Wednesday, December 25, 2013

RN Abbott 1979 Dead Reckoning and Hamburger Metaphysics



Abbott, Lee. 1979. The Jerry Garcia Feature: Dead Reckoning and Hamburger Metaphysics. Feature (March): 32, 34-37. Also reprinted in Dodd and Spaulding 2000.

Reading Notes

Tags: 1978, Atlanta, interviews, drugs, Army, why, death, fascism, reading notes, GA

Took place in Atlanta 12/18/78, at the Colony Court’s Savannah Suites hotel. Not sure the name address.

Jerry, with his “chemically lit” eyes, is grooving in this interview.

Doesn’t want to talk about himself. He’s old news.

“Jerry is in a self-described ‘state of happiness’ (Abbott 1979, 34).

''I was a fuck-up in high school," Jerry says, easing himself onto the couch. Outside, a hard rain threatens. Inside, Garcia is in high animation, giggling and working over the past with a bantamweight's vigor. "When I was a kid, I was a juvenile delinquent. My mom even moved me out of the city to get me away from trouble. It didn't work. I couldn't stand high school 'cause I was burning my bridges as I went along. But I didn't have any way to go. I don't think I did any more than anybody else. It's just that I was always getting caught-for fighting, drinking, all the stuff you're not supposed to do. … I was involved in more complex ideas. I started reading Schopenhauer, Heidegger and Kant when I was in the seventh grade. After that, school was silly” (Abbott 1979, 34).

Unfiltered Camel

“there were gunfights in the halls, but I didn't fit into that either. I was happening on a different plane entirely. That's one of the reasons I got into drugs. In all that teenage craziness, it was the only good trip around" (Abbott 1979, 34). #drugs

"I had been court­martialed twice and had tons of extra duty and was restricted to barracks. I was just late all the time. 1 would miss roll call. I had seven or eight or nine or ten AWOLs, which is a pretty darn serious offense in the Army. So one day I'm called to the CO's office. No heavy trip or anything. He says, 'Private Garcia, how would you like to get out of the Army?' And I said, ‘I’d like it just fine.' Two weeks later I was out" (Abbott 1979, 34). #army

Car accident changed his life, no more coasting.

"I was in a good automobile accident." Jerry grows anxious. "I was with four other guys in an old Studebaker Golden Hawk- supercharged engine, terrible suspension, ninety-plus miles an hour on a back road and we hit these chatter-bar dividers. It was just Wham! We went flying, I guess. All l know is that I was sitting in the car and that there was this ... disturbance ... and the next thing, I was in a field. I went through the windshield and landed far enough away from the car where I couldn't see it. It was at night. It was very, very quiet, you know. It was like a complete break in continuity-from sitting in the car roaring down the road to lying in a field wondering what had happened- nothing in between." Anybody get hurt? "Yeah," Garcia says with genuine awe. "One guy did die. He happened to be the most gifted of our little group. It was like losing the golden boy, someone who had a lot of promise, the person who had the most to offer" (Abbott 1979, 34).
"You were lucky," I suggest.

"Oh, yeah," Garcia agrees. "The car was like a crumpled cigarette pack. It was almost unrecognizable. And there were my shoes in it, dig? I had been thrown out of my shoes and through the windshield." He pauses over the memory of a pair of scuffed Army-issues lying on the floorboards of a violence sculpture. "That's where my life began." He breathes. "Before then I was always living at less than capacity. I was idling. That was the slingshot for the rest of my life. It was like a second chance." [#why] He looks at me hard, his expression earnest, grateful, dead. "Then I got serious.” Another toke. A deep suck of mortality. "I dig the affirmation side of death. Death is one of those things that's been taken from us as an experience. We hide it. As a result, it becomes fearful, scary, because it's unknown. Really, man, it's the other side of being born" (Abbott 1979, 34). #death

“Garcia is on his knees, praying to the coffee table. The toot is vicious, cut with meth, not with quinine, and it’s enough to rip your sinuses out. It goes straight to the forebrain – a howling blizzard of Insight and Truth. The rush is, well, chilling; your scalp tingles, a hospital sourness scours the back of your throat.  Then a Con Ed generator of electricity sizzles your synapses … Your smoke is tasty. You are ready to Talk.” (Abbott 1979, 35). #drugs

“my most palpable experiences have all been psychedelics” … there was one in particular, the ne plus ultra trip, the apocalypse” at the end of what Jerry describes as his psychedelic period” (Abbott 1979, 35). #drugs

