tutt has high parts. KG's voice is unfortunate. Nice solo over 30, Kahn hitting some nice fat stuff and there's a crowd shot of a dude right upfront reacting to it, probably same look I had on my face. Wow. Late 30 Jerry takes another turn, he wasn't satisfied with the first one (it's true he hit a bad note in there), now he has his eyes closed and that helps, sometimes.

! P: RL wow. We know that Jerry, John and Keith, sometimes just Jerry and Keith (!), played some Hot Club stuff at Club Front in mid-1978. The love that Jerry and John share for each other is palpable. Over 43 John is practically cooing at Jerry, playing with him like a kitten, and Jerry is using that to get off. It's potent. At 45, John steps in front of Jerry and is ready to jump on a feature, but Keith steps up and plays a beautiful little thing. Jerry sways with pleasure and smiles at Keith, comping with his eyes on Keith. If Garcia's comping and looking at you and urging you to play, you play, by God. 46 Keith picks up his tempo a little bit. He's playing very well-controlled piano here, not so heavily percussive on the left hand. Now John feature 47:15 ff. At 48:45 you are getting a perfect view of John's fingers. It is very nice to see this, but I don't think this bass solo holds a candle to what some of John's contemporaries could do. Garcia is having a smoke and watching John, so it's a little trio configuration of John leading, Keith and Ronnie just holding the beat. Jerry comes back 50:35, crowd gives John a nice hand. But it also knows, or many of its members do, that Garcia's about to play his guitar.

! P: TUOY John was playing something very interesting around 70 min mark, but the seeder had already tracked KOHD. I think he was noodling something else, and then the transition to KOHD sounded abrupt. But maybe I just wasn't playing close enough attention.

Concert Vault

My goodness, I don't really follow what all comes online --or maybe it's new, so effectively I do-- but there is some 1980 and 1982 JGB (and snippets of 4/10/82 Garcia solo acoustic) online at concertvault.com. I need to investigate some of this more.

Here's "Let It Rock" from 6/24/82:
http://www.concertvault.com/jerry-garcia-band/video/let-it-rock_2147002982.html

And "Deal" from 7/26/80, Greg Errico on the drums:
http://www.concertvault.com/jerry-garcia-band/video/deal_2147003437.html

Full concerts from the Capitol Theatre, Passaic, NJ, 1973-87

One Kind Favor

I presume this is 9/6/73.

LN jg1974-11-09.jgms.late.aud-slabicky.8661.shnf

I guess I'd say I see that as a rather loose and very good show, maybe above average for the time.

Jerry Garcia and Merl Saunders
Capitol Theatre
326 Monroe Street
Passaic, NJ 07055
November 9, 1974 - 11 PM Late Show
Slabicky shnid-8661 shn2flac

--(9 tracks, 85:20)--
l-t01. band introduction (1) [0:26]
l-t02. Harder They Come [15:21] % -16:53
l-t03. Favela [10:15] %
l-t04. /Let It Rock [#8:29] %
l-t05. //My Problems Got Problems [#10:37] [0:02] %
l-t06. //He Ain't Give You None [#11:24] [0:05]
l-t07. La-La [13:50] ->
l-t08. People Make the World Go 'Round [3:58] [0:02] %
l-t09. //How Sweet It Is [#9:11#] [0:07]

! ACT1: Jerry Garcia and Merl Saunders
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards, vocals;
! lineup: Martin Fierro - saxophone, flute;
! lineup: John Kahn - el-bass;
! lineup: Paul Humphrey - 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/19741109-02

! db: http://etreedb.org/shn/8661 (this fileset). Note that the 11/9/74 early show is MIA - no known recordings

! map: https://goo.gl/maps/GSy7A

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/capitol-theater-monroe-st-and-central.html

! R: field recordist: Ihor Slabicky

! R: field recording gear: 2x AKG d190e > Sony TC-152sd

! R: field recording media: Ampex 90min High Frequency Cassette)

! R: transfer: playback on a Nakamichi CR-3A > Lucid AD9624 24-bit A/D converter (44.1kHz) > DAT (Sony R500) > CD. Extraction via EAC, re-tracking via WavMerge and CD Wave, and .shn encoding via mkwACT.

! l-t01 (1) John Scher: "OK, here we go. On saxophone, Martin Fierro. The drummer is Paul Humphries [sic], on bass John Kahn, on keyboards Merl Saunders, on guitar Jerry Garcia. Please welcome [inaudible]."

! P: l-t02 HTC Paul Humphrey is incredible! The vibe of this HTC is fantastically warm, up through 10, come to verse 11:15 and that was a really nice passage. This might have gone a time or two around longer than it needed to, but still in 14 there's lots of really good energy and playing.

