Showing posts with label New York. Show all posts
Showing posts with label New York. Show all posts

Wednesday, January 18, 2023

Between the Bottom Lines (Lennon and Garcia at the Bottom Line, November 5, 1974) (Guest post by Scott Raile)

[note: for a very long time it has been known that John Lennon saw Jerry at the Bottom Line, and various accounts of a meeting, possible sit-in, as well as the date of this encounter have been given over the years. Historian Scott Raile nailed it down as November 5, 1974 in comments to a post of mine about the early show that night. Over the years, I had heard tell of a recording made from Lennon's table, capturing him commentating the gig, but had never been able to put ears around it. In late 2021, monte_dym posted this recording –from the previously uncirculated late show-- to his soundcloud account, and a few months back David Minches brought this to my attention. Wow! (And thank you, David!) Monte supplied David with CD audio of the files, and as of today they are circulating as shnid-163367 in the usual places. I have invited Scott to put some context around all of this, hence this first-ever JGMF guest post. Thanks to all involved! –ed.]

Between the Bottom Lines

Guest post by Scott Raile

https://lennonology.com/

In October of 2015, noted Beatles historian Chip Madinger published his book LENNONOLOGY: Strange Days Indeed, a work that is still recognized as the ultimate biography of post-Beatles John Lennon (and Yoko Ono), an immensely detailed day-by-day chronology of Lennon's life from 1966-1980. I was fortunate enough to have my name on the cover as Chip's co-author, the culmination of 15 years of arduous research and writing, debate and discussion. So, to a handful of people around the world, I am known, thanks to LENNONOLOGY, as a Beatles historian.

 But we are all multitudes, aren't we? None of us is one-dimensional, and everyone has multiple areas of interest and/or expertise, even if most people only see one or two of those aspects. What most Beatle fans who know my name don't realize is that, while I was busy writing my chunks of LENNONOLOGY, more often than not the Grateful Dead was playing in the background. They're my second-favorite band, and my obsession with "learning all I can" about my interests definitely extends to them.

I love it when my interests collide. Circles within circles within circles: Paul McCartney writes a James Bond theme song, or George Harrison pops up in the middle of THE LIFE OF BRIAN. So, even though I wanted to get every detail of Lennon's life nailed down correctly in the book, there was one date I was truly determined to nail down: The night John Lennon went to a Jerry Garcia show.

We didn't have much of a roadmap. Every previous Lennon biography was silent on the matter, even as most of the Garcia biographies mentioned it. As I dug deeper into it, the "facts" presented didn't sit right with me. The Garcia biographies placed the encounter in April of 1975 during Jerry's run at the Bottom Line in New York. But that made no sense. John and Yoko had been separated from September of 1973 until February of 1975 (Lennon's infamous "lost weekend"). But after their reunion (and Yoko's almost-immediate pregnancy), John kept a very low profile, and all but disappeared in 1975, as much as a Beatle can disappear. Hanging out in the clubs in April 1975 was possible, of course, but unlikely. And that's when I started to focus on November of 1974, another timeframe that Jerry played at the Bottom Line and one that made much more sense for Lennon's biography.

November 1974 was a "between the lines" moment for John Lennon. He had spent July and August of that year recording the album WALLS AND BRIDGES, and a goodly chunk of September and October on an extensive promotional jag for the album, the most extensive promotion he ever did for one. By November, the buzz around the record was wearing off, and John occupied his time hanging out with his new friend Elton John, and trying to rekindle his deep friendship with George Harrison, who was touring America that month.

John's personal life was "between the lines" as well; his separation from Yoko was coming to an end, as the couple were just beginning their negotiations to reconcile. That also meant that John's relationship with May Pang (his interim companion) was coming to an end. In May's 1983 memoir, she wrote vaguely of a photo of John with a well-known groupie that was published in a music trade magazine, a magazine that John bought all the local copies of in a futile attempt to keep May from seeing the photo.

And that's where the circles converge. While digging through endless copies of Cashbox magazine for LENNONOLOGY, Chip turned up the infamous photo (reproduced here). But more importantly for our purposes, the caption spelled it out loud and clear: here's John Lennon attending a Jerry Garcia show last Tuesday. HUZZAH. The hard work paid off and all had been revealed. At least we assumed "all had been revealed"; after all, Jerry played two shows that night. Which one did John attend? We assumed it was the late show, based on recollections from the band.

One of the greatest things about being a historian is how, even after decades, things still just keep popping up. A film clip, a photo, a recording that we don't think exists (or may not have even happened) suddenly shows up, in brilliant Technicolor, and all of a sudden we have to re-assume our assumptions and re-think our thoughts. The world of the Beatles and the Grateful Dead are especially rich in this respect. You would think that, after 50 or 60 years, everything that could be discovered has been discovered. And then all of a sudden a photo shows up that you've never seen before, and the wonder is renewed.

And that is just what has happened here. For decades, the early show from November 5, 1974 has circulated, but we were pretty sure John attended the late show. But the late show had never shown up. And if it did, then so what? Would any Lennon fan care? Is it worth collecting just because he's in the audience? Do Lennon fans snap up that live Bob Marley album just because John and Ringo are in the audience? Do you collect every 1974 episode of "The Odd Couple" just because John was in the studio audience of one of them when it was taped? What are the limits of collecting? Where do you draw the line? I wanted to hear the late show just because I love Jerry. But who in the Beatles world would care?

Fortunately, all of that speculation has come to a sudden and spectacular end. I was thrilled out of my mind when JGMF sent me this show, because I wanted to hear some more 1974 Jerry. But imagine my sheer elation when, towards the end of the show, we can hear, clearly and unequivocally, John Lennon himself commenting on the show. At first, we hear him wittily calling the show like a sportscaster ("ten down and three to go!"), lapsing slightly into a Howard Cosell-like description of the event (which makes sense since John and Howard were hanging out in the fall of 1974). We hear him tell the taper that he loves bootlegs (which he did), and then critique the performance as a fellow musician, noting how a song had dragged in the middle but then got saved at the end. Considering how tumultuous his personal life was at that point (and how negatively some of Jerry's band members recalled the meeting), I fully expected John to be drunk and obnoxious at that show, but I am thrilled to hear just the opposite: he's lucid, funny and just another guy hanging out at a Jerry show.

Unless another unknown tape pops up, we'll never know directly how John or Jerry reacted to their encounter that night; the current record shows both of them as being silent on this topic. But from a historian's point of view, the story has come full-circle; from vague stories placed in April 1975 to "we have a tape and Lennon is even on it," we have closed the gap from hearsay to concrete evidence. In the grand scheme of things, it's not enormous; we've added another 90 minutes to our understanding of Jerry, and another 60 seconds to our understanding of John. But history is little more than an enormous jigsaw puzzle that wants putting together, and now we have one more tiny piece to put into place.

Sunday, September 11, 2022

August 1971 Crosby super session / double album project to end the Vietnam War?

update: Never Trust A Prankster :)

via GIPHY

Bruce Rostenstein was an ouststanding rock columnist for the American University Eagle in the early 1970s. That paper has been digitized, and like so many other college papers, offers up all kinds of goodness for the intrepid researcher.

