Friday, February 28, 2020

Deadology: February 28

                                                       FEBRUARY 28
            Robert Hunter, bard extraordinaire, was officially a non-performing member of the Grateful Dead, and rightfully inducted into the Rock and Roll Hall of Fame with the band. Hunter recorded several of his own albums, but he never really came across as a live performer. His most famous live performance came on February 28, 1980, when he was invited on stage to perform a pair of tunes with the Jerry Garcia Band. This date also gives a stunning Garcia and Kahn performance from 1986. Both Garcia shows were recorded and officially released. To further bolster the mystique of this date, the Grateful Dead played four quality shows, and two of them were officially released.

            The early show of 2-28-80 Kean College begins with a blazing “Sugaree.” This Jerry Garcia Band configuration was a quartet consisting of Garcia, Kahn, Ozzie Ahlers (keyboards), and Johnny de Fonseca (drums). With a seating capacity of 953 and dynamic acoustics, Kean College’s Wilkins Theatre was a dynamic venue for experiencing the Jerry Garcia Band, who also played there in ’82 and ’83. Excellent versions of “Catfish John” and “That’s What Love Will Make You Do” followed, making for a potent opening sequence. A melodic and hypnotic “Simple Twist of Fate” gave the audience a chance to catch their collective breath. Jerry’s singing and guitar playing were fabulous on this night, and on most nights during February 1980. Adding to the allure of this show, the triple CD release of 2-28-80, After Midnight, is a dynamic live recording, one of the best of the Garcia catalog.
            “How Sweet It Is” precedes the early show’s royal rhapsody, a set-ending After Midnight > Eleanor Rigby > After Midnight. The first part of this trifecta is solid, and “Rigby” is perfection personified. Garcia first played “Rigby” on 1-20-80, although it was more of a suggestive tease than a well-developed instrumental. There are seven versions of “Rigby,” and they were all sandwiched between “After Midnight,” with the last performance coming on 3-7-80. The timing and execution of the melody line is exquisite at Kean College. I’ve never heard any jazz group play this poplar Beatles cover better, and many have tried. John Kahn was a jazz buff, and he must have been standing tall as the Jerry Garcia Band channeled the sadness and compassion of “Rigby.”
            “Rigby” was a surgical strike. Garcia eases his way back into the “After Midnight” reprise and sings the last verse softly, and then the urgency of the final jam builds steadily. The gloves are off and civility is out of the question as Garcia unloads. It’s a furious assault, as hard-hitting as JGB gets. The band logically moves to end the triumphant jam, but Garcia wants more. He rolls through the roadblock and opens a door to a new crescendo that smashes the previous one. His creative vision is unbelievable. The 2-17-80 version of this combo has more freewheeling jamming throughout, but this Kean version is crisper, and the last solo is rock and roll royalty.

            Garcia opens the late show singing his mantra, “I’ll take a melody and see what I can do about it. I’ll take a simple C, to G, and feel brand new about it.” Jerry and friends take the jam through the time-tested JGB motif: Two verses > Garcia explores > jam boils > keyboards > funky chord progression > guitar fireworks > final verse. The ensuing “Tore Up” received the same treatment, and you’d have to listen to many tapes to find hotter versions of either tune. Usually early and late JGB shows will have different feels, like first and second sets from a Dead show, but on 2-28-80 in Wilkins Theatre, there’s unflappable congruency between the early and late shows. It’s as if the Garcia Band never took a break, and the ambiance of the music never shifted.
            Following a thorough exploration of Jimmy Cliff’s “The Harder They Come,” Garcia called Robert Hunter on stage for a couple of tunes. Halfway through this tour, Jerry invited Hunter to come along and open for JGB with an acoustic set. At the previous show in Providence on 2-26, Hunter joined JGB on stage for the first time and played the same two songs he would play at Kean College, “Tiger Rose” and “Promontory Rider.” The two-stepping do-si-do beat of “Tiger Rose” is juiced by a lively Garcia solo, and “Promontory Rider” comes off like a Rolling Stones song. Hunter, who’s not much of a vocalist, sounds Dylanesque, and these two songs are a welcome contribution on a classic JGB album. Stellar versions of “Mission in the Rain” and “Midnight Moonlight” close out Garcia’s Kean College debut.