"It featured countless-thousands, millions-- births and deaths. The phoenix trip, you know. And in my consciousness, it went all the way from, uh, insects to vegetables to mammals to civilizations-to organisms of every sort."  What happened? ''Everything," Garcia barks, drawing closer, the glint of his eyes grave and dear. "For me, my trips began to take a different kind of form. The first ones were visual, you know, patterns, colors, profound revelations, 'Yeah, I get it'- the standard stuff. Then I started going to the Acid Tests and experiences were happening to more than one person at a time. They had this telepathic quality. Then into that stepped another level which was between and amongst the telepathic explosions. Between the flashes and surprises was this 'You're almost getting it.' An urging. Then there was a presence which I think of as the Teacher, which represents a higher order. There would be this feeling of déja vu. All these little bits of input-people talking, certain sights-would start to coalesce: 'Damn, You Got It! BOOM!' It took on this teacher-pupil relationship: Me and my other mind! … It scared the shit out of me, man. It was like, What do you believe?' It removed everything I was certain of. And in its place was a new set of circumstances. And these circumstances were like pages in a book. They started moving until I was living out a whole lifespan with all the intricacy of one's life, all the way up to the moment of one's death. The final realizations, the summation” (Abbott 1979 35).

"Cosmic is the only word for it," he sighs. "Nothing has happened in my life since then, man. Nothing was as climactic, as complete as that." (Abbott 1979, 36). Everything after was anticlimax.

Story of a tripper with a big knife threatening JG on stage at a ballroom (Abbott 1979, 36). The power of the crowd “comes somewhere close to losing your will” (Abbott 1979, 36). #fascism

Rock Scully is onetime cellmate of Bob Haldeman (Abbott 1979, 37). JGMF: is this true?

"I don't want to be a leader because I don't want to be a mis-leader. I haven't put any safeguards there. I haven't paid the dues to be responsible for leading people. The most I would want to do would be to indicate, using my life as a model, that it's possible for you to, uh, go for it. But following me is like a dead end street. There's nothing here but me. I can't multiply fishes and loaves and turn water into wine” (Abbot 1979, 37).

"I remember going down to Watts Towers after the Watts Acid Tests. It had been a hard night, I'd gone through a lot of heavy changes, and it was dawn. I remember looking at this stuff. It was just junk. Nobody could tear it down, so they made a monument out of it. I remember thinking that I'd rather have a life that gets me off while I'm living it and leave nothing and not litter the world with concrete relics or ideas or things that will hang you up” (Abbott 1979, 37).

REFERENCE:


Dodd, David G., and Diana Spaulding. 2000. The Grateful Dead Reader. Oxford: Oxford University Press.
 

Wednesday, December 18, 2013

new snow on top of freezing rain and fog and really poor visibility, just a disaster of a night for travelin', but we didn't wanna miss the show


This ticket stub is an awesome piece of memorabilia - attendee wrote the names of all of his show-going companions. Here are his recollections, posted from Lossless Legs (12/16/2013):
I vaguely recall the weather bein' a combination of new snow on top of freezing rain and fog and really poor visibility, just a disaster of a night for travelin', but we didn't wanna miss the show and drove down to New Haven from Waterbury, parked on campus somewhere, and made the hike across campus on foot (slippin' and a slidin') to the gymnasium.  I seem to remember the ice bein' more the problem than the snow (no surprise there).  With 13 names on my ticket stub we all must've come down in one car - maybe 2.

LN jg1980-02-16.jgb.all.aud-macfarland.102352.flac2496

The show doesn't slay me. It's OK. The tape is pretty good. I am not sure that WIPMM is actually an encore, need to cross-check with other tapes.


Jerry Garcia Band
Charger Gymnasium, University of New Haven
300 Boston Post Road
New Haven, CT 06516

February 16, 1980
MacFarland MAC flac2496 shnid-102352

--set I (5 tracks, 51:23)--
s1t01. [0:38] How Sweet It Is (To Be Loved By You) [7:27] [1:00]
s1t02. They Love Each Other [6:57] [1:30]
s1t03. Let It Rock [9:18] [0:08] % [0:15]
s1t04. Simple Twist of Fate [16:17] % [0:01]
s1t05. That's Alright, Mama [7:36] (1) [0:15] %

--set II + encore (5 tracks, 56:42)--
--set II (4 tracks, 46:49)--
s2t01. /It Takes A Lot To Laugh, It Takes A Train To Cry [11:04] [0:07] % [0:09]
s2t02. Tore Up Over You [8:46] [0:13] % [0:08]
s2t03. Russian Lullaby [12:42] [0:05] %
s2t04. [0:17] The Harder They Come [12:03] [1:14]
--encore (1 track, 9:53)--
s2t05. When I Paint My Masterpiece [9:48] [0:05] %

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-b;
! lineup: Ozzie Ahlers - keyboards, vocals;
! lineup: John D'Fonseca - drums.

JGMF:

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

! TJS: http://www.thejerrysite.com/shows/show/1448

! db: http://db.etree.org/shn/21477 (unknown aud shnf); http://db.etree.org/shn/32346 (Scott Vid flac1644); http://db.etree.org/shn/100697 (composite of shnid-21477 and shnid-32346); http://db.etree.org/shn/102353 (MacFarland flac1644); http://db.etree.org/shn/106583 (Morris flac2496); http://db.etree.org/shn/102002 (Morris flac1644); http://db.etree.org/shn/102352 (MacFarland flac2496, this fileset).