His October 29, 1971 column brings forth something I have never heard about. Noting the success of George Harrison's Bangladesh benefit concert, he reports, on the basis of some seemingly pretty clear documentation (including side-and-cut information), about a star-packed double album project spearheaded by David Crosby to end the war in Vietnam.

The concept itself is mind-boggling; one LP will feature Crosby, Stills, Nash and Young with all new material, and the other record will have the boys playing with some of the biggest names in rock. As for the business end, Crosby has arranged for Atlantic Records to distribute the [sic] on the special Empathy label.

Word of the project leaked, and Croz had to give more info to the rock press. It included the following stuff put togther in "mammoth sessions" over five late August days at Electric Lady Studios:

A-1: the original Byrds: unidentified tune
A-2: Captain Beefheart (sax and guitar), Stephen Stills (organ), Jeff Beck (guitar): a seven minute cut called "Feet"
A-3: Michael Bloomfield, Stills (organ), Jack Casay (bass), Joey Covington (drums): "I Just Don't Know", an autobiographical Bloomfield tune, his first original in two years
A-4: members of the NRPS and Poco, "with an extended pedal steel guitar solo by David Grisman of the New Riders": "Sagebrush"
A-5: a 23-second spoken intro by Richard Meltzer
A-6: Jerry Garcia (guitar, vocals), Jack Casady (bass), Graham Nash (organ), Ringo Star (drums): a nine minute version of "Goodnight Irene"
B-1: Dr. John, Eric Clapton, various percussionists: "Bayou Madness" (impromptu/original)
B-2: Leon Russell (piano), the Tulsa Tops, Merry Clayton and Claudia Lenear (vocals), Billy Preston (organ): "Funky Oklahoma Mama" (a new Russell original)
B-3: Russell, Neil Young (guitar), ?others?: "Rock 'n' Roll Forever" ("Supposedly this eight and a half minute cut is a fusion of 'Maybelline', 'Long Tall Sally', 'Whole Lotta Shakin' Goin' On', 'Sweet Sixteen' and 'Summertime Blues'")
B-4: Buffalo Springfield: "On the Way Home"
B-5: Paul McCartney (bass), Linda McCartney (piano), Crosby and Stills (acoustic guitars), Clapton and Nils Lofgren (electric guitars), Phil Lesh (bass): a ten-minute instrumental called "What Is Reality"?

Along with the record, word has it that the Maysles brothers donated their services and filmed the entire session for a television special which may be aired as early as mid-January. The release date of the record is indefinite. Some say as early as December 15th, others say not before January.

OK, so my question to you, dear friends, is is this a real thing that I missed? Or??

Tuesday, May 31, 2022

Nina Blackwood Interviews Jerry Garcia for MTV, ca. June 2, 1983

Some classic lines here, like the studio as building a ship in a bottle and playing live like piloting a rowboat in the ocean. I wasn't super careful about getting everything 100% perfect, especially not where there's GD talk. I am not 100% certain about the geolocation, but it's got to be about right.

Jerry Garcia Interview by Nina Blackwood
MTV Studios / Teletronic Studios
West 33rd Street and 10th Avenue
New York, NY 10019
June 2, 1983 (Thursday)
Youtube > Tuberipper m4a > otter.ai

! metadata: date a little uncertain. The Relix version (Blackwood 1983) says "conducted at MTV by Nina in May, 1983". But the Gary Gershoff pix at Getty (https://www.gettyimages.com/detail/news-photo/portrait-of-mtv-vj-nina-blackwood-and-rock-blues-musician-news-photo/1364449796) date this as 6/2, and that does seem likely.

! venue: At this time, MTV was housed in the Teletronic Studios on West 33rd Street, right around the corner from 10th Avenue

! map: https://goo.gl/maps/RkQZy4xDDLUyUWqG7

! ref: Blackwood, Nina. 1983. Jerry Garcia: Interviewed for MTV. Relix 10, 4 (August): 16-20.

! R: source: part 1: https://www.youtube.com/watch?v=l-zEcX9_nXM TT 13:02

! R: source: part 2: https://www.youtube.com/watch?v=jl85mQ49Rlw TT 14:16

rough transcription after the jump

Sunday, July 05, 2020

Kenny Kosek

Has anyone ever pinned down the dates on which Kenny Kosek performed with JGAB on Broadway? I know he came out west for the Warfield and Wiltern gigs, but I have never pinned down when he was and was not present at the Lunt-Fontanne.

Saturday, May 12, 2018

The Reedman vs. The Gunslinger: JGB with David Murray, Madison Square Garden, November 12, 1993

LN jg1993-11-12.jgb.all.aud-brennecke-litzenburger-GEMS.91812.flac1644
LN jg1993-11-12.jgb.s2.aud-gastwirt.139507.flac1648

The man had conceived the band bearing his name as a way to scratch some musical itches, play some mostly consonant music with mostly-simpatico (or at least deferential) people, and make a little bit of walking around money. The Jerry Garcia Band provided its namesake with a comfortable and, eventually, highly lucrative musical diversion which allowed him to be himself, do most of the soloing, not have to figure out where Mickey Hart put the one, and maybe share some laughs (among other things that release endorphins, kill pain, and produce euphoria [Dunbar et al. 2012]) with his ol' buddy John Kahn.

Yet, Jerry was Jerry, with all that implied. Like Midas, everything he touched turned to gold, and that included his bar band, half of whose members played for free in Oakland churches on Sundays. By contrast, on Friday, November 12, 1993, this group sold out Madison Square Garden, grossing almost half a million as part of its twenty night, fifteen gig swing through the eastern time zone, its last real tour. Unlike a decade earlier, a relatively punishing bus tour with Garcia deep in heroin haze, this one was first class all the way, with the band staying in New York City and flying in and out of Teterboro, while battalions of squeaks (sound techs) and squints (light techs) did the heavy lifting. It seems like only half the gigs sold out, but these were mostly good-sized rinks and arenas with five-figure capacities, the kinds of places the Dead had been playing only a few years earlier.

The Garcia band's cozy sociality also meant that guest shots became scarce once the years' third digits turned to nines. The E Street Band's good-time "Big Man" Clarence Clemons sat in once in 1990, reprising his steady gigging with the JGB from late 1989, and banjo wiz Béla Fleck joined in on a couple of numbers at the Greek Theater in Berkeley two months later, in the dark early weeks following Brent Mydland's passing. As good as Fleck is, he played in a decidedly consonant mode, picking some pretty accompaniment to Pete Rowan's "Midnight Moonlight" and, doubly improbably, some mandolinish lead reggae banjo on "Harder They Come". The next fall, while still a member of the Dead, the great Bruce Hornsby sat in with Jerry in Hampton, Virginia, on the decade's other east coast swing, in November of 1991.

Hornsby certainly had the chops and the chutzpah to challenge Garcia, and he did so regularly in the Dead before stepping back off the scene to pursue his own extremely successful career, and perhaps to ward off the curse of the Dead's keyboard players. The one guy to really push Jerry around on his own stage was hotshot jazz saxophonist David Murray, who showed up two years after Hornsby's visit, and six weeks after sitting in with the Dead, at the aforementioned Madison Square Garden gig. The man BLEW, which is to have been expected. As Dead family insider Gary Lambert put it, "expecting a force of nature like David to function as a 'sideman' for the JGB (or any band) is kind of like saying to Jackson Pollock, 'Gee, I really admire your work. Now, could you paint me a nice Andrew Wyeth?'"

