Stray "played with Jerry Garcias" (name but no date)

Here are people who are said to have played with Jerry who remain un-pinned down in Jerrybase because we don't have enough data specificity. Add more in comments!

Randy Bachman: "he played his fingers raw with Jerry Garcia, Leslie West and Delaney Bramlett" on the Festival Express (xxx citation)

Byron Berline: OAITW, ca. summer 1973 - likely backstage at Whipoorwill Festival in Warrenton, VA. I estimate that Berline and Garcia did not play together. Berline played with "Old And In The Way", which was Grisman, Rowan, Vassar to him. As far as I can recall, there's no evidence of Garcia picking around the grounds or backstage at this festival. I think he coptered up to DC for the Dead shows. Again, none of this is certain to me.

Frank Dardano of Jacob's Ladder (Portland, Oregon) - before March 1972: "We had a chance to jam with the Dead's Jerry Garcia. He's down to earth and not weird or anything. He even showed me how to work out some things on my guitar." -- Sunday Oregonian, 3/5/72

Rick Eshleman - 19 year old singer guitarist in June 1970 "who has performed with Jerry Garcia, the Flying Burrito Brothers, the Byrds and John Fahey" -- Tacoma News-Tribune 6/12/70.

Luis Gasca. I imagine this was at the 9/22/72 United Farmworkers' Benefit.

Donny (or Danny?) Hanna: Orlando based rock guitarist and bassist, bands Power and New Days Ahead. "Hanna has played with Jerry Garcia of the Grateful Dead" (McAleenan 1972).

Andy Narell: steel drum player, supposedly played with GD

Bernard Purdie: JGMS Bottom Line 1974, via Big Steve who recalled Kreutzmann drumming. That's not quite right. I actually know about this now and will write about it in Fate Music.

Ike Stubblefield: JGB 1970s

Ross Valory (phantom)

Linda Waterfall (Seattle folk soloist) "has shared a stage with ... Jerry Garcia"  -- Daily Astorian, 10/10/82 p 7

Carl Woideck - Eugene area saxophonist (Register-Guard, 3/29/84 p. 6D)

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.

Byron Berline playing with Old And In The Way, ca. summer 1973

My previous post (three months ago!) touched on an expost recollection of Doug Sahm sitting in with Garcia-Saunders at the Keystone around December 1972. I love these little fragments, love trying to pin them down.

Here's a similar one: in the August 16. 1973 Village Voice, it is reported by Jerry Leichtling that Byron Berline had "recently performed with Old And In The Way, Jerry Garcia's new assemblage". I won't go into Byron Berline's importance here, but the wiki can get you started. I will just say - hot, amazing, legendary bluegrass fiddler.

The mention happens in connection with a gig by Country Gazette at the Metro, members of which were Berline, former Kentucky Colonels Roland White on guitar and Roger Bush on bass, and Alan Munde on banjo. I don't have time to try to hunt down when Country Gazette would have played those gigs, but let's say ca. first half of August 1973. Let's also imagine that the info about Berline playing with OAITW comes from the man himself. I take "recently" to suggest that the gig with Berline was either in June when OAITW was briefly out east, or July back in the Bay Area (with Vassar). We'd have to triangulate around Berline's movements as a next step at getting closer to a specific date, but I don't have time to do that. If anyone else wants to, please report back!

In the meantime, just another American musical legend with a Spudfactor of 1, though I can't pin the metadata around this "shared stage" event with any precision.

My very old image of the relevant VV reportage below. Is that Win95? The wheels do turn slowly ...

Garcia-Saunders with Guest Doug Sahm, ca. December 1972

Clearing out old paper files of stuff, found this piece by John Swenson about Doug Sahm:

Swenson, John. 197305. The Psychedelic Cowboy Makes His Move. Crawdaddy (May): 65-70.

After narrating the good time on 11/23/72 in Austin, Sahm continues

Then we went back up to Frisco an' did it up at Keystone with Tom Fogerty where Jerry does that jam thing. We kinda learned a few tunes an' said we'll go see whut this audience loos lahk, makin' that trip 'n it was jes that monster same reaction. [He started to sing: "Well, it's not love ..."] Y'know, there's the Berkeley freaks, they dig it y'know an' it was weird because ah ain't played Frisco in years man, 'sbeen ages (Swenson 1973, 68).