! map: https://goo.gl/maps/tffBV7F2wKx

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/10/charger-gymnasium-300-boston-post-road.html

! band: JGB #11a http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html

! tags: 1980, JGB, college gigs, listening notes, Bob MacFarland, Charger Gymnasium, University of New Haven, New Haven, CT

! R: field recordist: Bob MacFarland a.k.a. Emoto

! R: field recording location: FOB

! R: field recording gear: ?mics > Superscope/Marantz CD-330

! R: field recording media: 2x Maxell UDXL-II90 (Dolby B on)

! R: archivist: Rob Berger

! R: transfer: Nakamichi Dragon > HD-P2 24/96 > HD > Adobe Audition 2.0 > CDWave > flac, 11/3/2009.

! R: seeder notes: "fuckin' killer ... my favorite version of a favorite show ... nice job Emoto!  thanks for sharing your master with us."

! P: overall: Kahn has a nice fat tone this night.

! P: s1t01 HSII I find Jerry's singing to be well articulated on this tour. It's not the 1978 Dylan exaggerations, but he's hitting his hard consonants hard, lots of good 't's and 'f's and 'd's. He's doing a little bit of growling here "open my *eyes* at nigHT" stuff here. Nice strong guitar solo 3:30. Ozzie singing harmony vocals 7-min mark.

! P: s1t03 LIR Ozzie gives a real nice synthesized train effect to set the tone. Nice. Johnny D is a nice drummer, setting the foundation with some hard splashes, Jerry steps right on and starts with the first verse, and takes a strong guitar run late 1-min mark, raunchy rtakinte mark. Late 7 minute mark over 8 Garcia does some ridiculous fanning. He now has the crowd's full attention.

! P: s1t04 STOF meanders, as it tended to. John featuring in the 12-minute range, and I do like his tone this night.

! s1t05 (1) JG: "We're gonna take a short break, we'll be right back."

! s2t01 R: ITALTL, ITATTC clips in, almost nothing missing

! P: s2t02 TUOY does nothing for me

! P: s2t03 RL Ozzie solo late 4-minute mark.

! P: s2t04 HTC some very fine guitar work in the 8-minute mark, Jerry has found a spark, and the crowd is receptive.

! R: s2t04 I think there's a splice about 10 seconds or so after end of HTC, maybe 15. But it's subtle. Otherwise, if this is continuous tape, we should really consider whether this constitutes an encore. I need to check other copies and reviews and such.

! P: s2t05 WIPMM ends with good energy, but it doesn't strike me as equal to the 2/24/80 version.

Two Negative Reviews, One Participant Observation of Deadheaddom, Long Island Style: JGB at Stony Brook, February 24, 1980


So much to say, so little time. Eventually the February 1980 tour will have to be written up. Here are some raw materials. Really nice tape, an excellent version of "When I Paint My Masterpiece" , two negative show reviews and one a participant observation study of Deadheaddom, Long Island style, February 1980.

LN jg1980-02-24.jgb.all.aud-stankiewicz.126077.flac2496

Jerry Garcia Band
Pritchard Gymnasium, State University of New York (SUNY)
1 Center Drive
Stony Brook, NY 11794

February 24, 1980 (Sunday) 9 PM
Richie Stankiewicz MAC flac2496 shnid-126077

--set I (6 tracks, 57:17)--
s1t01. crowd [1:05]
s1t02. Sugaree [15:15] [0:17]
s1t03. Catfish John [9:40] [0:40]
s1t04. How Sweet It Is (To Be Loved By You) [8:44] [0:09] %
s1t05. Sitting Here In Limbo [11:54] [0:56]
s1t06. That's Alright, Mama [8:20] (1) [0:36]

--set II + encore (7 tracks 65:00)--
--set II (6 tracks, 56:40)--
s2t01. crowd [1:47]
s2t02. That's What Love Will Make You Do [9:14] [0:22]
s2t03. When I Paint My Masterpiece [9:01] [0:18] %
s2t04. Tore Up Over You [9:01] [0:14] % 9:15-
s2t05. I'll Take A Melody [12:24] [0:38]
s2t06. The Harder They Come [12:13] (2) [0:17] %
--encore (1 track, 8:19)--
s2t07. [0:38] Midnight Moonlight [7:31] (3) [0:10] %

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia - el-g;
! lineup: John Kahn - el-b;
! lineup: Ozzie Ahlers - keyboards;
! lineup: John D'Fonseca - drums.

JGMF:

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

! Jerrybase: https://jerrybase.com/events/19800224-03

! db: http://etreedb.org/shn/8414 (probable Mark Cohen, shnf); http://etreedb.org/shn/8913 (unattributed, shnf); http://etreedb.org/shn/18019 (Mark Cohen, shnf); http://etreedb.org/shn/35140 (Charlie Connor, shnf); http://etreedb.org/shn/101725 (Bob Morris, flac1644); http://etreedb.org/shn/106582 (Bob Morris, 2496); http://etreedb.org/shn/126078 (Richie Stankeiwicz, flac1644); http://etreedb.org/shn/126077 (Richie Stankiewicz, flac2496, this fileset).