The reedman put some air into a number of very sharp notes, with a Garcia Band that was mostly soft, cottony round edges by this point in time. Garcia appears to have taken notice. Attendee Eric Pooley recalls that "Murray was in Garcia's face a little more than Garcia would have liked: [he] attacked, and Garcia retreated into shoetop space", chin on chest. Jim Powell observed that "Murray cut Jerry to shreds at that MSG Jerry Band show - maybe the only time old gunslinger Garcia ever came out on the short end." But the evidence of the night's "Lay Down Sally", normally a smooth, easy, good-time roller hewing closely to Clapton's original, belies this perspective, with all due respect to the poet and Macarthur Genius grantee who proffered it.

Segueing out of the churchy "My Sisters And Brothers", Garcia displayed little Christian charity in first feinting at the Stones' "Everybody Needs Somebody To Love", then shifting into "Lay Down Sally", taking a couple of extra measures at the start to let Murray his footing and thus making it, if not quite a fair fight, at least an honorable one. Typically, in the Garcia Band, Jerry gets the first solo (and usually the second, third and fourth). Here, Murray challenges the old fella in the light purple shirt right out of the gate, and they step on each other for a minute or two before Jerry lets him have his say, comprised of some sharp, loud bursts that might have blown back his shock-white mane. After that, still only fifty-one despite the white hair and haggard mien, the gunslinger drops the hammer, pursuing a million aggressive leads, syncopating some minor chords, and generally, all due apologies, not taking "no" for Sally's answer. Clocking in at over sixteen minutes, and finishing with an emphatic strum over the setbreak announcement, the "Lay Down Sally" from November 12, 1993 provides one of the finest musical displays of Garcia's late solo career, proving that he could still rise to a challenge when the occasion called for it.

I picked and chose from the two filesets named at the top, so some sketchy listening notes follow the fold. "Shining Star" also illustrates the reedman and the gunslinger trading blows, and both "The Maker" and "Don't Let Go" from the 86-minute second set are outstanding and worth your time.

Tuesday, January 09, 2018

Armistice Day Rocker: JGB at Felt Forum, November 11, 1982


JGB #15b played two long, smoking shows for John Scher and the assembled faithful on Thursday, November 11, 1982. Among these faithful was taper Jim Wise, who pulled two beautiful, powerful tapes from the theater inside Madison Square Garden. If forced to choose, I'd recommend the late show to you. Clocking in at 108 minutes of tape, it features a very hot Valerie, and a good Don't Let Go which actually noodles over into Knockin' On Heaven's Door, a rare true segue for the JGB. Garcia's voice is quite shreddy even in the early show, and by Mystery Train in the late show it's pretty well shot, but the playing is excellent throughout.

Both gigs sold out 4,332 at $12.50 a pop, so Scher and Jer and friends grossed over $100k for the night, not bad at all, and well worth it for the fans who caught one of the best Garcia Band shows of 1982.



Listening notes follow.

Jerry Garcia Band
Madison Square Garden, Felt Forum
4 Pennsylvania Plaza
New York, NY 10001
November 11, 1982 (Thursday) - Early Show and Late Show
Wise Minches flac1644 shnid-34710 track rename

--early show, main set + encore (11 tracks, 10 tunes, 86:05)--
--early show, main set (10 tracks, 9 tunes, 78:46)--
e-t01. crowd and tuning [0:14]
e-t02. How Sweet It Is To Be Loved By You [8:05] [0:01] % [0:07]
e-t03. Catfish John [9:45] [0:14] % [0:07]
e-t04. Valerie [6:59] [0:04] % [0:13]
e-t05. Simple Twist Of Fate [15:51] [0:02] %
e-t06. crowd and tuning [0:43]
e-t07. That's What Love Will Make You Do [10:00] [0:04] % [0:07]
e-t08. Run For The Roses [4:45] [0:07] % [0:02]
e-t09. Sugaree
e-t10. Tangled Up In Blue [10:30] (1) [0:05] %
--early show, encore (1 track, 7:18)--
e-t11. Deal [7:15] [0:04] %

--late show, main set + encore (11 tracks, 10 tunes, 108:28)
--late show, main set (10 tracks, 9 tunes, 101:01)--
l-t01. crowd and tuning [0:13]
l-t02. Mission In The Rain [9:51] [0:06] % [0:02]
l-t03. They Love Each Other
l-t04. The Harder They Come [18:31] [0:03] % [0:22]
l-t05. Valerie
l-t06. Mystery Train [10:56] [0:12] %
l-t07. Don't Let Go [14:10] ->
l-t08. Knockin' On Heaven's Door [13:30] [0:12] % [0:01]
l-t09. Run For The Roses [5:52] [0:27]
l-t10. Deal
--late show, encore (1 track, 7:26)--
l-t11. 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; [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/19821111-01 (early); https://jerrybase.com/events/19821111-02 (late)

! db: http://etreedb.org/shn/13981 (late, Jim Wise MAC shnf, deprecated); http://etreedb.org/shn/14205 (early-late, Jim Wise MAC shnf, deprecated); http://etreedb.org/shn/16703 (early Mark Cohen MAC, shnf, great tape); http://etreedb.org/shn/16704 (late Mark Cohen MAC, shnf, great tape); http://etreedb.org/shn/34710 (this fileset); http://etreedb.org/shn/120087 (David Dyche early show flac1644, runs SLOW); http://etreedb.org/shn/120088 (David Dyche late show flac1644, runs SLOW)

! map: https://goo.gl/maps/gAgwbQxS1Br

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/11/felt-forum-madison-square-garden-8th.html.

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

! seealso: JGMF, "Greg Errico hits like a linebacker," http://jgmf.blogspot.com/2017/07/greg-errico-hits-like-linebacker.html.

! ref: Billboard, November 27, 1982, p. 34.

! ref: John Scher Presents in New York City: Jerry Garcia Band at the Felt Foum, November 11, 1982. John Scher Presents Program no. 270.

! historical: Two very long shows - check out the 1 hour 48 minute late show - both with encores, both sellouts, grossing $107,661 for the night.

! P: both shows are exceptionally strong, the whole band playing with tremendous energy. Garcia's vocals are shot, but this is nonetheless a strong candidate for best show of the tour (which I don't claim to know that well) and of the year (contending in that context with the likes of 6/16/82). It's hard for me to identify any standouts, because everything is good. I guess I'd note "Valerie" really coming into its own here - great song, performed with just the right frazzly, coked-out, post-Belushi burn. I'd also note the rare and very good true segue from DLG into Knockin'.

! R: early: Recording by Jim Wise: Master Audience Cassette; Beyer M160s w/ Senn 421 blend at SB (Maxell XLIIS); Transfer and FLAC encoding by David Minches: Master played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.

! R: late: Recording by Jim Wise: Master Audience Cassette; Senn 421s (at SB) > Uher cassette deck (Maxell XLIIS); Transfer and FLAC encoding by David Minches: Master played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.