            In 1986, Garcia and Kahn reconvened for an acoustic gig in front of 2,000 fans at the Marin Veterans Memorial Auditorium on February 28, and the performance was released decades later as volume eight in the Pure Jerry series. This is a standalone acoustic performance, not part of a tour, but it comes on the heels of a Garcia/Kahn acoustic swing on the East Coast in January. For an official release, this is not a top-notch recording like the Kean College show, but don’t let that stop you from enjoying this excellent performance. Listening to the standard “Deep Elem Blues” opener, the meaty sound of Garcia’s guitar playing is noticeable. There’s a sharp twang to his fluid leads, and there’s a chunkier rhythm filling out the sound than in past tours. Jerry’s guitar picking had improved since his initial acoustic tours with Kahn in ’82, although his voice sounded better back then.
            This Garcia/Kahn presentation is gripping. The songs dwell in Old Weird America terrain—a mix of traditional folk tunes with Hunter/Garcia originals. “Friend of the Devil,” “Run for the Roses,” and “Dire Wolf” coexist beautifully with “Little Sadie,” “Spike Driver Blues,” “Jack A Roe,” and “Oh Babe, It Ain’t No Lie.” In the middle of it all is Dylan’s “When I Paint My Masterpiece.” How did Jerry let Bobby sing this with the Dead? Nobody sings “Masterpiece” with proper reverence and emotion like Garcia. This was one of the last times Jerry sang it live.
            Garcia played two six-song sets on 2-28-86. “Birdsong,” the tenth number on this night, burns like few acoustic performances can. Garcia’s voice is off; he can’t seem to align with the tender spirit of the tune. The acoustic jamming is bumpy yet fulfilling. Garcia tries an assortment of different licks and melodies as Kahn’s bass thumps support and challenge Garcia’s ideas—a tangled tapestry of acoustic adventure. To the delight of everyone in the auditorium, “Ripple” follows “Birdsong.” This isn’t a great version. Garcia sang this better with the Dead backing him.
            Lo and behold, “Ripple” segues into “Goodnight Irene,” and Jerry’s crooning like a bluebird. Jerry salivates over every phrase; he loves the language and catchiness of this Leadbelly song that The Weavers converted into a number one hit in 1950. Americans were humming and whistling “Goodnight Irene” as the song remained in the top spot on the charts for thirteen weeks. I was flabbergasted when I first heard the 2-28-86 “Goodnight Irene” on the Grateful Dead Channel on Sirius Radio. Jerry’s snapping strings bounce off swinging old-school bass. For three solos, the poignancy of the jam matches Garcia’s gushing vocal delivery. This is the definitive “Goodnight Irene,” and probably the longest. After hearing this on Sirius, I immediately acquired this edition of the Pure Jerry series.

            While we’re on the topic of officially released material, the Dead’s show from the Salt Palace, Salt Lake City, on 2-28-73, is featured alongside the show from 2-26-73 on Dick’s Picks Volume 28. The Salt Palace affair opens with a gorgeous “Cold Rain and Snow,” and set one concludes with “Jack Straw.” There’s a snappy “They Love Each Other” in the second slot. These ’73 renditions are more compelling than the tempered ’76 remake of “They Love Each Other.” It’s a pleasurable set, yet it was short by ’73 standards, and the band saved their longer jam numbers for later.
            Salt Palace receives a blazing China Cat > Rider after intermission as Garcia shifts into overdrive following the fanfare licks of “Cat.” Billy’s drumming is unbelievable as a rock/jazz flow emerges. The band bolts through “Rider” with a ton of attitude. With the addition of the “Feeling Groovy” jam later in the year, Cat > Riders continued to confound and expand. After the Dead’s improbable highs of ’72, their avenues of fresh artistic expression continued to multiply. Following “Big River” and “Row Jimmy,” the Dead canonize 2-28-73 with a historic medley.
            The grand Salt Lake jam develops out of a spiraling “Truckin’” instrumental. Keith leads the charge, galloping along with an aggressive rhythmic piano sequence. Without overstating the jam, Jerry, Bobby, and Keith give way for a Phil solo with sparse accompaniment from Billy. From there, the band blasts into “The Other One.” The music surges and recedes as the band restates the theme several times before Weir, almost reluctantly, steps up to sing “Spanish lady comes to me she lays on me this rose.” Garcia dominates the remaining seven minutes. There’s a blazing mind-left-body feel to this operation, and when the flame dims, the band glides into “Eyes of the World.”
            The 3-28-73 “Eyes” begins to click after the second verse. The majestic new Garcia/Hunter creation is evolving into something special, and at seventeen minutes, this is the longest and best-developed outro jam of the early renditions. Later in the year and throughout ’74, the Dead turned the outro into a joyful expedition executed precisely and giftwrapped with a danceable groove.
            Out of the ashes of “Eyes,” the band eases into “Morning Dew.” The drama intensifies as the performance takes on the tone of a sacred service. Billy’s drumming syncs with Jerry’s subtle changes of pace in the middle solo. The ending jam starts off in a subdued whisper, and instead of methodical building, Garcia jumps into the apex chord fanning early. There’s a strong finish to this distinctive “Dew,” but it lacks the length and substance of an elite version. 