! band: JGB #11a (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).

! map: https://goo.gl/maps/VSBMqxPR5QP2

! venue: JGBP supplies the given street address, though I am uncertain about it.

! personnel: "I believe his name is spelled D'Fonseca. According to ancestry.com, he was born July 30, 1958 and died March 28, 1987. His father, also named John D'Fonseca was born December 3, 1934 and died January 16, 1977. It seems like Jerry chose to hire Johnny for that east coast tour, but wasn't necessarily planning to use him long-term." (Anonymous, URL http://hooterollin.blogspot.com/2011/11/johnny-de-foncesca-jr-drums.html?showComment=1368021211671#c7721560489908964906)

! review: Wald, Richard. 1980. Jerry Garcia: Relic of the Past. Statesman (SUNY Stony Brook), Alternatives section, February 27, 1980, p. 3A. Negative review. Wald describes the concert as an ordeal, and Garcia as unbudging and stagnant.  "Total lack of regard for the audience"  show opened an insensitive 45 minutes late, 30 minute Hunter set, then another 45 minutes for Garcia to come on, so ca. 11 pm.  "No apologies or helloes were offered, just an evident feeling that Garcia would rather be doing more drugs backstage" ouch. "No Dylan being played", so reviewer doesn't know Masterpiece. Almost another hour between sets, then languid and tedious set, then another half hour wait for the encore! Bemoans Jerry's appalling lassitude and insensitivity.

! review: Jaffe, Larry. 1980. Jerry Garcia Drifts Along. Unknown publication. Negative review. Here's the template, as he sees it: "five minutes to tune up, another five to find the right riff; five minutes later, the vocals came, and then jamming with the same guitar leads for five more minutes. It was like the Jerry Garcia Machine: take a classic song, ... drop the record into the slot, and [sic] comes out sounding like the Grateful Dead. ... incredibly repetitive ... great music to fall asleep by." Didn't like the hourlong intermission, bemoans idolatry of the fans, in whose eyes Garcia "can do no wrong". "A mild indulgence of this sort of aimless shuffling is harmless, but addiction to the Grateful Dead, my friends, is a sad sickness."

! review: Corley, Eric. 1980. Being a Deadhead: Unity and Insanity. Stony Brook Press 1, 8 (February 28, 1980), p. 6. Substantially about "the scene", how odd Deadheads are with their long hair, Volkswagens, their tendency to travel en masse, their rapturous worshipful engagement with Garcia. He thinks he has it figured out: "The reason for the loyalty, devotion and insanity of this particular sampling of mankind lies not so much in the music as in the crowd itself. Thousands of people who get together to smoke pot, scream, and sway with the music provide each other with a much-needed sense of unity."  He finds this endearing. 

! tags: JGB, 1980, Pritchard Gymnasium, SUNY, college gigs, tapers, Richie Stankiewicz, John D'Fonseca, listening notes, east coast, tapers, songs-W

! historical: This show resonates as a very "east coast" show. I write about this as a west coaster, which is fraught, so I don't want to go much into it. But Garcia said repeatedly that there was a New York vibe that he, not only a west coaster but a native San Franciscan, recognized and loved. The energy. Can anyone disagree? It's more interpersonally intense, for sure. New York has it all, and it's right out there for you to plug in to. This is example number 9,477 of an ambient recording supplying more information than a line tape. New York, Long Island, no less, in February, two days after the Miracle on Ice? You know what comes next -- fuhgedaboudit. Related, note that no fewer than five audience tapers made it out this night - East Coast tapers, representing.

! R: field recordist: Richie Stankiewicz

! R: field recording equipment: 2x AKG D222E > Nakamichi 550

! R: field recording location: FOB "in the sweet spot"

! R: Transfer: MAC > Nakamichi 1000-II > Sound Devices USB Pre-2 > WAV 2496, by Richie Stankiewicz.

! R: Edits: WAV 2496 > Wavelab > CD-Wave (24bit output) > TLH > FLAC 2496 tagged, by Andrew F. 11/2013.

! R: s2t04 Patch from ID-106582, Tore Up Over You 0:00 > 0:18.

! R: s1t02 a little overloaded on the guitar in Sugaree.

! P: s1t02 tempos are a little uneven, starts too slow but Jerry is trying to pick it up in the 4-5 minute range, to my ears. Crazy fanning in the late 9 minute mark. Yeah, Jer!

! R: s1t03 levels come up around 1:50

! R: s1t05 SHIL more hiss after tape flip

! P: s1t05 SHIL Jerry's voice sounds a little scratchy. Damn coke.