! R: early show: very nice.

! P: e-t01 HSII Kahn keeps hitting some very, very, very low notes, which are just awesome. This has very nice pep.

! R: e-t01 HSII warble 6:40 ish.

! P: e-t07 TWLWMYD very energetic, but the voice is getting a little shreddy.

! e-t10 (1) JG: "Thank you, see ya later."

! P: l-t05 Valerie very hot

! P: l-t06 MT his voice is completely shot - ouch

! P: l-t07-t08 DLG -> KOHD is a truly true segue, very rare, and very nice!

! R: l-t08 KOHD patch from alt source 12-12:20.

Wednesday, March 23, 2016

JGB's First Gig in NYC - October 28, 1975 - Beacon Theatre (early show)

LN jg1975-10-28.jgb.early-1.aud.135275.flac1644

Tape of the JGB's first New York City gig, at the Beacon Theatre on Tuesday, October 28, at 7:30 PM has just emerged. Welcome to the world, tape, and thanks to all involved for making it so.

It features Nicky explaining a time he couldn't play the Bottom Line (8/18/75?) because he fell off his piano bench in Austin (note 1) - Research could pin this down. I have Nicky in Atlanta at the end of July, and I know I had at some point a listing for Nicky and Nils Lofgren opening 8/18/75 in NYC, but I can't find it.

Not that surprisingly, given the Dead-NYC connection, rumors were flying before the show. "Persons close to the Dead office in California have been dropping hints," it was reported, that these Bottom Line billings would end in "a full-blown Dead show", what with Kingfish and Keith and Donna Godchaux also touring the eastern time zone (Flatte 1975). But it was not to be, instead a couple of good shows and a $15k payday for Jerry and his band, which is fine, too.

Gotham media were all over this, with reviews in the business papers Billboard (Frost 1975 and Variety (Kirby 1975) and the Grey Lady (Dove 1975), the latter describing Garcia as one of those "middle-of-the-road entertainers who trundle out their old hits time after time, unworthy of the kind of adulation" the fans apparently supplied, giving a show characterized by "retrenchment ... inertia ... [and] going through  motions" (Dove 1975).

Dove saw the late show, which I recall linking and hope to revisit some day. In terms of this early show, I am not coming out out of my seat, except that the "Let's Spend The Night Together" is very strong. Why shouldn't it be, with Nicky on the keys? It's not massively long, but it's smart and satisfying. It appears to be headed for "Edward" before the tape ends, but there is no guarantee of this. There are nights (I'd have to go back and check) where they sound like they have Eddie cued up, but maybe it's closing time or something. Or maybe it was amazing and it's lost to history.

A propos of nothing, is there any board tape of this whole tour? Seems not, unless I am forgetting something.

Jerry Garcia Band
Beacon Theatre
2124 Broadway
New York, NY 10023
October 28, 1975 (Tuesday) - 7:30 PM Early Show
all-1 aud shnid-135275

--(13 tracks, 87:57)--
e-t01. John Scher intro [0:27]
e-t02. Sugaree [7:39] %
e-t03. Catfish John [8:43] [0:02] %
e-t04. All By Myself [6:28] [0:01] %
e-t05. [0:32] Mission In The Rain :33-6:22 %
e-t06. Lady Sleeps [3:23] ->
e-t07. No Time// [4:09#]
e-t08. Friend Of The Devil [5:35] %
e-t09. The Night They Drove Old Dixie Down [9:08] %
e-t10. /Let It Rock [#8:11] [0:13] %
e-t11. (1) [0:42] Russian Lullaby [7:08] %
e-t12. [0:43] How Sweet It Is (To Be Loved By You) [6:47] [0:06] %
e-t13. Let's Spend The Night Together
e-txx. [MISSING: Edward]

! ACT1: Jerry Garcia Band #1
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Nicky Hopkins - piano, vocals;
! lineup: John Kahn - el-b;
! 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/19751028-05

! JGC: jerrygarcia.com/show/1975-10-28

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

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/beacon-theater-2124-broadway-new-york.html
 
! db: http://etreedb.org/shn/135275 (this fileset).

! band: Jerry Garcia Band #1 (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).

! exante: Flatte 1975;

! review: Dove 1975;

! review: Kirby 1975;

! historical: Good Old Boys and (unbilled) Rowan Brothers opened.

! JGMF: Contract dated 10/19/75, two shows of two sets each. $10,000 guarantee for the two shows, plus 60% gross over $27k. GP 35254.  Given that the shows sold out, we have to assume that JGB made that percentage, too, another $4k+. Kirby says both shows SRO. Promoted by Ron Delsener "in association with John Silver's [sic] Monarch Productions", i.e., John Scher. JGB's first show in NYC.  Flatte (1975) describes Dead rumors. Dove describes Garcia as one of those "middle-of-the-road entertainers who trundle out their old hits time after time," unworthy of the kind of adulation fans gave Jerry. "Retrenchment ... inertia ... going through  motions" (Dove 1975).

! JGMF: see also 10/30/75 Cooper tape and "Bloody Hell", a close look at Nicky through the Gerry Moskal tape of that same night.

! R: source: AUD of unknown lineage, rescued from ebay for five bucks.

! R: transfer: Maxell XLI (normal bias) > Nakamichi CR-5A (Dolby off) > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transferred by Andrew F. 02/2016.

! R: seeder notes: "Tight edits between songs. No Time cuts out at the end. Jam after Let's Spend the Night Together is complete, it appears the  band is preparing to start into Edward as the tape runs out."

! R: e-t07 cuts out

! R: d-t10 LIR clips in

! P: e-t10 LIR sounds sluggish. Enthusiastic fanning late 6.

! e-t11 (1) NH: "Somebody [inaudible] why wasn't I at the Bottom Line. OK. The reason was that I fell into the piano system in Austin, TX." Crowd guy: "You all right?" Nicky: "Yeah, I'm fine now. But there's no way I could play the Bottom Line at that time" [inaudible].

! P: e-t13 LSNTNT is outstanding! Big giant guitar filligreeing late 10, band is cooking now. I really wish this "Edward" were present on the tape.Kirby says both shows SRO. Promoted by Ron Delsener "in association with John Silver's [sic] Monarch Productions", i.e., John Scher. JGB's first show in NYC.  Flatte (1975) describes Dead rumors. Dove describes Garcia as one of those "middle-of-the-road entertainers who trundle out their old hits time after time," unworthy of the kind of adulation fans gave Jerry. "Retrenchment ... inertia ... going through  motions" (Dove 1975).

! R: source: AUD of unknown lineage, rescued from ebay for five bucks.

! R: transfer: Maxell XLI (normal bias) > Nakamichi CR-5A (Dolby off) > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transferred by Andrew F. 02/2016.

! R: seeder notes: "Tight edits between songs. No Time cuts out at the end. Jam after Let's Spend the Night Together is complete, it appears the  band is preparing to start into Edward as the tape runs out."

! R: e-t07 cuts out

! R: d-t10 LIR clips in

! P: e-t10 LIR sounds sluggish. Enthusiastic fanning late 6.