! P: l-t03 Favela starts off really hot. Garcia takes a real nice turn 4ff while the band absolutely cooks. This is great stuff. Merl nice turn 7. Things get a little loose 8:45, maybe Martin's fault, not sure, but they right the ship for a bit. Looking ahead, I see the track only times to 10:15 - looks like they're gonna bail out. But here at 9:36 it's still cooking along nicely, down to a tight close - all right, then.

! R: l-t04 Let it Rock cuts in;

! P: l-t04 LIR in the first minute, now continuing 1:14 is playing some great decaying stuff, very country for awhile there. The band is not entirely together at all times.

! R: l-t05 Problems Got Problems cuts in;

! P: l-t05 MPGP in 2 Jerry is playing some very nice bluesy stuff. This band isn't always together, but this is a case where it just sounds wonderful. Jerry's guitar playing is unrushed, expressive, exploratory, soft edges around deep grooves. Merl's long swirls runs in 8 are excellent. He sounds great this night, moaning and growling about how his problems got problems.

! R: l-t06 HAGYN cuts in;

! P: l-t06 HAGYN more really nice playing by Garcia in the 8-minute mark of this song. He sounds great.

l-t09 How Sweet cuts in

Englishtown: Get the Aud!

https://archive.org/details/gd1977-09-03.aud.102409.flemming.berger.flac24

You want to hear the energy of Englishtown? Get the aud.

A Motley Crew Down at the Nunnery (LN jg1984-08-11.jgb.all.aud-weez.111743.flac1644)

Ticket stub for JGB 8/11/84 show at Caldwell College, contributed by Ed.

Photo of JGB 8/11/84 at Caldwell College, courtesy of Jck007.

What a weird show. Reviewer Bill Breen (1984) sets the stage.

The August 11 Robert Hunter/ Jerry Garcia Band gig at Caldwell College, New Jersey had to be one of their stranger forays. ... Their venue was a Catholic girls' school, complete with neo-Gothic towers and Celtic crucifixes. ... The stage was built at the bottom of a grassy hillock ringed by two hundred foot balsams, which formed a natural ampitheater. The crucifix topped towers peering through the trees lent a medieval look.

He notes the incongruity of Garcia and his fans in these pious surroundings. A TJS informant writes that there were "nuns patrolling the parking lot", while TJS contributor Mike Vand also notes heavy security without specifying whether it was the good sisters.

I'd say this is an average show for the period. It has the grungy, filthy, feedbacky August 1984 Garcia guitar playing that I really like, right in your ears on this FOB tape.

I *love* that Garcia had brough Allen Toussaint's "Get Out Of My Life, Woman" (Allan | deaddisc | Jerrybase) into his repertoire. Now, not everyone loves Jerry Garcia, and fewer still love the Jerry Garcia Band. Since it's less exploratory than the Grateful Dead, it loses everyone who needs the collective improvisation at work in that band. That's fine. But let's recognize the American musical vein Garcia is tapping here, with legit Bay Area R&B, soul, church musicians. JGB introduced it on 7/28/84 at the Keystone Palo Alto, prepped it one more time locally, and then took it on the road, playing it every night but one on the August 7-18, 1984 tour. The song's introduction doesn't fit within a "Rock Bottom" narrative. I maintain pretty consistently that fresh material is a pretty unalloyed good, at least as a proxy. Variance in the repertoire means he's at least thinking about things, engaged. And when he picks a number as cool as this, with his Bay Area players flavoring the really tight mix, It Is Good, and true to his self conception as a local kid running around multihued San Francisco, a Mission Street R&B guy. Nice.

One further note on GOOMLW: The song's ebb and flow in the repertoire is generally interesting. Some tunes come in and never leave. Some tunes come in and leave right away. Some tunes he played mainly with one group of players, and others he kept picking up through the many iterations of the JGB or many different periods. This one was ebbed and flowed a bunch, with lots of six month or even year long gaps between performances. That's not that common in the JGB repertoire.

"Like A Road Leading Home" (Allan | Scofield | Jerrybase) is a song I have discussed in connection with its earliest appearance, on 1/24/73, where I conjecture that it's a song Jerry really liked, qua song. And who can blame him? It's a good one. And I'll make a post sometime connecting this performance with another one from early 1989, so I won't say much more here, except that this version is too short and not quite together.

Now, what about this 35 minute second set? Very suspect.