! s1t06 (1) JG "We're gonna take a short break, and we'll be back in a few minutes."

! P: s2t01 JK quotes a famous jazz line, maybe Monk, maybe Epistrophy or something like that?

! P: s2t03 WIPMM Jerry's tone is raunchy as he walks around some very interesting open-sounding guitar work, soloing ca. 1:30-2:30. Now I hear the genius of the tape. Ozzie solos 2:45ff. "Like a rhapsody-y" @ 4:45. Great sustain on his notes this night. He's totally locked in. Jesus he is 100% spot on with his vocals. Extra articulation, big fat bendy notes complementing. Some time in the 7-minute mark a crowd guy gives him a good "Yeah, Jerry!"

! P: s2t04 TUOY now voice sounds a little worn, but hubba hubba the guitar work is top-shelf. Listen to the tone in the 2-minute mark, the sustain. Amazing tone 6:20-6:30 ish, bends a note too far and finds himself off-key (a rare misstep), gets aggressive late 6 over 7-minute mark, some of the most inventive guitar playing that you'll hear. Wow, he is disquisiting now, dissertating, phrases to sentences to paragraphs to pages of flowing creation. Nice. This is a @@ top-shelf version of "When I Paint My Masterpiece".

! P: s2t05 ITAM into some very interesting guitar work 8 minute mark, mid-9 doing some chunka chunka rhythm over the melody. Ozzie is soloing, but he's not very high in the mix, Jerry kind of dominating things.

! P: s2t06 HTC is lightning fast. 7:45 great dissonant tone, raunchy and watery and jangly. 8:15 Johnny D catches Jerry just before he falls, Garcia toes the foothold and launches into another opportunity to chase after shiny sonic objects.

! s2t06 (2) JG: "See ya later."

! s2t07 (3) JG: "Thank you, thank you."

Monday, December 16, 2013

Reading Notes: Jon Sievert's 1978 Guitar Player interview with Jerry Garcia

Man, this is such a great interview. Sievert always connected well with Jerry.

These are my "reading notes", which just means that I am drawing quotes and dropping them back into context. So, for example, some of the pedal steel talk below has been pasted back into my materials on the pedal steel guitar and on the NRPS. There is no pretense of completeness, nor even unbiasedness. This is not a random sample. It's the stuff I think, on this read, worth noting.

As I said, some great stuff here.



Sievert, Jon. 1978. Jerry Garcia: For More Than A Decade, the Patriarch of the San Francisco Sound. Guitar Player 12, 10 (October): 44-46, 114-122, 126-136, 142.

Reading Notes

Puts John Dawson with everyone in 1964 in Mother McCree’s, but I don’t think that’s right? I don’t remember that. (Sievert 1978, 45) #NRPS #John Dawson #pre-GD

Garcia on stagnation and renewal: “I think it's something that happens to every guitar player as he keeps on playing through the years. You're struggling to learn a whole body of material, and you finally learn it and can play it expertly, and then you get bored. It becomes a Now What? situation. You're struggling to obtain ground and you reach a plateau, and then your boredom finally drives you to develop to new levels. I think that's a healthy and normal thing. I seem to go through it about once every year and a half or two years pretty regularly. That's pretty much how my metabolism seems to work. I think of myself really as a guitar student as much as a player or performer, because there's so much being developed and so much that's already been done that I'll never learn it all.” (Sievert 1978, 45).

When he’s in a renewal phase: “First I go out and buy all the new guitar method books that have come out since the last time and read through them and try out ideas and exercises. I find it really helpful to see somebody else's handle on it, because it's possible they can show me new ways of looking at the instrument or music that l hadn't considered before. The state of guitar education today is incredible compared to just 15 years ago. You can learn an astounding amount from just reading books that are available today. I'm working very hard now. I'm working hard on things that I haven't worked hard on before. I have certain exercises that I do, but it's more like working out little bits and pieces of unfinished ideas. A lot of it is just free playing, exploring for places where all of a sudden something is vague or awkward - like suddenly finding yourself in a position that's odd in relation to the key you're playing in.”  etc. (Sievert 1978, 45)

JG 1978, working hard: “I'm spending seven or eight hours a day with it. I'm trying to rebuild myself; I feel like it's time for me to do that in my playing. I don't know whether it will amount to anything, but in six months I'll know. I'm sort of in a two-year plan right now- the first pause of the next level.” (Sievert 1978, 46)

When you're not going through these intense learning periods, how much time do you usually spend with a guitar? “It depends on the schedule. When I'm on the road it's a lot more, but when I'm home I'd say I spend no less than an average of two hours a day at the absolute worst. That's like really screwing around. I think four hours is more normal for me. On the road it goes up to about six, including the show. I lose my edge in a day if I don't stay on top of it constantly. Anything more than two days and it's like being a cripple. And the more you play, the more you notice it if you miss a day. But then there's also the thing that if you're away from the guitar for two or three days sometimes you can come back with something else. Now that's not one of those things you can depend on, but sometimes it does happen just in the flow. You come back and you have a little more of something. I don't know what-confidence, new ideas, or something.” (Sievert 1978, 46)