! e-t11 (1) NH: "Somebody [inaudible] why wasn't I at the Bottom Line. OK. The reason was that I fell into the piano system in Austin, TX." Crowd guy: "You all right?" Nicky: "Yeah, I'm fine now. But there's no way I could play the Bottom Line at that time" [inaudible].

! P: e-t13 LSNTNT is outstanding! Big giant guitar filligreeing late 10, band is cooking now. I really wish this "Edward" were present on the tape.

Saturday, January 30, 2016

Alex Bennett interviews the Dead, September 16, 1970

Bennett, Alex, “Alex Bennett with the Grateful Dead. Interview broadcast on WMCA in New York City in 1970 [radio broadcast],” Grateful Dead Archive Online, accessed August 2, 2015, http://www.gdao.org/items/show/378659.

Nothing here is verbatim, but hopefully this can provide some markers if anyone else wants to go check this out.

A few things of interest.

First, the date is 9/16/70, just before the Fillmore East "An Evening With the Grateful Dead" run.

Second, this is the day they flew on the plane with Huey Newton.

Third, I love that Bob Weir was reading the Times.

Fourth, with Paul's passing I'd like to go back and see what they said about Kantner.

Fifth, some time-stamping on American Beauty, which is just being finished. I think we knew that, but anyway.

Sixth, note they say they are going to go out and jam somewhere this night. I wonder?

Seventh, already talking about playing the base of the Great Pyramids. Badass.

