What I think is Might Be (?) a January 1976 keyboardists' tryout tape

The great Charlie Miller has gathered and shared many thousands of tapes. One that he got hands on somewhere along the line and then forgot about has just come into the light.

ca. 1975-1976 JGB rehearsals, outs: https://etreedb.org/shn/166364.

I hypothesize that this tape captures material from trying out / playing around with various keyboardists in January 1976. I think the need to summarize the ca. January 1976 keyboardist/repertoire options is what begat this tape --an artifact, emerging out of a distinct set of historical processes-- in the first place. It's a work tape.

I could be completely wrong about that. If you disagree, let me hear it! Tape is available to torrent from Lossless Legs (maybe be sub required).

Insofar as that's what's represented, then 

1) cool;

2) I was considerably wrong in my "Jerry's January 1976" post when I implied he was a slacker who settled for the most ready-to-hand keyboard player, Keith Godchaux;

3) I have additional material informing this idea of these as tryouts, which you'll be able to read about in Fate Music.

In the meantime, here are my very detailed listening notes, tracked differently (more baroquely) than Charlie's fileset.

Jerry Garcia Band
Probably His Master's Wheels
60 Brady Street
ca. 1976
85 minute 2 channel mono

--(20 tracks, 85:52)--
--fragment 1
t01. noisy noodle (1) [0:20] %
[MISSING: Tore Up Over You]

--fragment 2 (2 tracks,
t02. //untitled-197611xx-01-jam (2) [#21:12] %
t03. Magnificent Sanctuary Band Jam// [2:53#] %

--fragment 3 (2 tracks, 1 tune,
t04. //tape fragment// [#0:03#]
t05. //Tore Up Over You (3) [2:13] [0:06] %

--fragment 4 (3 tracks,
t06. //Freight Train [#2:47] %
t07. //Oh Babe It Ain't No Lie 1 [#5:56] (4) [0:03] %
t08. //Oh Babe It Ain't No Lie 2 [#4:30] [0:02] %

--fragment 5 (3 tracks,
t09. //Mystery Train// 1 [#7:04#] %
t10. (5) Mystery Train 2 [3:26] [0:16]
t11. Mystery Train 3 [7:09] (6) [0:09] %

--fragment 6 (5 tracks,
t12. I Can't Help Myself (Sugar Pie Honey Bunch) [9:36] (7) [0:14]
t13. It's Too Late [0:30]
t14. (I'm A) Road Runner 1 flirt [0:47]
t15. (I'm A) Road Runner 2 fragment [0:14] (8) [0:18]
t16. (I'm A) Road Runner 3 [4:15] (9) [0:21] %

--fragment 7 (4 tracks,
t17. Hey Bo Diddley [7:13] ->
t18. Hideaway [3:02] (10) [0:14]
t19. (11) Maybellene [0:42] ->
t20. Thirty Days flirt (12) [0:24]

! ACT1: Jerry Garcia Band Z
! lineup: Jerry Garcia - electric guitar;
! lineup: John Kahn - electric bass;
! lineup: Ron Tutt - drums;
! lineup: unnamed-19761xxx-01 - keyboards (tracks,
! lineup: unnamed-19761xxx-02 - keyboards (tracks,

JGMF:

! t01 JG cites Tore Up Over You before tape cut

! P: I have no idea what this is - but it's a B3 player who can play!

! t01 (1) the noisy noodle has a vaguely Halloweenish feel

! R: t02 jam is munching tape at the start, super warbly, eventually gets up to speed. Jerry higher up in the mix 1:30ff.  Bass more audible late in 1. Garcia's guitar distorted, probably everything distorted.