How did your early process of music education work? “My first orientation was learning from my ear. So I learned mostly from records-Freddie King, B.B. King extensively - and, you know, everybody else. That was my first exposure, mostly because the [San Francisco] Bay Area didn't have that many guitar players back when I started playing, and there really wasn't a lot of local information, or at least I wasn't able to uncover it. For me, I would describe my own learning process as wasting a lot of time. I d id it the hardest way possible, or it seems that way now. I had to spend a lot of time unlearning things- bad habits and so forth. I think I went through as many of these unlearning cycles as I could. It was around 1972 or '73 when I finally unlearned all the things that had hung me up to that point” (Sievert 1978, 46)

boredom and enthusiasm cycles” JG (Sievert 1978, 112)

“There are times when I wish I were a combination of a French horn and an oboe”, anticipating MIDI (Sievert 1978, 112).

Do you have an Alembic guitar? “Yeah, but I’ve never used it on a gig. I used it on recording sessions a little bit, mainly with. Merl Saunders.” (Sievert 1978, 118). I am not an axe guy, but I don’t recall knowing that he used an Alembic guitar on any of the Merl records. It’d be interesting for gear heads to try to find out where! #gear, #Merl Saunders, #official releases

#methodology Here’s Garcia contradicting himself in the same magazine, seven years apart. 1971: “There is no relationship between [guitar and banjo] except for the fact that they are fretted instruments” (Stuckey 1971 36); 1978, in response to a question about his guitar fingering technique:
“I think it has something to do with my early 5-string banjo playing” (Sievert 1978, 118). Now, he might have changed his mind, or he might have gained new insight in the interim. But it’s also possible that he is responding to questions thoughtfully, but spur-of-the moment. Who among us might not contradict ourselves? Some days I love Jerry’s banjo playing, other days not so much. Being surrounded by recording devices, like a contemporary celebrity or public figure, would flat out suck, consistency-the-hobgoblin-of-petty-minds and all that. We just need to be careful not to overinterpret any one mosaic stone. #banjo

Great line: “Generally speaking, I tend to be style conscious in terms of wanting a song to sound like the world it comes from” (Sievert 1978, 120).

You've described yourself in previous interviews as a playing junkie. Do you still play all the time? “It's what I do. And now I think I'm probably playing more nights per year than I ever have.” (Sievert 1978, 122).

GD and JGB: “Those are really the only things I'm involved with on a continuing basis, because right now they're both sophisticated, demanding, interesting, and fun enough. They're both very satisfying, and that's all I really could deal with right now and do it right.” (Sievert 1978, 122)

Who does your band consist of right now? “John Kahn, my old partner from way back, is playing bass. Buzz Buchanan, a young guy from L.A., is playing drums, plus there's Keith and Donna Godchaux from the Dead, and Maria Muldaur when she's around and she wants to. It has a nice balance of instrumental proficiency and a fine vocal thing, too-both of which I like a lot.” (Sievert 1978, 122) #JGB, #1978

Going back to the early days, why did you switch from electric to acoustic at first? “Well, economics were involved: I could get work as an acoustic player. And also, in terms of accomplishment, I wasn't very good when I stopped playing electric. I didn't really start to develop an understanding more than just a feel for the music-until I got into acoustic. It gave me that chance to be more reflective about it.” (Sievert 1978, 126) #acoustic

“Something about the rhythmic quality of fingerpicking and banjo was getting at something I wanted to develop further, but the rigidness of the banjo stopped me.” (Sievert 1978, 126) #banjo

What are some of the things you've gained playing with people like Merl Saunders? “When I was playing with Merl we did a lot of instrumental material- standards and jazz tunes and things like that. That required a whole lot of quick education for me, and Merl was responsible for that. He really helped me improve myself on a level of harmonic understanding. Playing with him required a whole different style from three-chord rock and roll or even ten-chord rock and roll; it was a whole different thing. But what I was able to bring into that situation was the ability to use odd-length runs in conventional formats. I was able to use ideas that were rhythmically uneven because of working in odd time signatures so much with the Dead. Because Merl did not work in odd times, my relationship with his rhythms made it possible for me to create ideas that were, for example, seven bars long against something that was fundamentally a 4/4 feel.” (Sievert 1978, 128)

How about your work with Howard Wales? “With Howard we never had tunes; Howard would just play through tremendously extended changes. That developed my ear to an amazing point because I had nothing to go on. I didn't even know what key we were in. Here were all these extended chords coming out, and I really had to be able to hear a correspondence somewhere. Merl helped me improve my analytical ability and to understand more about how substitution chords work in standard musical forms. Howard was a great in-between there, because his playing was so outside and totally unpredictable. Also, playing with Merl gave me a real feeling of freshness that carried over to later work with the Dead. So for me, it's very healthy to work with other people. I like doing sessions when I can, but my favorite stuff is really my own band and the Dead. Those are the two most complete experiences for me. ” (Sievert 1978, 128) #Howard Wales, #Merl Saunders, #JGB, #GD