Sketchy notes follow.

~~~~~

Friday, November 27, 2015

Bob Coburn Interviews Jerry Garcia, November 8, 1982

Garcia, Jerry, 1942-1995, “Bob Coburn with Jerry Garcia. "Rockline" radio show, hosted by Bob Coburn, broadcast on November 8, 1982. Includes an interview and phone calls from listeners [radio broadcast],” Grateful Dead Archive Online, accessed August 2, 2015, http://www.gdao.org/items/show/378595.

Garcia had two pretty good reasons to do a live national "Rockline" radio interview on Monday, November 8, 1982 with Bob Coburn.

The first was presumably to sell some tickets for the ongoing Fall 1982 Jerry Garcia Band tour (starting October 27 in SoCal, ending November 15th). From November 8th, the band still had shows in Worcester, Piscataway, New York City, Hartford, a college gig outside of Boston at Brandeis University, and a grand finale at Kean College in Union, NJ. The East Coast Deadhead paid a huge chunk of the Dead and Garcia's bills, better rally the troops.

The second is that Run for the Roses (Arista AL 9603, November 1982) had dropped, and for once Garcia was "touring behind an album" that people could buy from off the shelves of their local disc-O-mat on the way home from the show. For his last studio record, the 1978 masterpiece Cats Under the Stars (1978), work took so long that it remained undone during a putative promotional tour in March, probably not hitting shelves until a week or two after the tour ended. The Mystery Cats toured "in front of their" record, not your industry standard approach. Shocking that one sank like a stone despite representing some of Garcia's finest work, including in his songwriting collaboration with Hunter. Here, they're touring behind the record, but unfortunately, as one of Mike Myers's Scotsmen would say, "it's crap".

November 11th would find the band playing for John Scher at The Felt Forum, part of an expansion push into the City itself, courtesy (or not) of Ron Delsener. Scher was going big in 1982,[1] and one of his early successes was Garcia and Kahn, in their first ever acoustic duet gig, at the Beacon Theatre, culminating with the good Dr. John sitting in with Jerry and John for some "Goodnight Irene", on April 21st. That gig did so well (two 2,413 capacity sellouts, with gross $51,523)[2] that they made the same match in November. John Scher being John Scher --a multitalented guy who, from 1976, had basically taken over the GD's operations east of the Mississippi, and did lots more besides—he was fully locked into Garcianomics, on the recto and the verso.
John Scher Presents in New York City: Jerry Garcia Band at the Felt Foum, November 11, 1982.
John Scher Presents Program no. 270.
I don't know how many records they sold, but November 11th grossed $107,661 on two sellouts @ 4,332 capacity.[3] Not bad – not bad at all. Biggest night of the tour.

Why do I get into the reasons for this interview? Because we find here yet another instance of Garcia being utterly incapable of marketing. In January 1976, he either forgot to announce a set of his band's gigs upcoming, chose not to, or else was reminded to book them when asked live, on the radio. I think there are a few other examples I can pin down of Garcia not really even swinging and missing on the tee'd up "new record" question, but kind of dodging it. And how's this for the soft sell, answer question of who's in the band:
I’ve had a band off and on for some time now, I guess about five years now … when you have musicians that you’re playing with on a regular basis, it’s easier to communicate with them, and they’re in the neighborhood, and things like that. Actually, the tracks on the record are recorded by parts of my band, as well as my current band, over the last, um, some of the tracks on the record were recorded as long as 4 years ago, 5 years ago.[4]

It’s a long slow process. See, when I make a solo record I have to make it in between the spaces, between Grateful Dead activity. So I have to do it as I can. Sometimes they accumulate, like a snowball rolling downhill.
Now, for someone like me, this is fascinating. First, "when you have musicians that you’re playing with on a regular basis, it’s easier to communicate with them, and they’re in the neighborhood, and things like that" could have come out of his mouth in January 1976 about Keith and Donna.[5] "I just picked whoever was around" isn't going to get me off the fence about these $11 tickets. Second, hearing that some of these tracks were recorded in 1977-1978 might signal to the discerning record buyer that they found at least some of this stuff sweeping up the cutting room floor. If they didn't buy Cats when it was released, why would they buy the lesser tracks now? Third, by interstitializing Garcia to the Grateful Dead, sublimating himself into the Borg, he gives further impression that the record might be rather second class.

Maybe he's just too honest, and can't shill the record that he may or may not feel good about. I guess I gotta respect that, even if it does thwart Global Corporation's master plan. Or maybe he just didn't get it. As McNally has recently said, "the celebrity interview, an opportunity for an artist to talk about himself and to pitch a current endeavor in as brief and efficient a manner as possible, was completely lost on Jerry".[i]



[i] McNally 2015, 9.

Other things I pull from this:
  • Influences? Freddie King. Django, and he mentions Django's physical handicap – can there be any doubt but that Garcia felt a special kinship with Reinhardt?
  • solo vs. GD: " When I compose a tune, I have a sense of what I want it to sound like. When I do ‘em for my own band, they sort of stay at that developmental level. But in the Grateful Dead, they have a tendency to keep moving. That’s true, I think, with Bob’s tunes, too."
  • dodges a religion question
  • Bashes Hank Harrison and his books; "wait for McNally's".
  • a few other tidbits, depending on what interests you

Thursday, November 26, 2015

Where Were the GD on December 24, 1970?

My list of canceled Grateful Dead gigs shows Thursday, December 24, 1970 at City Center, New York, NY. Deadbase listed as canceled, with note "Not possible with Winterland the night before".

Two things.

First, I think we are learning that they'd fly for a gig, so I am not 100% sure this is a safe assumption that they would not have played NYC on 12/24 having played SF on 12/23 - especially for a special occasion.

Second, I just came across a piece from Hit Parader, attributed to June 1971, which includes the following: The Dead are anti "new politics", but "do help when they find an individual whose ideas impress them. For instance, on a recent plane trip across the country, the band met Huey Newton, leader of the Black Panthers. He told them his philosophy. They were impressed by what he said, as well as his personality. As a result, they agreed to do a benefit for the Panthers that was held in New York on Christmas Eve".[i]
Hmmm, she uses the past tense. Now, normally I'd poo-poo Hit Parader, but these things can surprise us. Any thoughts as to whether the GD actually played a Panthers benefit in NYC on Christmas Eve. 1970?
! ref: Ross, Penelope. 1971. Grateful Dead. Hit Parader, June: 10-12, 59, 64. 
p.s. "Where Were the Grateful Dead" does better than "Where Was The Grateful Dead", grammar be damned.

[i] Ross 1971, 12.

Sunday, May 17, 2015

On Broadway: Act One – October 28th, 1987

http://jerrygarcia.com/on-broadway-act-one-october-28th-1987/

buy it here- --> https://www.garciafamilyprovisions.com/product/JYCD57/jerry-garcia-band--on-broadway-act-one-102887-3-cd-set

On Broadway: Act One – October 28th, 1987
We’re excited to announce the debut of On Broadway, a new archival series celebrating Jerry’s magical 13 night run at the historic Lunt-Fontanne Theatre in New York City’s Broadway theater district. The first installment, On Broadway: Act One – October 28th, 1987, will arrive June 23rd on Round Records as a 3CD set or digital download and is currently available for pre-order in the Official Garcia Store.

On Broadway: Act One – October 28th, 1987 presents three complete sets of music, including previously unreleased matinee and evening acoustic sets from the Jerry Garcia Acoustic Band, as well as the evening electric set from the Jerry Garcia Band. The release was produced from newly remastered two-track soundboard recordings originally captured to digital audio tape and includes previously unpublished live photos, and a liner note essay by author, historian and Grateful Dead publicist, Dennis McNally.

“The (two) Garcia Bands’ – Jerry Garcia Acoustic Band, and the electric JGB – 1987 run on Broadway from October 15th through Halloween was destined to be memorable for many reasons,” as Dennis McNally states in the liner note essay. There’s record setting ticket sale figures, a destiny tied to Jerry’s namesake (Broadway composer Jerome Kern) and of course the sheer visual oddity that is Deadheads descending upon The Great White Way, but what shines brightest is Garcia’s jovial and relaxed mood which sets the stage for the inspiring performances contained within the release.
A few thoughts.

First, glad to see releases happening. Thank you in advance. I look forward to reading McNally, as always.

Second, looks like this will be 10/28/87a JGAB and 10/28/87b complete (i.e., JGAB & JGB).