In the Rock Bottom series I have pondered some endogenously short sets, including 5/31/85 and 6/3/85, and some that were at least partly exogenously foreshortened (3/2/85, late band members). (I won't consider here shows that were fully exogenously truncated, as by the power outage at the Boston Orpheum on 11/13/81.) Though Jerry sounds better here than on 3/2/85, I think he didn't have to play so short on this night. Breen (1984) notes that with a crowd "10,000 strong, it was a pretty motley crew down at the nunnery". I am surprised the crowd was that big, but anyway. During the sixth ever JGB version of Allen Toussaint's "Get Out Of My Life, Woman" (Allan | deaddisc | Jerrybase), "a local aborigine, madly gyrating, crashed through the drumset." He was booed, security gave him the heave-ho, they were booed. Breen recalls that, "drumless, Garcia soloed right on through, never dropping a note. Afterward, the band huddled briefly, considering their next move." Things never quite go drumless, to my ears, but one can definitely hear the action @ 4:45 of s2t02. As he so often does, Garcia responds to this sort of thing with some burning, molten guitar playing - check it out.

Attendee Mike Vand remembers our gyrating freak:

Halfway through the second set some crazed individual got on the stage, leaping on it from behind the band, and knocked over part of the drum kit. The band finished the song and left the stage. That explains the short set and no encore. Don't know what happened to the guy. He jumped into the area between the stage and a security fence which I think was full of cops.

Vand seems to suggest that the stage crasher truncated the show, but clearly Jerry comes out and plays a couple more songs. He might have left the stage for awhile - this tape isn't clear because it splices. The David Dyche tape (shnid-120062) has a little more after GOOMLW, and it does sound like someone near him is urging the band to stick around or something. I can't quite tell.

Long story long, this was a disruptive event. I don't necessarily blame Garcia for not putting out more -- I wonder what the temp was on this day, and it's never fun having someone invade your space when you're trying to work-- but the fact is, after it happened he played a tender but short "Like A Road" and then galloped Peter Rowan's "Midnight Moonlight" back to the barn. Not sure the other 9,999 assembled nuns, goons and trippers deserved the short change, but there you have it.

So, I like the narrative tensions around this show. Incongruous context, and Garcia showing the era's spark and limitations. Oh yeah, one other thing: check out the east coast tapers representing: seven separate master tapes of this circulate in the lossless realm! Speaking of motley crews ... :)

Jerry Garcia Band
Caldwell College
120 Bloomfield Avenue
Caldwell, NJ 07006
August 11, 1984 (Saturday) - 7 PM
Da Weez flac1644 shnid-111743

--set I (6 tracks, 61:21)--
s1t01. [0:06] Cats Under The Stars [9:28] [0:54] %
s1t02. /They Love Each Other [8:06] [0:12]
s1t03. Simple Twist Of Fate ->
s1t04. Run For The Roses
s1t05. Dear // Prudence
s1t06. Rhapsody In Red [12:42] (1) [0:16]

--set II (4 tracks, 35:34)--
s2t01. [0:07]  Mission In The Rain [11:22] [0:06] %
s2t02. Get Out Of My Life, Woman [8:33] [0:07] % [0:03]
s2t03. Like A Road Leading Home [7:02] ->
s2t04. Midnight Moonlight [7:49] [0:12] % dead air [0:07]

! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: Jacklyn LaBranch - backing vocals;
! lineup: Gloria Jones - backing vocals;
! lineup: David Kemper - drums.

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! Jerrybase: https://jerrybase.com/events/19840811-01

! db: http://etreedb.org/shn/4411 (Steve Ziemba shnf); http://etreedb.org/shn/9504 (Jeff Silberman shnf); http://etreedb.org/shn/21718 (Bill Reutelhuber shnf); http://etreedb.org/shn/78159 (Jim Vita flac1644); http://etreedb.org/shn/91396 (Joe D'Amico flac1644);  http://etreedb.org/shn/120062 (David Dyche flac); http://etreedb.org/shn/111743 (Da Weez flac, this fileset).

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/caldwell-college-120-bloomfield-ave.html

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

! review: Breen, Bill. 1984. Jerry Garcia and Robert Hunter: Caldwell College, New Jersey. Relix 11, 5 (October): 28-29.