By my reckoning, Tom Fogerty never played with The Group in 1973, though that's not 100% established. So the likely dates for this event are the following:

• 12/6/72 or 12/7/72 - note that we have some eyewitness recollections from one of these shows of Sarah Fulcher being around. Like Sahm, she was a Texan with plenty of San Antonio time. Not sure that makes Sahm more or less likely (or doesn't change my estimate) for these nights, but there you go.
• 12/20/72 or 12/21/72 - the only other JGMS Keystone Berkeley gigs in the window.

So, not sure the dates, but wanted to pin these here the best I could.

update: we have pinned these to 12/6/72 at Jerrybase, because it lines up with Sarah, who also guested that night or the next.

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??

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

I recently wrote that

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

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

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

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

I really mean it. Go check this fucker out.

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

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

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

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

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

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

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

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

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

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

Rolling Thunder Data

Rumor has long had it that Mickey has a massive trove of tape and information related to recordings made at his barn studio, a.k.a. Rolling Thunder, at 2495 Novato Blvd. between about 1971 and sometime in the early 1980s. As usual, Corry has done outstanding work pinning some of this down, but there's probably oodles more to learn.

If anyone here knows or is in touch with Mickey's people -- I saw yesterday they were sharing on social media the SF Chronicle preview I posted of the July 30 - August 1, 1970 New Riders (headlining) and acoustic GD shows at the Lion's Share -- please let him/them know I will help organize their data pro bono, so long as I can use them. I will create a giant database of times, people, tunes, etc. etc. As Mickey's amateur musicology involves him in collecting sounds, instruments, and stories from musicmakers in far-flung locales, so my amateur musicology would have me poring over Rolling Thunder data.

In the meantime, I have just spent some time in the Grateful Dead Archive on the beautiful campus of UC Santa Cruz, and I came across some Warner Brothers' interoffice memos supplying information about some of the dates on which the material appearing on Mickey's Rolling Thunder album (Warner Brothers BS 2635, September 1972) was recorded. The earlier document, dated 9/7, is full of handwritten notes, while the latter, from a week later, is cleanly typed. I should not that one scribble on the earlier document says these are dates on which recording began.

Me being me, I tabulate the existing credit information from deaddisc (linked above) with the new information on dates. (Click to enlarge.)

Table xxx. Recording credits and information for Rolling Thunder from Warner Brothers interoffice memos. Source: "Business: Rolling Thunder Productions, 1972-1973," Grateful Dead Archive, Special Collections, UC Santa Cruz, MS.332.ser. 2, box 20, folder 11.

Where the dates align, I obviously pin those. Where they conflict, I make a judgment: that recording was centered in 1972 and not 1971, except for The Chase, which was NOT recorded two months after the memo was written.

Me still being me, of course, the Garcia information draws my eye. (Jerry) Garcia is credited on four tracks: "The Chase" (begun 11/6/71), "Deep, Wide and Frequent" (begun 4/14/72), "Pump Song" (4/6/72) and "Gran'ma's Cookies" (7/20/72). While we can't be entirely sure he attended the initial sessions for any song, it makes sense to pin down the ones we can, and I will do so at Jerrybase with the confidence parameter set to "Uncertain Date" for the ones that don't conflict. Alas, two of the four *do* conflict, dated to when Garcia was manifestly in Europe and thus not, in body at least, at Hart's Barn. So those will just have to float, for now - unless and until Mickey et al. make it possible for me, or someone, to commune with more Rolling Thunder data.

BONUS EYE CANDY: Warner Brothers' Circular (its "weekly news device") pimping Rolling Thunder:

Does anybody know how to reach Matt Kelly?

I am hoping to find dates for the 1973 Record Plant session work, with Jerry, that ended up on Wing And A Prayer. Email me if you have email for him, or point him here. TIA!

Not For Kids Only Deluxe (Acoustic Disc DLACD-09, 2020)

https://acousticdisc.com/product/jerry-garcia-and-david-grisman-not-for-kids-only-download/

This happened without my noticing at the time (whenever it was in that accursed year, just passed, that shall not be named). But Acoustic Disc has remastered the Not For Kids Only (Acoustic Disc ACD 9, 1993), added four bonus tracks, and offered it up for download. I am spinning the high-def (24bit / 96 kHz) version now, and it sounds gobsmackingly great. (The original did, too - tip o' the cap to "Decibel" Dave Dennison.)