The early show JGAB set circulates among collectors from line recordings, as tricksy Deadheads spliced into speaker lines out to the hallways, arranged for Deadheads to dance around. Some gratitude - but then again, tapes is tapes.

In terms of the late show, Bill Koucky's orchestra pit Nakamichi 300s tape (shnid-79902) is missing the first three songs of the acoustic set, "I've Been All Around This World", "Ballad Of Casey Jones" and Jimmie Rodgers's "Blue Yodel No. 9", which was a standard in the JGAB rotation and holds the distinction of being the last song Garcia is known to have recorded (7/16/95, for Various Artists, The Songs Of Jimmie Rodgers - A Tribute, Egyptian/Columbia 485189 2, 1997). It's also missing set-ender "Ripple". As far as I know, these songs will be new to circulation, a welcome addition. (edit: looks like the "Ripple" is MIA.)

Third, I have listened to Koucky's tape of the early show electric set (shnid-80044), and the performance didn't knock me out, so I guess I am glad that TPTB didn't pick it for release.

Fourth, the idea of an integral "Jerry on Broadway" collection has been floating around for a long time. Looks like they are not going to release the whole thing, while at the same time there is more to come. They have already released a bunch, per Deaddisc:

info Pure Jerry: Lunt-Fontanne, NYC, 10/31/87, Jerry Garcia Acoustic Band/Jerry Garcia Band, 2004
info Pure Jerry: Lunt-Fontanne, The Best Of The Rest, Jerry Garcia Acoustic Band/Jerry Garcia Band, 2004
info Ragged But Right, Jerry Garcia Acoustic Band, 2010 [certain tracks from Broadway]

Fifth, I am a little dubious about the whole prospect. Jerry was healthy, having fun, playing well, the acoustic band was a hoot and the electric band was fully lined up (JGB #21b had been together for 4 years at this point), but the setlists are very repetitive and the music is more competent than interesting. IMO, YMMV, etc. etc. But I am happy to buy this one and eventually more good ones if they meet expectations.

Saturday, March 14, 2015

LN jg1987-10-28.jgb.early.aud-koucky.80044.flac1644

Perfectly competent musicianship, but nothing here really lights me up. Good tape with lots of atmosphere.

Jerry Garcia Band
Lunt-Fontanne Theatre
205 W. 46th Street
New York, NY 10036

October 28, 1987 (Wednesday) - Early Show - set II (electric)
Koucky MAC shnid-80044

-- set II + encore (9 tracks, 69:14)--
-- set II (8 tracks, 64:05 - 0:52)--
t01. [0:06] Get Out Of My Life Woman [7:52] [0:09]
t02. They Love Each Other [6:55] [1:07]
t03. [0:05] Mission In The Rain [9:02] [0:45]
t04. Like A Road Leading Home [8:01] [0:02] %
t05. [0:27] Love In The Afternoon [6:53] (1) [0:12] %
t06. ... My Sisters And Brothers [#4:15] [0:02]
t07. [0:10] That Lucky Old Sun (Just Rolls Around Heaven All Day) [9:38] ->
t08. Deal [7:20] (2) [0:10] % [0:52]
--encore (1 track, 5:08 + 0:52)--
t09. [0:04] Crazy Love [5:04] (3) %

! 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; [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.


! JGC: http://jerrygarcia.com/show/1987-10-28-lunt-fontanne-theatre-new-york-ny/

! db: http://etreedb.org/shn/25742 (Sony ECM939LT); http://etreedb.org/shn/80044 (this fileset).

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/06/lunt-fontanne-theater-205-west-42nd.html

! map: https://goo.gl/maps/Phfj1

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

! R: field recordist: Bill Koucky

! R: field recording gear: 2x Nakamichi 300 > Sony D5 MAC

! R: field recording location: orchestra pit

! R: source: MAC > Sony D5 1st cassette copy > playback on Nakamichi DR2 > Presonus Firebox > firewire/PC XP Pro > Wavelab 5.0, recorded as 24 bit/96 KHz PCM WAV > Waves L3 Multimaxmizer (threshold -3.5, ceiling -0.1, type I dither, ultra shaping) > 16 bit/44.1 KHz PCM WAV > CDWAV 1.9 > FLAC (level 8). Transfer/mastering by C.Ladner. Seeded at bt.etree.org, November 2006.

! R: This is a nice tape.

! t01 taper or someone near taper says "That's it, my first one, That's What Love Will Make You Do", and then sounds disappointed when he gathers that it's GOOMLW.

! R: t01 GOOMLW bad overload to start, mix and level issues

! P: t01 GOOMLW Melvin on acoustic piano

! P: t02 TLEO Melvin switches to electric piano

! P: t05 LITA little flub 6:20ish JG comes in too soon on a vocal

! t05 (1) "We got an equipment failure. We've got a new organ comin' in, we're gonna take a coupla minutes, we'll back in a coupla minutes."

! R: t06 "My Sisters And Brothers" fades in, not much missing

! P: t07 TLOS JG is triangulating to the appropriate key for awhile

! t08 (2) "See y'all later." after the splice it's really pre-encore tuning

! t09 someone plausibly calls "Stoned Me", which is a reasonable inference, because they sound similar, but obviously incorrect.

! t09 (3) "Thanks a lot. See ya later."

Saturday, November 22, 2014

San Diego Public Library, and Public Libraries

I am in love with libraries. Is there a word for this? Someone has asked a Yahoo, but I am not sure I see an answer that works for me. So, as a book-lover is a bibliophile, as a word-lover is a philologist, what is a library-lover?

Anyway, San Diego Public Library, http://www.sandiego.gov/public-library/, stands as a great municipal institution, befitting this jewel of an American city, really just the perfect climate, shimmering water, profound historical Spanish, Mexican and Anglo historical crossings. To me it feels most like Santa Barbara and San Francisco in its coastal-and-Spanish vibe (less like newer LA, while the warm-and-Spanish thing makes it feel a little like Santa Fe).

As a municipal institution worthy of the name must, SDPL serves the public. Taxes are not tyranny when it comes to things like libraries. Stupidity is dangerous and bad for everyone, and warding it off through public investment is no less useful than warding off the fucking cholera, or paying skilled and strong people to exercise organized violence. San Diego is built and sustained on public dollars to this day, not least through its permanent militarization from Cabrillo in 1542 to the freshly-forged (and several more leathered) Marines et al. flying out last night. Safest place on earth last night, San Diego International airport, assuming you love 'Merca and aren't looking to fight.

I love that it remains the San Diego Public Library. It keeps a municipal name, though of course I reckon that a lot of private money has come in. Two-edged sword, that. The private money that can come in through a naming is huge, as it has been since probably well before the Medicis patronized Florentine artists, scholars and public works. I recently came across some neat pieces around the Garciaverse venue Avery Fisher Hall, i.e., the home of the New York Philharmonic at Lincoln Center. Avery Fisher's family, after resisting, is being paid to allow for an unnaming (see . The namesake bought cheap in the 80s, like $25 million, and the refresh the NY Phil wants and needs runs to the hundreds of millions. There are lots of prospective someone and something elses that might be interested in that particular emblazoning. There's a shitload of money sloshing around Gotham in the New Gilded Age.

Like my beloved San Francisco Public Library, and like every great public library in the world but with the higher relative frequency you see in temperate climates, homeless folks populate the SDPL, especially during the winter months. Fine. It's a true public institution. Everyone has a right to go there and spend the day hanging out and reading. And who doesn't like to drift off to sleep in a comfy chair over a good book? S'all good to me, good to give a hand to an American who's down on his or her luck, as the Looney Tunes used to say.

Here's my call to some would-be Medici Deadhead in the San Diego area: pay for some more state-of-the-art microfilm/form scanners. San Francisco Public Library's are terrific, and almost certainly not cheap. Someone's gift paid for those badboys, and SDPL could use a few more. And endow a little fund that can pay for printing paper from the old-style film scanners, as well. That's still useful, and I'd bet it doesn't run more than few thou a year. A little endowed gift of $50k to start would probably pay for it, in perpetuity. And it'd make the world a better place.


I already discussed a probable rainout of the putative JGMS show at San Diego State on 11/18/73. Next I'll write up a new-to-me canceled Dead gig with an interesting splash of color (update - done).

REFERENCES
! ref: Pogrebin, Robin. 2002. Avery Fisher Hall Forever, Heirs Say. New York Times, May 13, URL http://www.nytimes.com/2002/05/13/arts/avery-fisher-hall-forever-heirs-say.html, consulted 11/28/2014. 
 ! ref: Pogrebin, Robin. 2014. Lincoln Center to Rename Avery Fisher Hall. New York Times, November 13, URL http://www.nytimes.com/2014/11/14/arts/music/lincoln-center-to-rename-avery-fisher-hall.html, consulted 11/28/2014.
! ref: Roberts, Sam. 2014. With Naming Rights, Perpetuity has a Cutoff. New York Times, November 28, 2014, p. A26.

Sunday, June 15, 2014

I sing the blues, where has it led?

LN jg1983-05-31.jgb.all.aud-vita.76578.flac1644

On Tuesday, May 31, 1983, the Jerry Garcia Band (#15c) lit up an SRO West 52nd Street institution, the venerable Roseland Ballroom, with one of the finest shows of the 1980s.  On any given night, Jerry Garcia could deliver the fucking goods, and this is the fucking goods. Everything crackles. I have titled the post with a line from the show opening "Rhapsody In Red", the big rocker from 1978's Cats Under The Stars that worked beautifully with Jerry's grungy, metallic, 1983 JGB sound. This one is a rip-snorter.