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

! historical: Reviewer Bill Breen (1984) paints a nice picture: "The August 11 Robert Hunter/ Jerry Garcia Band gig at Caldwell College, New Jersey had to be one of their stranger forays. ... Their venue was a Catholic girls' school, complete with neo-Gothic towers and Celtic crucifixes. ... The stage was built at the bottom of a grassy hillock ringed by two hundred foot balsams, which formed a natural ampitheater. The crucific topped towers peering through the trees lent a medieval look." He notes the incongruity. A TJS informant writes that there were "nuns patrolling the parking lot", while TJS contributor Mike Vand also notes heavy security without specifying that it was the good sisters. The other thing to note is the 35 minute second set. In the Rock Bottom series I have pondered short sets (3/2/85, 5/31/85, 6/1/85, 6/3/85). I have also occasionally bumped into exogenously truncated sets, as when a nearby fire cut short a show at the Boston Orpheum Theatre xxx on 11/15/81. I think this is a little bit of both. "At 10,000 strong, it was a pretty motley crew down at the nunnery" (Breen 1984), and during the sixth ever JGB version of Allen Toussaint's "a local aborigine, madly gyrating, crashed through the drumset." He was booed, security gave him the heave-ho, they were booed. Breen recalls that, "drumless, Garcia soloed right on through, never dropping a note. Afterward, the band huddled briefly, considering their next move." Attendee Mike Vand remembers our gyrating freak: "Halfway through the second set some crazed individual got on the stage, leaping on it from behind the band, and knocked over part of the drum kit. The band finished the song and left the stage. That explains the short set and no encore. Don't know what happened to the guy. He jumped into the area between the stage and a security fence which I think was full of cops." Vand seems to suggest that the stage crasher truncated the show, but cclearly Jerry comes out and plays a couple more songs. He might have left the stage for awhile - this tape isn't clear because it splices. The David Dyche tape (shnid-120062) has a little more after GOOMLW, and it does sound like someone hear him is urging the band to stick around or something. I can't quite tell. Long story long, this was a disruptive event. But Jerry could have chosen to come out and play more than two songs even after the incident. I don't blame him for not putting out more -- I wonder what the temp was on this day, and it's never fun having someone invade your space when you're trying to work-- but the fact is, after it happened he played a tender Like A Road (I have a post to make about freaky stage crashers and that particular song) and then galloped Peter Rowan's "Midnight Moonlight" back to the barn.

! R: field recordist: The Weasel ("Da Weez");

! R: field recording gear: 2x Sennheiser 421 microphones > Sony TC-D5M;

! R: field recording media: unknown cassette stock;

! R: field recording location: close to the stage;

! R: transfer: Sony TC-D5M (original record deck) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac files, by D5scott. Seeded to Dime.

! R: seeder note: "R.I.P. Sandy. aka 'Bigfoot'"

! R: s1t01 guitar is right in your face, and vocals are way back. So we are hearing the stage. (Looks at notes, and sees recording location of "close to stage". Indeed!)

! R: s1t02 TLEO clips in. God, this recording captures Garcia's guitar so beautifully! He is playing really well, e.g., in the 5-6 range.

! P: s1t02 Melvin sounds great to start TLEO, really forward on the recording. Garcia's voice ragged, what did you expect? His inflection is good, his singing is very intentional, very present. @ 2:50, Melvin hits a real loud thing, the crowd reacts and Melvin has stepped in front of *Garcia* for a lead turn. Yeah, man! That announcement of his intention is very cool. Now, however, Jerry is comping behind him 3:20s and Melvin doesn't have anything to say. Does a little thing 3:45ff, but not loud enough! Now a little louder over 4, but I expect that Jerry's done enough comping. Indeed, he bends out 4:11, his first turn is interesting, sounds ilke an early GD tune, not a great solo, but a little weird. The band is on the '1' though, so he can get back to TLEO, set his feet and go again, as he is late 4 over 5.

! P: s1t03 man, now Jerry's vocals sound very clear, and again he is singing with care. He muffs the first part of the second of verse. He is singing so beautifully here. In the 2 min mark he takes a nice solo, gets fsome real echo and feedback on it 2:29, high up 2:39. John going to take a lead turn 6:40ff, since Garcia is so forward in the mix you hear him comping more than John's fluttery lead. By 8:30 Jerry is signaling his intentions, and 8:40 ish he steps forward. John's thing wasn't terrible, but it did nothing for me.  STOF giving it his all vocally. Next run through early 3 is very grungy. This tape captures the guitar, the feeling of his electric guitar playing on this night. The band is *on*. Screaming 4:15, after the "I sing the blues, where has it led?" line. Band is super tight.

! s1t06 (1) JG: "Thank you. We're gonna take a break for a few minutes. We'll be back a little later."

! P: s2t01 MITR hard to say if this is a P or an R artifact. Let me explain. At 6:40 it is Mevin's turn to play some lead. He signals it, Garcia steps back, comps, creating the space for Melvin. Melvin is playing the sorts of notes that would be indicative of "leading", but he's not very audible. So, is it that he's not really putting his belly into it because he's a little tentative? Or is it just that we are right in front of Jerry, listening to his stage monitors, and Melvin's not high in this particular mix? It'd be cool to check against some of the other tapes (most of which were seeded in shn and need a shn2flac treatment), because the implications are totally different. The first is that Melvin's not stepping up. The second is that he might be, and though we can't hear it very loudly, we are listening from a Jerry-centric vantage. Back to a P note: Around 7:50 JG playing beautifully, laying down some complete chords for Melvin to run around. Jerry teardrop run 8:20ff gets a yell from the audience, nearly one from me. They almost lose each other over 9, but Kemper lays out a nice tight net and they come back together. Jerry is singing with real heart this night.