The unreleased tracks (alt. takes of Jenny Jenkins, Three Men Went A-Hunting, Teddy Bears’ Picnic, and There Ain’t No Bugs On Me) are Jerry-David duets. Alas, they are undated. I will try to see if AD will answer a query as to the dates. Let me say here that Grisman and Garcia are too important as American musicians, and this material is too important as American music, not to give it the jazz treatment, with full metadata. I have never understood why they hold things like the dates close to the vest.

Anyway, happy listening!

Quicky: I think Reconstruction 6/13/79 at the River Theater in Guerneville should be dated 6/23/79

update: I am now 100% certain that the correct date for this material is 6/23/79

The tape we have of the titular show comes from Alan Bershaw. Turns out he didn't tape it, but circulating versions come from his copy. This is a 2nd copy, lineaged as follows: Nak 550 w/CP3 caps > MAC > Nak 582 playback > 7.5 ips reel > Alan's reel.

Alan Bershaw's reel of "6/13/79" - thanks, Alan!

I am the last thing from a gear head, but the Nak 550 is the deck, but the CP3 caps would go with the mics, which remain unidentified. I also don't know the speed at which Alan's reel was recorded.

Anyway, let's first establish that, even with such good provenance, a '2' can become a '1' via careless manuscripting/transcription, and so it's not crazy to think that 6/23 could become 6/13.

Second, doggy no barkie. There is no other evidence for Reconstruction at the River on 6/13/79 (a Wednesday).

Third, there is evidence from the Santa Rosa paper that the theater was showing movies that night (King of the Gypsies at 7:30 and Hurricane at 9:30, for the curious).

• ! Ad: [contra] Santa Rosa Press Democrat, June 13, 1979, p. 11B

Fourth, the 6/23/79 Reconstruction got lots of play in the papers.

• preview: "Reconstruction Rocks at the River," Argus-Courier (Petaluma, CA), June 22, 1979, p. 3B
• listing: Argus-Courier (Petaluma, CA), June 22, 1979, p. 5B
• ad: Press-Democrat (Santa Rosa, CA), June 22, 1979, p. 10B

The preview notes that "Saturday’s concert is expected to be one of the last Sonoma County appearances for the group, as Garcia will soon be going into the recording studio to begin working on a new Grateful Dead album".

There was also a handbill:

If Reconstruction was such a big deal, why wouldn't a show ten days earlier have gotten similar sizzle?

Fourth - and I could have started with this, because it's QED from here, IMO - among the relatively undocumented detritus of the Betty Boards was this lil ol cassette:

soundboard cassette tape of Reconstruction 6/23/79 at the River Theater, "set #2". Scan courtesy of ABCD.

As it happens, a little birdie has told me that the material on this cassette is identical to material circulating from Alan's tape. Even the temporal assignment lines up: Alan's tape is primarily of the late show, and this tape says "2nd set". Not exactly the same wording, but it's pretty clear there were early and late shows this night.

update: again, this is now settled. The material is 6/23/79. There was almost certainly no Reconstruction gig on 6/13/79.

Pearl's Wake

Around November 3, 1970 the Associate Press (AP) had an item in lots of papers noting that Janis Joplin had left $2,500 in her will for a big ol' celebration of her life after her passing. Invitations went out reading "The drinks are on Pearl", and it happened at the Lion's Share in San Anselmo. The AP story (e.g., in the Red Bluff Daily News, November 3, 1970, p. 8) says that the GD and other rock groups entertained.

Mastropolo 2015 puts the date of this event as 10/26/70. I don't know how he knows that, but there it is. (update: as usual, Corry was on it before I was --in this case, a decade!!-- and the date comes from his post.) He references the memoir of Janis's road manager John Byrne Cooke in saying that members of the Quick, Big Brother, and the GD formed various playing combinations, which is a little different than a GD gig per se.

As of now, I am listing this as a GD gig. I am also coding the Wales-Garcia Matrix gig advertised for this date --the latest with Howard's name on it, as far as I can recall-- as canceled. Any thoughts on that?

I also note that LIA hipped me to a canceled GD gig in Columbus, OH, between 10/24 and 10/29. Janis's wake may well account for the cancellation.

Alice Kahn Fall 1984 interview annotations

These are for my purposes, no pretense to completeness.