! P: t02 jam Very New Orleans feel, bright B3. Is that really KG on organ? It does not sound like him. The organ is much more Brother Jack McDuff-sounding than I ever recall Keith being. https://en.wikipedia.org/wiki/Jack_McDuff. JG Nice lick 1:45. Organ feature 3:05ff, Garcia comping, John walking, drummer swinging. Right at 4 again very avian big bright organ - Jimmy Smith Brother Jack McDuff. John is walking it just like James Jamerson all up in here. 4:50 Jerry takes another lead turn. 13 more walking bass line. @13:32 you can hear Jerry's fingers on the strings - he's letting it make itself heard, as an accent. Sounds amazing - super slow late 13 as gentle as fresh a wildflower! B3 is mellifluous 14ff. Gentle, sweet tunes. Still a B3 "feauture", but it is buried in the mix and sounds a little rudimentary to my ear. Still walking along for a while, easy as you please. Nice melody Jerry lands on in 15 - something almost recognizable at 15:51. Fuzz makes it sound a little saxophonish around 16:40. Even more at 17:35 - superfuzz for Jerry, Link Wray tone for a bit. JG takes some rounds 18:19 and the organist steps forward (recording, too, I think) - things are hotting up 18:45, B3 in the classic sound - hits high right at 19, again avian. Swinging on an R&B groove around 19:15 and a N'awlins descent at 19:30. Jerry starts winding it down like 20:30, but it's hard to pin a real ending, so I just time the whole track.

! t02 (2) Jerry hits "Tore Up Over You" just before the tape cuts out.

! P: t03 Magnificent Sanctuary Band Keith (I think) is leading this, the drum is very foot-pedal heavy, and this is just Keith and a drummer, with Garcia and Kahn sitting this one out. Both of the pianist's hands sound great. Probably just KG and RT.

! R: t03 MSB drop right before the end, real time

! P: t05 TUOY starts with organist back a little bit, Jerry up front. The, delightfully @ 0:29 JG starts comping, and at 0:36 the B3 comes in like a bird - exactly the same style as the earlier jam had been, same personnel. Around 1:15 or so Jerry starts singing the lyric, but without a vocal mic. The organist doing a straightforward accent on "tore up" - sounds like Jerry gets in front of a mic for the last lyric.

! t05 (3) JG: "aw fuck - I keep forgetting that thing"

! P: t06 Freight Train Jerry sounds almost acoustic. Drums just snare. Electric keyboard comes in @0:52. Jerry singing so high in the register, almost falsetto, can't quite reach the notes. Very peppy tempo. Lyrically, he sort of gets the first verse, does a couple of choruses. Beautiful swirly keys 1:25, like a carnival. 1:42 he sings the "when I die o bury me deep / down at the end of old Chestnut Street / so I can hear ol number 9 as she goes running by". Another chorus - he calls a note at 2:27 not sure "[D E G] again". Nice plucky tone against the swirly organ.

! R: t07 OBIANL ff recording has more high end, I think. Hissier for sure.

! P: t07 OBIANL beautiful just Jerry and John falsetto - out of his range I think. Drums enter at 2:00, now electric keys @ 2:08. This aggregation and keys in around 2:05 -5:55. Pretty keyboard in 5:30 range - he puts a Baby Blue riff on around 5:46.

! t07 (4) JG: "I don't know what ... I don't really know//". This sort of tails onto t08.

! P: t08 OBIANL take 2 - lovely gentle stuff. Drums enter around 0:40. Snare-led.

! R: t09 MT1 sounds better than the chunk with the Elizabeth Cotten material. More dynamic range, less hiss. drums and guitar L, synth keys R, voice center, bass L. Tune cuts in and cuts out on what was probably the last "took away my baby"

! P: t09 Mystery Train take 1 keys are synth right now - fascinating! Different player, too? Just not sure. 2:29ff electric keys/synth takes first feature. Jerry comping fantastically behind, like check out 2:49. Sounds like there's an organ on one hand, electric piano on the other hand? Jerry in a little feature ca. 3. Organ lead 3:39ff. Drummer hard in the pocket - high hat driven, super steady. More electric keys lead 4:25. JG lead 4:52

! t10 (5) song is ending, an English guy *not Nicky* says "too much". Then they roll into MT2. I normally might have tacked a second or so from the front here onto the previous track, but it's all good. Electric keys - Rhodes plus the three members Jerry, John and Tutt.