! P: s2t02 Jerry started in the wrong key (I had been blaming John), but Jerry switches and then it's all good. He takes two instrumental turns to reall set the groove he wants with this song. Around 4:45 there's some PA funkiness, Jerry turned himself up, but there was some popping and electronic zing. I wonder if this is where the guy came on stage? Crowd is hootin' and hollerin', but the drums never stop. Garcia's pouring out molten electricity, shredding all through the 5 minute mark, turning up again 5:48, now it's really loud. Definitely some PA funkiness here as well, though. It's all good. The crowd feels it, and this is top shelf JGB listening. Hear the note 6:24. Drop it right back to the song 6:40ish. The arrangement is a little squirrely 7:35ish, they'll tigthen that up - this is only 6th time played.

! song: "Get out Of My Life, Woman" (s2t02): (Allan | deaddisc | Jerrybase): Listen, not everyone loves Jerry Garcia, and fewer love the Jerry Garcia Band. Since it's less exploratory than the Grateful Dead, it loses everyone who needs the collective improvisation at work in that band. That's fine. But let's recognize the American musical vein Garcia is tapping here, with legit Bay Area R&B, soul, black church musicians. JGB introduced it on 7/28/84 at the Keystone Palo Alto, prepped it one more time locally, and then took it on the road, playing all but one night on the August 7-18, 1984 tour. The introduction of this song provides a useful counterpoint to the "Rock Bottom" narrative. I maintain pretty consistently that fresh material is a pretty unalloyed good, at least as a proxy. Variance in the repertoire means he's at least thinking about things. And when he picks a number as cool as this, with his Bay Area players flavoring the really tight mix, It Is Good, and true to his self conception as a local kid running around multihued San Francisco, a Mission Street R&B guy. Nice. The song's ebb and flow in the repertoire is generally interesting. Some tunes come in and never leave. Some tunes come in and leave right away. Some tunes he played mainly with one group of players, and others he kept picking up through the many iterations of the JGB or many different periods. This one was ebbed and flowed a bunch, with lots of six month or even year long gaps between performances. That's not that common in the JGB repertoire.

! P: s2t03 LARLH giving it his all, "the pain is too much / for you to bear / turn around / turn around / turn around / and I'll be there / like a road leading home". Nice. Long vocal extensions 1:27, nice guitar counterpoint 1:29. I am a little worried that they're moving too fast with it, but we'll see where it goes! Man, this first big guitar work late 3 is quite nice. Jerry is playing this very nicely, yet I don't find this version entirely satisfiying. The arrangement is not totally together, and Jerry doesn't stretch it out enough. He wants to get out of Dodge, mountin' good ol' Midnight Moonlight for the home stretch.

! P: s2t04 MM over 4 Jerry's truncating his chords, which he didn't always do on this number. Melvin leads a turn 4 min mark while Jerry chords.

! s2t04 (2) JG: "Thanks a lot, we'll see you later."

Jersey Shore, Jerry and Scher (VN jg1977-07-09.jgb.early)

In July 1977, the Jerry Garcia Band went out east for a few big paydays playing for John Scher in Hempstead, NY and two shows on the Jersey Shore, at the Convention Hall in Asbury Park. I have reported on the first night (7/8) and on the 7/9 late show from an audience tape.  Lots of interesting stuff here – the Garcia-Scher partnership (a Don Law-promoted show up Cape Cod was scheduled for the 10^th, but canceled for reasons unknown to me), money, hooliganism (between shows on the second night) and some interesting performances ("Tough Mama", from Dylan's Planet Waves, shows up the first night in the middle of a seven-year absence, and the late show second night ends with the only known JGB performance of "Not Fade Away").

Here's how it might have looked financially for the night of the 9^th:

As noted, a big payday all around, about $200,000 in 2013 dollars.

Now, into the world drops video of many John Scher promoted Garcia Band shows, including material from both 7/9/77 shows. I have now viewed the early show video, and it's nothing short of amazing. Stunning. Unbelievable. I can't believe I get to watch this. My deepest gratitude goes out to all those who have made it possible for this stuff to be seen. Wow.