I notice Greg Errico's deep, thudding percussion this night and Melvin being a little tentative. I feel Garcia very much in an R&B space, shaking his sweaty mane and tearing the shit out of several solos. Very high energy show. See notes.

The John Scher Presents program for this night is nothing to write home about, aesthetically. But I'll post scans of the last two pages, with a few comments.

John Scher Presents program for JGB at Roseland Ballroom, 5/31/83-6/1/83, p. 3.

Standard little band bio, of course. But check out these details, some of which hadn't quite stuck in my brain.
MELVIN SEALS | Organ | Has quite an extensive background in Broadway productions having worked on four shows, including " Evolution Of The Blues". Other music talents he's worked with include Oscar Brown, Buddy Miles and Elvin Bishop, as well as Maria Muldaur and Chuck Berry. Melvin is a producer for a company out of Nashville and has produced such Gospel greats as the Hawkins Family. The Martin Luther King television special is one prestigious project he has participated in. Melvin has been with the Garcia band for three years now, and also directs the current female singers in the band.
I have to check this info against what I know. But I found the last line, about Melvin directing the female singers, to be very interesting. I had always assumed that Kahn dealt with arrangements, but this implies a more elaborate (and possibly alternative) set of arranging responsibilities.
JACKIE LA BRANCH | Backup Vocals | A recent addition to the band, she has been mainly singing gospel with the San Francisco Inspirational Choir, and has worked with Maria Muldaur on gospel tunes.
DEE DEE DICKERSON | Backup Vocals | Another recent addition, she has been working with some of the industry heavies for years. Her long list includes Herbie Hancock, Taj Mahal, Pharaoh Sanders, and Quicksilver Messenger Service.
Both these girls have been a welcome addition to the band and the audience's enjoyment is evident. The ladies are great!
I sure would like to know more about the ladies, and be in touch with them if at all possible. If you know them, please have them be in touch! I'd like to learn more.

Finally, a little piece of capitalism from the back cover:

John Scher Presents program for JGB at Roseland Ballroom, 5/31/83-6/1/83, p. 4 (back cover).

I am sure there had been lots of GD and JGB cross-promotions over the years, but for whatever reason this struck me. I love how, for lack of something else to draw attention to, the ad for the GD's Go To Heaven promotes it on the basis of including "Don't Ease Me In," perhaps the only time in history capitalism managed such a crass feat. The Run For The Roses selections don't look that appealing either, come to think of it. Oh well. Play on, Jerry.

Jerry Garcia Band
Roseland Ballroom
239 West 52nd Street
New York, NY 10019

May 31, 1983 (Tuesday)
Vita flac1644 shnid-76578

--set I (7 tracks, 50:32)--
s1t01. tuning [0:37]
s1t02. Rhapsody In Red [10:17] [0:04] %
s1t03. They Love Each Other
s1t04. That's What Love Will Make You Do ]10:03] % [0:04]
s1t05. Valerie [6:48] [0:04] ->
s1t06. How Sweet // It Is (To Be Loved By You)
s1t07. Run For The Roses [5:00] (1) [0:06]

--set II + encore (8 tracks, 68:33)--
-- set II (7 tracks, 60:44)--
s2t01. tuning [0:15]
s2t02. The Harder They Come [15:16] [0:03] % [0:12]
s2t03. Mission In The Rain [9:28] [0:03] % [0:06]
s2t04. Mississippi Moon 
s2t05. Tangled Up In Blue [12:15] [0:03] %
s2t06. /Gomorrah [5:49] ->
s2t07. Deal [8:25] (2) [0:03] % [0:02]
--encore (1 track, 7:49)--
s2t08. Midnight Moonlight [7:43] [0:06] %

! ACT1: Jerry Garcia Band #15c
! Lineup: Jerry Garcia - el-g, vocals;
! Lineup: John Kahn - el-bass;
! Lineup: Melvin Seals - keyboards (Hammond B-3 organ);
! Lineup: Greg Errico - drums;
! Lineup: Jacklyn LaBranch - vocals;
! Lineup: DeeDee Dickerson - vocals.

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/19830531-01

! db: http://etreedb.org/shn/4416 (unknown MAC shnf); http://etreedb.org/shn/6624 (senn 441 shnf); http://etreedb.org/shn/15617 (Cohen shnf); http://etreedb.org/shn/76578 (Vita flac1644, this fileset).

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/06/roseland-ballroom-239-west-52nd-street.html

! band: JGB #15c (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

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

! R: field recordist: Jim Vita

! R: field recording gear: 2x Sennheiser 421 > Sony D-5 (Maxell UDXLII)

! R: transfer and FLAC encoding by David Minches:

Master played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.

! R: shnid-4416 note: 04/07/2007, jjoops-garcia: "The cassette flip at the start of Run for the Roses suggests that this could be from Vita's master, though of course it's possible that others besides Vita got caught flipping there. "

! historical: Diamorphine, 2014-04-23 00:35:35: "Saw both shows and still remember being blown away by the Don't Let Go [on 6/1]. The place was hot and packed with people and the music just rumbled inside of you. It's seeing shows like this, with the band just feet away from you, the whole place dancing, made the thought of JGB at MSG or the like totally impossible." http://bt.etree.org/details.php?id=571647

! P: s1t02 RIR hot hot hot late 5 acid molten playing, tearing the shit out of it over 6-minute mark. No warmup needed this night - he is fully frothed here. 6:35ish some interesting tone. Very fluid in 6:40 range, hot, tight, fast, sharp, lots of good adjectives for this, over 7. Pulling a little 7:11 ff, more pulling train whistle 7:17. Letting it breathe post 7:30. Man, so nice. On any given night, Jerry Garcia could deliver the fucking goods, and this is the fucking goods. 8:20 churning some chunkier stuff, 8:33, 8:38 pure metal strumming, chunky percussive but shorter pulls interspersed with those earlier longer phrases, 9:08, he's Chuck Berry, signalling back to the song. Seizes the '1' at 9:23 and sings. Wow. That is a masterpiece of a performance right out of the gate.

! P: s1t03 TLEO is not a song I love, but this version is really good.

! P: s1t04 TWLWMYD from 4:45 there is some exemplary playing, then he does some very well controlled pulls around 5:05 and 5:10 - check this out. More energy 5:30, another turn round the bases. 6:05 he steps back and comps, Melvin is a little slow to take the cue. He's playing 6:15ff, but not loud at all. Now 6:30 he does a big B3 swoop. Still super low in the mix, but that could be the tape. See also a similar reaction I have from, when, 8/11/84? Melvin coming in with about a 'C' grade feature. Now louder over 7. There you go, big fella, lean into it, groove to it, loosen up! (Then again, maybe he was tearing it up, but wasn't mixed loud!) 7:30ff Garcia steps up for some guitar playing, playing of the guitar. Hitting real hard over 8, tight and clean and fluid, an extra up 8:15, great tone, and yet another run 8:27ff! Really hot. Everything has something extra this night. Wow. Errico does a big run down 9:21 ish,  hits again 9:34, he's awesome. Gar gives it his best R&B head shake.

! P: s1t05 Valerie the shit Garcia is doing 4:30 is absolutely evil. He lands cleanly on "I ain't afraid of the cold cruel world outside" ... he sounds great. He's really got his R&B-guy-singing-about-his-baby working well this night.

! R: s1t06 HSII some kind of tape nastiness @ 4:10.

! P: s1t06 HSII even this rocks this night! He puts a filter on in the 4-minute range, a little more flavorful tone, and he's really hitting some great notes through the minute mark. Melvin steps up post 5 with his nice HSII solo that he did. Garcia only comes to lead 6:30, and he is awn fiyah. 6:58 more high register work, 7:16 nice pull. He is one with Motown, huge chords 7:30, really loud, loud major chording guitar playing to the "open my eyes at night" @ 7:44. This is a huge performance to this point. Huge. Man, Jerry loved NYC.

! P: s1t07 RFTR I love that he played this extra song. He could very well have called it after that incendiary HSII. But he is not settling on this night. So, tip o' the cap. His voice is starting to sound a little ragged, but his guitar playing is great and the band is very tight.

! R: s1t07 RFTR 0:02 - 0:07 patched (crossfade) from Mark Cohen's master; Nak 700s > Sony D-5.

! s1t07 (1) JG: "We're gonna take for a few minutes. We'll be back in a little while."

! P: s2t02 HTC classic JGB version of this song. Notes shoving each other aside 5:30, another set of scaling runs 6:05ff. Fingers are going a mile a minute. His voice sounds tired, I am worried about some of these tunes coming up.

! P: s2t03 MITR has pep. Good but brief fan @ 7:15

! P: s2t05 TUIB very hot. Garcia puts some big effects on late 7 over 8 and this is rockin'. More big effects 8:39, more a minute later. Very expressive, articulate, powerful guitar work. Still really extending his phrases a minute later, not phrases, sentences, or even mere paragraphs, but whole narratives, hits a great little note 11:07. Wow, this is absolutely rockin'. Errico is BANGING.

! R: s2t06 Gomorrah clips in

! P: s2t07 Deal is also hot. Listen to little run 5:28. Whole band is on, but Jerry is smokin' hot.

! s2t07 (2) JG: "Thank you. See ya later."

! P: s2t08 MM even Midnight Moonlight has it all this night. What a show.