I find his comments about Joe Garcia to be quite revealing. There are a few other good nuggets in here. Man, even in the depths of his Rock Bottom period, he sounds engaged and articulate. What a mind!

~~~~~~~~~~~

Placeholder Dates

Some time back, you all convinced me that I should track placeholder dates, and I agreed that it would be helpful in all kinds of ways. But I confess that, not having systematically tracked all of this, it would be a truly massive pile of work to try to reconstruct it all.

Does anyone have a starter list? Barring that, I guess I'll try to use comments here to drop breadcrumbs, and I'll invite you all to do the same, if you care to.

The Quick at San Quentin

http://www.sfgate.com/music/article/LSD-king-Owsley-Stanley-s-Sonic-Journals-11209700.php

And Bear was there taping. I assumed immediately this was 2/15/68, partly, I am sure, in hope that this means that the Quick sets from the Pacific Northwest Tour were taped. Hamina hamina. That said, I don't see any reference to Quick guys in the various reports of this gig.


! deadlists: http://deadlists.com/deadlists/showresults.asp?KEY=2/15/68
! ref: URL hannan, Ross. 2009. The Grateful Dead San Quentin Performances: A Theory. Lost Live Dead, December 4, 2009, URL http://lostlivedead.blogspot.com/2009/12/grateful-dead-san-quentin-performances.html, consulted 8/5/2012;
! expost: UPI 1968 ("Hippies Support Quentin Paper");
! expost: Torgerson 1968;
! ref: Abbot 2007;
! Corry: http://lostlivedead.blogspot.com/2009/12/grateful-dead-san-quentin-performances.html?showComment=1259944365140#c6637997183837294175;
! ref: Dister 2007, 150-151.

update: looks like Ross has confirmed Quick guys 2/15/68. Do we imagine Bear would have labeled his tape as QMS?

What about this 4/11/67 listing (not in Deadlists)? Any chance that a) QMS guys were there and b) Bear was taping?

In the alternative, what about the "3/7/68" thing, also putatively a San Quentin date, per Deadlists. Any chance a) this happened (w/ QMS), and b) Bear taped?

Let me step out of my Garciacentrism for a second, actually: I am only looking for QMS at San Quentin that crosses Jerry or the GD. Is there any other known QMS there? I see nothing at Bruno's list.

Anyway, man, 1,300 reels of stuff. Wow.

Northridge Acid Test

What is the state of our knowledge on February 1966 acid test at a Unitarian Church in Northridge, CA?

I still show a gig 2/6/66 at "Northridge Unitarian Church", no notes or references.

And I also show a gig 2/19 at Valley Unitarian Universalist Church on 2/19.

Maybe we have  been discussing somewhere? Seems like I thought I had this pinned down, but I doubt both can be correct.

Anyway, if anyone has the goods please post in comments.

The real dates of the "September 1, 1974" material

Jerry Garcia and Merl Saunders Band, Pure Jerry 4: Keystone, Berkeley, September 1, 1974 (Jerry Made JGCD0004, 2004).

We always knew that this was a hodgepodge of dates (there are several set/end-of-show announcements, in weird spots if we have a continuous show from 9/1/74). But what little evidence we have suggests that things are more hodge and podge than I suspected.

Disc 1;

• Neighbor, Neighbor (Valier) [8/28/74]
• Keepers (Saunders / Kahn) [9/1/74]
• Sitting In Limbo (Bright / Chambers) [9/1/74]
• Favela (Jobim) [9/1/74]
• Tough Mama (Dylan) [9/1/74]
• La-La (Fierro)[actually La-La -> People Make The World Go Round] [8/24/74, h/t nick]

Disc 2;

• Someday Baby (Hopkins) [9/1/74]
• Think (McCracklin / Robey) [9/1/74]
• Roadrunner (Dozier / Holland / Dozier) [9/1/74]
• The Harder They Come (Cliff) [9/1/74]
• I Second That Emotion (Robinson / Cleveland) [8/28/74]
• Going, Going, Gone (Dylan) [8/28/74]

Disc 3;

• Soul Roach (Saunders / Shanklin) [8/28/74]
• Mystery Train (Parker / Philips) [8/28/74]
• Wondering Why (Carrier / Saunders) [8/28/74]
• People Make the World Go Round (Bell / Epstein) [8/28/74]
• Keystone Jam (Garcia & Saunders Band) [8/28/74]
• It's Too Late (Willis) [8/11/74] ->
• The Night They Drove Old Dixie Down (Robertson) [8/11/74]

Grateful Dead at New Monk, Berkeley, ca. June-July 1971

One night I went to hear Jerry play a gig with Merle [sic] Saunders at a small place in Berkeley and one by one, for 'no reason', the rest of the Dead showed up too, and eventually they got on the stage and started playing -- Charles Reich, Spring 1972 (Reich 2003 [1972], xv).