See my viewing notes below. A few tiny points. First, neither Donna Jean Godchaux nor Maria Muldaur is present. Second, John Scher says at the end that folks can use their ticket stubs to go see the Grateful Dead Movie. This makes me think that there is some cross-promotion happening between the Garcia Band gigs and The Movie. No big deal, but interesting. (update: of course, John Scher's business partnership with the Dead included a chunk of change around The Movie, specifically the distribution. So these Garcia Band shows and The GD Movie are bound together in some pretty essential ways, it seems to me.) We know that fucker was a monkey on Garcia's back – maybe the band and John Scher and all the rest of them are celebrating together their shared midsummer fortune with a payday, some partying, some music. I wonder where John Belushi was this night?

Jerry Garcia Band

Convention Hall

1300 Ocean Avenue
Asbury Park, NJ 07712
July 9, 1977 (Saturday) – Early Show 7 PM

partial (41:34) B&W video

--end early show + encore--

[0:04] Sitting Here In Limbo :05-12:29 -15:49

Mystery Train 15:50-27:19 (1) -30:09

--encore--

tuning 30:10-31:59

How Sweet It Is (To Be Loved By You) 32:00-40:36 –(2) 41:34 %

! ACT1: Jerry Garcia Band

! lineup: Jerry Garcia – el-g, vocals;

! lineup: John Kahn – el-b;

! lineup: Keith Godchaux – piano;

! 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.

! TJS: http://www.thejerrysite.com/shows/show/1325

! db: http://db.etree.org/shn/8659 (Mattson early and late shows shnf); http://db.etree.org/shn/76441 (Mattson early and late shows flac1644).

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

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/convention-hall-1300-ocean-ave-asbury.html

! band: JGB #xxx. Notice that neither Donna Jean Godchaux nor Maria Muldaur is present.

! historical: when this show ended, around 10:30 p.m., police started arresting visibly intoxicated people along the Boardwalk, a couple dozen in all (“Arrests Follow 2 Rock Concerts”).

! R: Both the audio and video quality of this recording are quite stunning. The video is a black and white multicam from the Monarch Entertainment screen feeds. They had this pretty locked in. The lighting is good. This is not a heavily generated copy. Tracking is clean. Pro quality. Some static late 36 minute mark.

! P: SHIL botches the first lyrics, and his voice is already betraying him. And this is the early show? Gonna be a slog vocally for awhile, I predict. Garcia looks skinny in the arms, heavy lidded, bouncing 2:25 to get himself warmed up. Tutt hitting the shit out of it. Keith short sleeves and mid-tint shades. 4:08 Jerry is really warming up already, a beautiful run @ 4:20, I was totally wrong. He is still futzing with his gear, but his guitar voice is fluid and expressive. John is beautifully mixed and he sounds good. Tutt visibly deeply in the groove 5:36. @ 5:50 ish Jerry is playing to Keith, looking over to him as he plays percussively and a little rough, asking him to soften it up. Keith is staring lost down at the ground to 3 o’clock, but he hears Jerry and starts with some more melodious stuff, warming up to a feature in the second half of 6-minute mark that is very nice. Around 7:30 Jerry is comping melodiously behind, almost like his “Day By Day” feel. Keith still getting warmed up, but this is pretty good. @ 8:45 Garcia is beautifully filmed, looking very much like Ed Perlstein’s blue snap of Garcia from ?2/22/76? on the cover of Don’t Let Go, frizzy haloed hair. Keith is noodling something, maybe Epistrophy, something jazzy, e.g., 14:15. Fascinating. Kahn is doing some ditty now late 14 over 15. Not just scales, I don’t think, but maybe. Can hear the stage talk 15:45 ish.

! MT @ 18:22 see Harry Popick dancing in the background. Garcia isn’t real secure on the vocals, so he steps back like he means to stay back for awhile late in the 18 minute mark. Not in a hurry, clearly warming himself up. Tutt is a metronome, lots of high-hat, e.g., 19:30ish. 23-24 Jerry picks up his pace a little, gets John’s attention. Things had been a little sluggish, they are a little peppier now. Nice shot of the white Travis Bean 24:30ish. He’s smiling a little now, strumming, John is roostering, getting real close to Jerry, signals a little thing to him around 25 turn. Jerry now down reel close on the neck, comes back confidently 25:51 because he strums his way to the mic. Kahn swings around behind him? Jerry sings the station master part with such gusto that he knocks his glasses down the end of his nose, big dig 25:35. Big dig.

! @ 27:35 (1) It looks like they are going to stay on for another song, no-one’s leaving, then Jerry leans over, whispers something, in John’s ear, and steps to the mic, pulling off his guitar: “Thanks a lot, we’ll see ya later.” That is odd that he waited 15 seconds to call it. It’s possible that Scher told them to shut it down, Big Steve relayed it to Jerry, and so they are shutting it down. But maybe it was Jerry saying “Hey John, let’s go get high, we’ll do a last one as an encore.” Or, perhaps he knows that later they plan to drop the half-hour singleton “Not Fade Away”, he knows they’ll need the time, and so he’s just planning responsibly. These and many other inferences are observationally equivalent. Maybe it’s everything at once. Sometimes it is. Tutt returns @ 30:10. This was one of those perfunctory encore calls, band and audience both knew they were coming back. 30:55 Kahn is playing a classical tune I should know, Fur Mathilde or something like that.