How did Old And In The Way happen to come about? “That band was like scratching an itch I'd had for a long time. I got very much into playing 5-string banjo early on but was frustrated insofar as never really having a good band to play with. Bluegrass is band music, and I've always loved that aspect. In fact that's what I like best – band music rather than solo music. Playing with Old And In The Way was like playing in the bluegrass band I’d always want to play in. It was a great band, and I was flattered to be in such fast company. I was only sorry that my banjo chops were never what they had been when I was playing continually, though they were smoothing out toward the end.” (Sievert 1978, 128) #banjo, #1973, #oaitw, #bluegrass

What is your relationship with the pedal steel guitar these days? “I haven't played it much for quite a while, though I played it pretty steadily for about four years. I really got into it, but it kind of became an either/or situation: I found it very hard to play half the night with a pedal steel and a bar in my left hand and then switch to straight overhand guitar. The difference between a solid finger configuration and a moving arm, wrist, and fingers was too great. It was painful to the muscles. It got to where I couldn't play either of them very well, and I realized it just wouldn't work. I don't consider myself a pedal steel player, and I'm always embarrassed to see that I've placed in the Guitar Player poll.” (Sievert 1978, 128) #pedal steel guitar, #NRPS

Could you talk about your process of composition? (Sievert 1978, 128). [my copy seems to be bungled around here.]

Lots of great complimentary talk about Bob Weir as “the best rhythm guitar player on wheels right now” (Sievert 1978, 130).

“If you have the space in your life where you can be high and play and not be in a critical situation, you can learn a lot of interesting things about yourself and your relation to the instrument and music. We were lucky enough to have an uncritical situation [during the 1965-1966 Acid Tests], so it wasn't like a test of how stoned we could be and still be competent - we weren't concerned with being competent. We were more concerned with being high at the time. The biggest single problem from a practical point of view is that obviously your perception of time gets all weird. Now, that can be interesting, but from a practical standpoint I try to avoid extremes of any sort, because you have the fundamental problems of playing in tune and playing with everybody else. People have to pay a lot of money to see us, so it becomes a matter of professionalism. You don't want to deliver somebody a clunker just because you're too high. I don't, anyway.” (Sievert 1978, 130) #drugs

He works to be able to sight-read music because “there are times when I find it necessary to sketch out an idea to somebody who has a legitimate background – a string player or whatever” (Sievert 1978, 134). He and Kahn had mentioned the great player they got for Cats … I think it was a French horn. see 3/11/78 interview?

“l trade tapes.” – Jerry Garcia, 1978 (Sievert 1978, 136).

What kind of music do you listen to? “Just about everything, really. I buy lots of records, and l trade tapes. I also have a lot of friends turning me on to things, so I'm continually exposed to new music. And not only modern American music or guitar playing, but I listen to keyboard players a lot. I go through little fevers, like one time 1 suddenly got excited about orchestration and started listening to all of the Duke Ellington I could find. I went through a period- actually I'm still going through it- of listening to as much [jazz keyboard legend] Art Tatum as I can find. So much great music has already happened that catching up is a hell of a job. And there's so much new stuff coming out all the time that's so impressive.” (Sievert 1978, 136) #influences, #jazz

What do you like that's new? “It's really hard to draw a line on what's considered new. I really like AI Di Meola, George Benson, and Pat Martino. Pat's really one of my favorites; rhythmically he's really fine. There's a young flamenco player named Paco de Lucía who knocks me out. He has a beautiful flow to his (Sievert 1978, 135) music that's really rare to guitarists. And every once in a while I hear something on the radio, and I can't believe it and have no idea who it is I'm hearing.” (Sievert 1978, 136).



Elvis Costello recently said that he really likes your playing. “Oh yeah, too much. How flattering … I like his music, too. I like most of the new wave stuff- if he's considered new wave. It's obvious as they pass by who's here for keeps and who isn't. Some people have something to say, and it really gets to you no matter what you believe or think that you like. I keep an open mind. I like disco music a lot. All that stuff is interesting to me- it's all music. I like music from other cultures, too.” (Sievert 1978, 135)

“For me, playing in my band -it's like a four-piece band, essentially- is like playing in the new string quartet. It's the new conversational music where the instruments speak to each other, and you have that kind of tightness and dynamic happening- the stuff of string quartets” (Sievert 1978, 142). #JGB, #1978

“I don't have plans. I get surprised because suddenly an interesting project will come up sort of on its own accord. It's a matter of inspiration rather than long-range plans. I'm working as much as I want to now. If I wanted to work all day long, every day, I could do more, but what's the point? Right now I have more to keep me interested and occupied than I ever expected” (Sievert 1978, 142). #why, #1978

Monday, December 09, 2013

jg1981-02-09.jgb.all.aud-streeter.123532.flac1644

This show, on this listen, didn't move me. The tape is nice.