Assuming that it wasn't all a dream that Charles Reich dreamed, is this --Grateful Dead at New Monk, Berkeley-- a thing that we might locate more precisely in time? We have the socio and the geo, how about the chrono?

Below, I'll speculate, with a bit more justification (but properly still a romanticized view) that it was

I have dated, as best as I can, the Rolling Stone Interview (SSI) and the Stoned Sunday Rap (SSR), which puts us in the June-October timeframe for the former and either March 5, 12 or 19, 1972 for the latter. We are looking for a JGMS gig in a "small place in Berkeley" during each. It doesn't have to be one of the interview dates, per se. Reich was living at the Co-Op in Berkeley at this time, so he might have moseyed down to see Jerry and Merl on any random night.

Let me start by saying that if the Jerry-Merl gig was not billed, I can only guess at when it might have happened. This would have left no trace for me to find. I identify my favorite possibilities below.

If this substituted for a billed gig, I might have more to say. Let's go to the data.

RSI: June-October 1971


I provide below a list of Garcia playing small Berkeley places from June to October, 1971 - the first window. I have included New Riders gigs on the off-chance that Reich, writing in spring 1972 and probably still high from the Stoned Sunday Rap (SSR), crossed some wires. The Longbranch Saloon was a small place in Berkeley, but it was New Riders territory, and while Reich could have confused two of Jerry's very active side-gigs (NRPS and JGMS still working hard), I doubt it.

Figure xxx. Jerry Garcia at "a small place in Berkeley", late June - October 1971

That leaves  2119 University. Recall that Freddie Herrera first booked Garcia on Thanksgiving Eve, 1970 at the Keystone Korner in San Francisco, with the New Riders. They'd work together there another forty times into the summer of 1972. I don't know when Herrera took over 2119 University –there are booking patterns that would be detectable, I think, but I haven't quite parsed them—but in mid-1971 he was ramping the club up as the New Monk, which Garcia played eight times in two months (all pictured above). In early 1972 Freddie would rename it, simply, Keystone, transitioning it to his main club, and for the next dozen years (March 8, 1972 - March 22, 1984) Garcia could play the room, on current count, 216 times, his home away from home and the lifeblood of the Keystone business model.

JGMS at New Monk during this period runs June 4-5, June 26-27, or July 3-4. June 26 is known to have happened as Jerry and Merl, from an expost in the illustrious Hayward Daily Review (see here). July 3-4 would be right on the closing weekend of the Fillmore West - were members of the GD at these shows? If not, maybe a nice little gig in Berkeley would be fun, no spotlight on that side of the Bay, all eyes turned to the West.

Accordingly, assuming we are talking about the Dead playing what was billed as JGMS gig at the New Monk during the time that Charles Reich was around for the RSI, I can conclude "ca. June-July, 1971".

SSR: March 1972

If it was during the time of the SSR, things are a little easier: Sunday in March 1972 with Jerry in town could only be March 5, 12 or 19. Assuming Reich was in town for more than just a Stoned Sunday, the following JGMS Keystone gigs are all live candidates:

Wed March 8
Thurs March 9
Wed March 15
Thurs March 16

Like the New Monk dates, there is no tape of any of this, alas. All other things being equal, I'd say I favor a Wednesday night over a Thursday.

In Sum

Well, this is about the end of the line for this little mystery. When did the Dead play at "a small place" in Berkeley, in lieu of Garcia - Saunders, for Charlies Reich to witness, either during the RSI or the SSR periods?

If JGMS unbillbed:

• anytime ca. June-October 1971 or March 1-20, 1972.

If JGMS billed:

• June 3-4, 1971. This feels least likely to me.
• June 27, 1971. Possible, but it's a Saturday and no-one remembers?
• July 3-4, 1971. If they weren't at Fillmore West, totally possible.
• March 8-9, 1972.
• March 15-16, 1972.

Narrative Favorites:

Of all of these possibilities, here are my favorites, for narrative reasons:

• Sunday, 7/4/71: This would be fitting for our young Americans, who seemed to like playing on Independence Day, celebrate Jerry's independence as he heads to Heider's (with Bill Kreutzmann) to lay down Garcia.