! P: HSII Jerry is very bouncy, obviously found some energy during the three minutes he was off stage. Note there are harmony vocals. If my analysis of the 4/2/76 early show video is correct, that would be Tutt on high harmonies, since Keith sings baritone parts. Jerry enthusiastic, rocking and looking back at Tutt, affirming his harmonies, some strong chords 37 minute mark. Nice closeup of some nice guitar soloing around 38:40. Back to “open my eyes at night”. Late Keith joins in on vocals, so all three are singing.

! @ 41:20 (2) John Scher: “Thank you very much, and good night. Those of you that want to be reminded, with you ticket stubs you can go see the Dead Movie for a half a buck less. Again: thanks, and good night. We’ll see you next time.” Wow. That little piece explains this mini-tour to me: It was about the GD Movie!

Checking Donna Out While Jamming With Her Husband: JGB, April 2, 1976

VN jg1976-04-02.jgb.late.video-youtube-Deadvids

I'll tag this "VN" in the title, for viewing notes. B&W Monarch Entertainment video from the Cap in Passaic. Not even a crusty aud in circulation, and low-gen video of the complete show drops from the sky, 38 years later. Wow.

Viewing notes below. One of the most interesting things for me is to have some Archimedean leverage on who sings the harmony vocals on the various songs. The higher male parts are Tutt, the baritone is Keith.

Garcia is unbelievably bouncy and animated. There's a lot of great stuff. "Moonlight Mile" is sublime, though imperfect. "Lonesome And A Long Way From Home" could use a little boost out of the gate, but it has some really interesting spaces, including a quite explicit "Fire On The Mountain" theme, as was common during this era.

Great to be able to see this. Astonishing, in fact. Check it out.

Jerry Garcia Band

Capitol Theatre

326 Monroe Street

Passaic, NJ 07055

April 2, 1976 (Friday) – 11 PM (late show)

113 minute low-gen B&W video

introduction (1) 0:28

Sugaree :29-10:06 -11:20

Catfish John 11:21-20:03 –22:30

The Way You Do The Things You Do 22:31-29:05 -29:58

Mystery Train 29:59-39:33 –41:32

A Strange Man 41:33-47:56 –48:40

Moonlight Mile 48:41-58:54 % 59:00

Harder They Come 59:01-74:50 -76:52

The Night They Drove Old Dixie Down 76:53-87:00 -88:19

My Sisters And Brothers 88:20-95:40 ->

Lonesome And A Long Way From Home 95:41-112:30 (2) -112:41

! ACT1: Jerry Garcia Band #3

lineup: Jerry Garcia – el-guitar, vocals;

lineup: Donna Jean Godchaux – vocals;

lineup: Keith Godchaux - piano, vocals;

lineup: John Kahn - el-bass;

lineup: Ron Tutt – drums, vocals.

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! Jerrybase: https://jerrybase.com/events/19760402-02

! db: none as of this writing (3/11/2014).

! band: JGB #3 (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

! map: https://goo.gl/maps/GSy7A

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/capitol-theater-monroe-st-and-central.html

! JGC: http://jerrygarcia.com/show/1976-04-02-capitol-theater-passaic-nj-2/

! historical: unbelievable. Not even an audience tape, not of either show from this night, and a complete video emerges! Wow.

! (1) John Scher: “On drums, Mr. Ron Tutt. On bass, the indestructible John Kahn.” Etc.

! P: Sugaree Big huge grin and swaying, though the fingers need a little warming up. The tempo is turgid. Keith feature over 5-min mark, ho hum. Tape warbling. Is there any chance the whole thing is running slow? 7:45 Jerry is so blissed out, so is John, checking Donna out. Great little pulls down the neck around 8:20, so animated! He’s putting his whole body into every note.

! P: CJ has the three voice harmonies, Jerry, Donna and Tutt! At 14:06 you can see Tutt singing “walking in his footsteps in the sweet delta dawn” … wow! Again, crazy expressiveness over 17 min mark, his whole body swaying, digging into every note. Rocking and singing. Sweet! Tutt again @ 19:33 … they have this choreographed! @ 20:34-20:43 is that Harry Popick talking to Tutt?