Jerry Garcia Band
Ocean State Theater
220 Weybosset Street
Providence, RI 02903

February 9, 1981 (Monday)
Frank Streeter complete MAC shnid-123532

--set I (7 tracks, 74:48)--
s1t01. tuning [1:03]
s1t02. Sugaree [12:27] % [0:13]
s1t03. Love In The Afternoon [9:33] % [0:25]
s1t04. That's What Love Will Make You Do [10:04] % [0:11]
s1t05. Simple Twist Of Fate [17:32] % [0:08]
s1t06. Sitting Here In Limbo [11:54] [0:04] %
s1t07. Tangled Up In Blue [10:53] (1) [0:20] %

--set II (8 tracks, 70:47)--
s2t01. tuning [1:00]
s2t02. I'll Take A Melody [12:40] % [0:33]
s2t03. How Sweet It Is (To Be Loved By You) [8:30] % [0:33]
s2t04. The Harder They Come [10:44] % [0:10]
s2t05. Mission In The Rain [10:38] % [0:19]
s2t06. Dear Prudence [12:09]
s2t07. -> [0:03] % ... Deal [#6:29] ->
s2t08. Midnight Moonlight [6:33] [0:25]

! ACT1: Jerry Garcia Band #12b
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-b;
! lineup: Jimmy Warren - el-piano;
! lineup: Melvin Seals - organ;
! lineup: Daoud Shaw - drums.

JGMF

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

! Jerrybase: https://jerrybase.com/events/19810209-01

! db: http://etreedb.org/shn/20608 (Steve Rolfe aud shnf); http://etreedb.org/shn/83745 (Jim Vita aud flac1644); http://etreedb.org/shn/98865 (Tim Friend aud flac2496); http://etreedb.org/shn/98866 (Tim Friend aud flac1644); http://etreedb.org/shn/102008 (Bob Morris aud); http://etreedb.org/shn/123532 (Frank Streeter aud flac1644, this fileset).

! map: https://maps.google.com/maps?q=220+Weybosset+Street+Providence,+RI&oe=utf-8&client=firefox-a&hnear=220+Weybosset+St,+Providence,+Rhode+Island+02903&gl=us&t=h&z=16

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2013/01/palace-theater-ocean-state-theatre.html

! band: JGB #12b (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

! historical: Sue: capacity 3,198, GP of $29,390. $7,500 flat guarantee plus 85% gross receipts over $25,949.75 after taxes plus 100% difference between estimated non-variable expenses and $22,565 and actual expenses, plus $3,650 production. Billboard (February 28, 1981, p. 32): 2,798 sold for gross of $24,839.

! R: field recordist: Frank Streeter

! R: field recording gear: AKG D330BT -> Sony TC-D5M

! R: field recording media: Maxell MX90

! R: Transfer Info: Cassette Master (Sony TC-K677ES) -> Sound Devices 744T (24bit/48k) ->
Adobe Audition v3.0 -> Samplitude Professional v11.2.1 -> FLAC/16 (2 Discs Audio / 1 DVD FLAC). All Transfers and Mastering By Charlie Miller, charliemiller87@earthlink.net, January 18, 2013.

! R: seeder note: "Thanks to Frank Streeter for lending me his masters."

! R: seeder note: "Thanks to Joe B. Jones for his help with the pitch correction."

! tags: 1981, JGB, Frank Streeter, Ocean State Theater, Providence, RI

! R: quite a nice recording. The splices are all tastefully cross-faded.

! P: Overall, I am unmoved. Not sure why. Things aren't perfect, but what is? More relevant, I just don't find myself groovin' in listening to this. Could be "set and setting", and all that, for all I know.

! P: t03 Jimmy takes a solo @ 5:00 and surrounding that's not terrible. He gets one little go-'round, then Jerry's turn. One for you, one for me. One for him. One-two for me. etc.

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

! R: s2t02 ITAM some L-channel static.

! P: s2t04 HTC tempo picks up, not on purpose I don't think, around 9:40ish.

! R: s2t06 some digiscratch in DP 5-minute mark that is no fun to hear. Haven't heard that sound in years. It's not too loud, but it's vexatious.

! P: s2t06 DP Jerry has a nice thing he's found, but I worry he overdoes it, over late 6-minute mark and into 7-, now 7:15 he's still doing it, but he's changing the end of the sentence, or rather has added a declining phrase to the tail, now weaving in the DP melody, walking up to that theme he had hit a bunch, but walks away the first pass, then suggests it twice next time around, then three times, in little expanding circles. It's good, but I don't get liftoff from it.

! R s2t07 - I am trying to capture that I think there's what I would call a reverb segue from Dear Prudence -> Deal, but there's a little tape splice through it, and then Deal comes in without much missing.