• Sunday, 8/1/71: I like the idea of Sunday, August 1, 1971, four weeks after the 4th of July, a birthday party for the boy who just got his solo record in the can, followup to the prior year's party at the Lion's Share, at which the New Riders appear to have "headlined" over the acoustic Dead.
• Wednesday, 3/8/72: an otherwise quiet Wednesday, so few eyewitnesses, plus first time for Garcia at Keystone (per se).
• Wednesday, 3/15/72: Wednesday, plus celebrate Phil's birthday.

 Thoughts? Rare for something so big and out in the open to stay so penumbral.

Signpost to a New Space and Stoned Sunday Rap - Dates

I have just finished transcribing the parts of particular interest to me from Signpost to a New Space and the Stoned Sunday Rap (Garcia, Reich and Wenner 2003 [1972]), and I have now posted reading notes.

Me being me, I have always wondered about the dates of these sessions.

Here is the timeline for what went into the Rolling Stone Interview (RS 100, 1/20/1972), summarizing my own reconstruction.

• Summer 1970: Charles Reich visits Jann Wenner, urges him to interview Garcia
• Spring 1971: Jann called Jerry
• July 1971: Reich is ready to go. The "next Saturday", Reich and Wenner go up to Sans Souci, where Garcia and MG had only been living a few months (papers May 1971). We learn that Garcia had to be in Berkeley for a gig that evening.
• July 1971: Garcia is making his record, in the present tense
• I have concluded that the above, constituting the first five hours of the RSI, took place Saturday, July 24, 1971, ca. all afternoon and into the evening (dinner time), consistent with it being a Saturday and Jerry has to leave for a gig with the NRPS.
• When I went through Signpost three years ago I wrote "July 1971 gig @ New Monk – empty set as of 8/3/2012". In the meantime, I have spun more microfilm at the San Francisco Public Library, revealing the previously unknown gig that unlocked it all for me.
• Note: an Anonymous DeadEssays commenter did some great sleuthing on this and reported September 5, 2012, getting us some of these time points, noted in comments by LIA. I am not sure how much that informed my own thinking, or if we truly have multiple independent progress on the question. Either way, the key dating seems very likely.
• ca. August 1971: Reich did two more hours "A few weeks later" [from 7/24/71], which we can only pin to ca. first half of August 1971;
• undated: the GD are mixing Skullfuck at some point;
• ca. October 15-16, 1971: Reich came back "a few months later". This could be either October 15 or October 16, 1971, based on Jerry seeing Mickey Hart at the Croz-Nash concert "last night";
• ca. October 1971, Wenner did four more hours.

Here is the timeline for the SSR:

• March 1972: Reich dates his introduction to spring 1972, tagging the SSR to a "Sunday morning, a foggy, quiet day in March" (Reich 2003, xx).
• Garcia has to do some mixing work on Ace that night.
• ca. March 20 - May 27, 1972: Garcia in NYC and Europe.
• That leaves March 5, March 12, or March 19 as the dates of the SSR.
• Note Wenner's misrembrance: writing in May 1972, he says SSR took place "almost half a year after publication", which was 1/20/72. It looks more like two months to me, unless I am missing something.

I'll post some pretty voluminous reading notes, not sure how to format since I have way more tags than Blogger will allow. The RSI sessions are far more informative than the Rap, which indeed has all the hallmarks of really high people being high together, in highness. There's some great color - Mountain Girl is incredible, I would love to meet her some day, and Annabelle makes some cute appearances - but not much content of interest to me.

REFERENCES

! ref: Garcia, Jerry, Charles Reich, and Jann Wenner. 2003 [1972]. Garcia: A Signpost to New Space. Cambridge, MA: Da Capo Press.

! JGMF: "NRPS: July 24-25, 1971, New Monk - New to The List,"

URL http://jgmf.blogspot.com/2014/09/nrps-july-24-25-1971-new-monk-new-to.html.

! JGMF: "Reading Notes: Signpost to a New Space and Stoned Sunday Rap," URL http://jgmf.blogspot.com/2015/11/reading-notes-signpost-to-new-space-and.html.

! ref: Reich, Charles. 2003 [1972]. Introduction. In Garcia, Reich and Wenner 2003 [1972], xi-xxi.

! ref: Wenner, Jann. 2003 [1972]. Foreword. In Garcia, Reich and Wenner 2003 [1972], vii-x.