! P: TWYDTTYD I think this is Keith singing harmonies! Yes, at start of song can see Tutt, and he is not singing. Garcia’s first solo sounds almost like the melody of (a? another?) Motown. He takes a second run round the bases, crowd, enthused, Jerry responding, Tutt banging. He skipped a beat but no-one else did, and he caught up right on the 1, big cue to Donna for the “you made my life so rich” verse. Nice.

! P: MT @33:07 another run ‘round the bases and it’s good. More good in the late 33 min mark when he is tearing up, nodding shaking his mane over the 34 mark. Outstanding. Smiling and shredding. Another very fluent solo 36:30ish and ff. Pulling @ 37 wow! Some fanning 37:17. He is on fire, gunslinging 37:30, bobbing his head like it’s 1968.

! P: Moonlight Mile. My goodness. Long noodle to start. Vocals come in 51:45. The paragraph Jerry writes up until 53:48 leaves me breathless. It’s like a Nabokov sentence, so richly textured. Just another “mad, mad day on the road” … “just another moonlight mile down the road” …  Nooohhh … they are all ready to do the “down the road … down the road … down the road” shouting, Donna and Ronnie, and Garcia pulls the rip cord. Why, Jerry, why? It rolls to an end, but it should have gone on. Check against other versions #songs-M, but that “down the road” climax is essential, and this version lacks it. Ahh, well. Maybe Jerry needed to pee.

! P: HTC Jerry finds a nice groove 63 over 64, back to bobbing, smiling, gesticulating. Keith nice lead 64:20ff, very pretty, fingers well-filmed 64:40. KG another nice turn after 65. Nice shot 65:39, Keith, clean hair, nose and above over the 9' Steinway baby grand, still grooving nicely, Garcia starts saying hello after 56, chunky underneath and peaking hello, 66:30, Keith some nice scales. Late 66 he steps on Jerry’s solo, Keith was going to go a third time around. He is so loud and percussive. So Garcia soloes and they both do, and that’s fine, Keith pulls back on the volume a little into 67. So Keith’s feature was about two and a half minutes, he was ready for more. Jerry starting to liquefy late 67, then doing a little wailing, looking over at Keith, puts his hips into it 68:20. Really, really nice. 68:40 Jerry starts doing big cords while Keith trills, Garcia making paragraphs of doubled syllables, not as fast or baroque as the earlier stuff, but interesting because he’s doubling his cords and then skipping the ones in between. Nice. Return to vox 69:40ish. 70:30 Donna was going to do another chorus, but Garcia goes to “the oppressors” verse.

! P: TNTDODD can’t tell if that’s Keith singing the baritone part. 86:05 Jerry shredding, again 86:20

! Sisters and Brothers marred by tape problems. But this is a deepy, swampy, Dorothy Love Coates groove. 90:10 Donna holding onto the Steinway and swaying … oh my. Watch Jerry sing @ 90:45! Wow. 94:30ish we can see that the baritone singing is Keith, because Tutt is in frame and he’s just grooving and drumming.

! P: LAALWFH they aren’t quite on the same page to start, need to go round the bases. That’s unfortunate. So, too, is the 1976 tempo. See, this song needs to bust out the gate. And it doesn’t here. So not off to a good start. @ 97:00 Keith hits a clam and Donna shoots him a nasty look, right on camera. See 4/3/76b for how it’s supposed to sound, or 4/1/76. 97:30 ish Jerry goes to see about a technical issue, some distortion. 97:50ish he solos. 100 minute mark we haven’t achieved liftoff, Garcia is working a little to coax the notes out of his guitar, and his bandmates. They get something cooking around 101:45. Now some nice syntactical sustain in the 103 minute mark, very long phrases. 104:30ff JG gets back to the LAALWFH melody, and he’s doing some very interesting work with Keith, looking back directly at him, they are together on this little thing happening over 105 minute mark. Jerry is checking Donna out, jamming with her husband, long run down and back up 105:39ish, there it is Jerry, right there, that’s the spot! Late 106 mark Keith is hitting the FOTM stuff, Jerry joins him 107:15, or nearly, but Keith is definitely on that. Jerry’s phrasing is long extended, here, Tutt starts banging 107:45, Jerry down to FOTM theme, he is playing FOTM over the 108 minute mark, fanning 108:06, 108:18 real high. Tearing it up. 108:33 this if JG playing FOTM, wow, picks something special right at 108:58, so so nice. Back to LAALWFH on the guitar, 109:15ff, really back at 109:30, slow it down, how’s he gonna signal the big return? Silence 110:00-110:10, then the big return, but the tape is dying here. Just in time to get the big return before it dies, thank you tape gods. They are going over “somebody help me” more times than usual, over and over. Return 111:40, but we are in warbleville.

! (2) JG: “Thanks a lot.”