! P: t10 MT2 right around 2 there's some conversation while the beat rolls on. Can't make it out. Jerry steps up for a verse 2:30. Keys sound really nice, nice little flourish over the end of that verse. This sounds tight as hell.

! P: t11 Mystery Train take 3 is faster and drives harder.  This drives like a motherfucker. Drums ease in at 0:17, Garcia has a nice country twang going just before 30 seconds in, the synth is upfront. What is the technique he uses at 0:43 called? He plucks a single note that's not offkey, but it certainly offsets the straight vocal, punctuating. It's awesome. Sweet country sound - I wonder if he's playing a tele, almost? I highly doubt it, but it definitely has that feel. Bend at 2:04 that is definitely Bakersfield. Here in 4 the keys sound familiar. At first I thought Jimmy Warren, but maybe now it sounds like Ozzie Ahlers. I am not saying it is either of these guys - I don't think it's either one of them. But I am trying to pin some comps down. Now at 5:20 two keyboard sounds, I think it's one player with two hands going - left is like an electric piano and right is the synth. Truly glorious string scratches from Garcia right at the end, a little scrubby-dubby from 7:02-7:05. Gaaahhh.

! t11 (6) Tutt: "Ahhh, shit. [inaudible] to try another one like that." JG: "[inaudible] like that?" Somebody else (Kahn?): "It's got layers." As I will narrate in Fate Music in a heading titled "Cats in the Studio," in July 1977 Tutt and Garcia held a very similar exchange after a jam, with Ronnie saying stuff like "that'll work - we can take that wherever we want to", and Jerry concurring. Who cares? I do! Kahn gets all the credit as Garcia's band director, and he was. But Tutt was in a "musical director" space -- validated by Garcia -- in those July '77 jams, and here he is the prior year playing the same role. Very important little fragment right there.

! song: "I Can't Help Myself (Sugar Pie Honey Bunch)" (t12): Yes, the Four Tops Tune tune, Holland-Dozier-Holland on Motown! Singleton. 

! P: t12 Sugar Pie Honey Bunch - oh my God this is stunning. Drums, organ, electric guitar, Garcia playing in a style like I have never ever heard before. 1:46 is he playing a Strat? Wow, fuzzy 2:16 what is the name of that effect? Not sure I have heard bass in this. Just keys guitar drums. God, Tutt starts some hi-hatting at 3:12 that is IMPOSSIBLE it's so good. Organ player takes a lead 3:20ff or thereabouts. @ 3:42 Garcia singing unamplified, way high in his vocal range, but amazing. This is cooking so sweet and hot and it bounces incredibly well. Band playing really well together. No idea who this organist is - DEF not Keith. This is a B3 aficionado, someone tearing it up. Any chance this is Larry Knechtel? By 6 Jerry is in more recognizable sound, still not sure which guitar he's playing. But my God is this AMAZING. Slow it wayy down at 8:48, half time, quarter time, decay to gentle @ 9:07, there's John Kahn, Jerry noodling some stuff to wind it down.

! t12 (7) @ 9:41, good hearty Jerry laugh. Tutt: "What time is it?" JG: "Too late." Someone else, affirming: "too late". Naturally enough, this leads Jerry to strum the beautiful xxx notes xxx chord of "It's Too Late".

! P: t13 ITL falsetto!

! t15 (8) JK is quoting an Abbey Road sounding piece - maybe Come Together? Powerful, McCartney sounding. Jerry hits the Lennon twang. Not sure which tune, but a Beatles riff I think.

! P: IARR 3 he doesn't lead with the first verse, I don't think? This is the quartet playing. Jerry, John, Ronnie, and organ player. Tempo slows 2:48, now sounding more like '76 JGB (heh heh).

! t16 (9) @ 3:45 IARR sort of unraveled gradually. Tutt called out a '1' to take it from the top, but Jerry starts moaning "1", becoming "whaaaa??" It's "1" a second moan, he is joined in by John I think, also moaning "1????????" They pick it up pretty continuously until 4:15, when he drops it again, Tutt calls out '1' again, and they all riff on the same goof from 30 seconds before, moaning and cawing. @ 4:10 someone yells out "Christ!", and it sounds like an English voice to me. Again, NB re: Tutt leading musically. He's the drumer and he's just counting down the beat in this case, but it's still fun to see him focused and the rest of these weirdos being weird.

! song: "Hey Bo Diddley" (t17): https://jerrybase.com/songs/326.

! P: t17 Hey Bo Diddley starts off with cool John Kahn liquid weirdness, some big bottom of the sea low amplitude forms, first 30 seconds of the track. Organ arrives 0:54. Neat interplay JG and organ player 1:38, he scrubs for the three beats, real basic, and the organist puts some color on it. Right after 3 Jerry steps back to play his guitar, and it's hot and great. Killer fuzztone 4:35 - like fuzzier than you will ever hear him. Shreddy, weaving through, around, over, the organ's melody lines. Big fuzzy R&R guitar 5:18ff. Grungy. Late 5 he finds a defined melody of something that might be identifiable. Jerry audibly unpedals the fuzz @ 6:20 with a killer rock chord, and it's back cleanly into the Bo Diddley beat, Jerry with some chunky ... all through this there is a drum that sounds like a hand drum, e.g., 6:45 for awhile, but it perfectly accompanies the drum, so I think ...?

! P: t17-t18 Jerry lets it decay and the organist hits "Hideaway", but Jerry takes a bit to really embrace it. At 0:39 Garcia is playing "Hideaway" with a guitar that sounds really unfamiliar. Wow! Groovy as fuck at 1:32 when everyone is walking it for awhile, organist splashes other tones. 2:27ish Jerry tries to end it, but not one takes him up on it, trying again 10 and Tutt catches the cue perfectly!

! R: t18 Hideaway track some static for sure

! t18 (10) Jerry playing some blues lines, Tutt drums fast to them.

! t19 (11) I track Maybellene to where Tutt starts drumming the beat. Over the start of it, he says "That's that other [?another?] Freddie King tune". I think he's referring to the melody he just hinted at - see note 10. I don't recognize it. Maybellene, of course, was written by Chuck Barry, so maybe he was just having a stoner moment with it?

! P: t19 Maybellene Jerry does some of the rough and ready vamp singing he's been having fun with all night to start, but pretty quickly he gets a verse together, like ten seconds into the noodle. John walking *incredibly* late 0:16 range. This is a boogeying little thing they are doing,

! song: "Thirty Days" (t20): Chuck Berry. Like "Maybellene", a rock 'n' roll standard.

! t20 (12) there are a couple of "fuck it"s at the very end.

more on the keyboardist change, ca. 1971

We have been going around on the various blogs about the engagement of Vince Guaraldi and Howard Wales with the GD/Garcia, and especially about Weir's recollection that Howard Wales had a tryout as GD keyboardist.

LIA has wondered aloud whether some of the 1970 "Hartbeats" gigs, e.g., in late July, were, effectively, the Wales tryouts.

I have argued that September 1971 seems more likely. More importantly, LIA cites McNally as giving this timeframe, as well.

The other day I was wondering how Pigpen felt about all of this. He was sick and getting sicker, so maybe it just was what it was. But it must have been depressing and awkward. Then I remembered about the September 9, 1971 gig that Corry uncovered (which had also been listed in the Barb, I had found), the only solo Pigpen gig that I have ever even heard of or seen reference to. I suspect that if the gig happened Pigpen just brought out his guitar and sang some sad blues.

We already know, if tape labels are to be believed (and I think in this case they make too much sense not to be), that Keith Godchaux would be rehearsing with the GD within three weeks of this, if he wasn't already. And I admit that a Pig gig says nothing about the timing of a Wales tryout. But I thought it was an interesting piece of context, and the tickle in the back of my brain has me really believing that the Wales tryout was ca. September, 1971.

When did Melvin Seals begin with JGB?

Edited 20110216

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

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

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

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

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

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

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

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

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

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

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

Upshot:

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

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