            “Sugar Magnolia” completes the set with a raging rush. Garcia plays cat and mouse by himself as he bends odd-sounding notes and chases them with sneaky, quick-picking runs. The nuance of his playing against the band’s powerful propulsion is masterful. This is the only time these songs were lined up together: Truckin’ > The Other One > Eyes of the World > Morning Dew > Sugar Magnolia. After the historic segment, the band walked away from their instruments and returned for an encore, blessing the crowd with a rare “We Bid You Goodnight” sing-along. 

For more on Feb 28 including a classic Fillmore West '69 show and Family Dog '70, check out Deadology, the 33 Essential Dates of Grateful Dead history

Wednesday, February 26, 2020

2-26 Deadology

February 26 Deadology Outtake

A date that almost made the cut as one of the 33 essential dates of Grateful Dead history.

Let my inspiration flow, in token rhyme suggesting rhythm, that will not forsake me, until my tale is told and done. Those were the first words sung during the opening song of the Grateful Dead’s first concert of 1977 on February 26 in the Swing Auditorium in San Bernardino. With the sprawling lyrics of Robert Hunter’s epic masterpiece, Garcia and mates fearlessly debuted “Terrapin Station.” It was a telltale sign of the glory to come throughout the year. The 2-26-77 “Terrapin” is an outstanding performance considering Garcia memorized all the lyrics, and the band executed a complex composition almost flawlessly for their first performance of the year.

In the middle of this historic opening set, “Estimated Prophet” was debuted. The two numbers from the yet to be released Terrapin Station, were substantial songs that were immediately repositioned in the second set where they would flourish. With its catchy hook and reggae/ rock beat, and powerful chorus featuring Donna and Jerry brightly singing, “California,” “Estimated” thrilled the Cali Deadheads. On this same day in music history, “New Kid in Town,” from the Eagles, Hotel California, rose to the top spot of the Billboard pop chart. Back in the Swing Auditorium, a sizzling “Sugaree” follows “Estimated Prophet,” and Playin’ > Wheel > Playin’ closes an opening set that could pass as a second set.
One of the great joys of listening to 2-26-77 is the sound quality of this Betty Board. Betty Cantor, a sound engineer for the band, is famous in taping circles for the robust mix of her reel to reel recordings. A batch of her soundboard tapes were liberated in 1986, and my favorite of this batch is 2-26-77—unbelievable audio, it sounds like Phil’s pounding bass by your side.

Three standalone songs including a ripping “Music Never Stopped” launch the second set setting the stage for Help > Slipknot > Franklin’s in all its congruent glory. In 1976 the band often segued out of “Slipknot!” into a song that wasn’t “Franklin’s.” These flirtations were enjoyable, but there are few Grateful Dead moments more majestic than when the band works its way out of “Slipknot!” and builds that gripping bridge into “Franklin’s.” On its own, the segue bridge is a masterpiece filled with anticipation, discovery, resolution, and orgasmic release. It has the flow of a Coltrane solo with the dramatic elegance of a Miles arrangement.

Garcia put the exclamation point into “Slipnknot!” The Dead are on a quest to impress and they are as hot as any band can be on their first show of the year. During the intoxicating yet redundant flow of “franklin’s,” Garcia is locked in as he takes advantage of each solo to voice a fresh and exciting idea. In one solo, Garcia finds a phrase he likes and repeats it with a slight variation, and hammers it again with another subtle twist of emotion. Garcia had that knack of discovering a great riff and putting it under a microscope, so the audience could revel in it as much as he did.
On 2-9-73 the Dead added a batch of originals into their live rotation, and they were making great progress with these tunes as they rolled into the Pershing Municipal Auditorium in Lincoln, Nebraska on February 26. “Loose Lucy” and “Row Jimmy” are coming on strong as the jams in China Cat > Rider and the set ending “Playin’ in the Band” continue to mature. “They Love Each Other” gets set two off to a pleasant start and Garcia’s leads percolate on the ensuing “Big River.” Prior to the evening’s main entrĂ©e, there’s a torrid rendition of “Greatest Story Ever Told.” The band’s rocking hard and Garcia’s pushing full blast from the get-go. Donna’s heartfelt screams interrupt the listener’s flow, but Garcia storms through and sticks a dramatic ending.

Phil’s bass announces the beginning of the expedition, and Garcia’s flurries set “Dark Star” afloat. Jerry bends a run of low notes with attitude as his mates fill up the canvas. Kreutzmann’s drumming is phenomenal. Lesh introduced Billy to the music of the great jazz drummer, Elvin Jones, and Billy’s skill level as a drummer was breathtaking by 1973. Without a doubt, he could have held his own in any jazz trio. The journey rolls on and Pershing Memorial Auditorium is sucked into a time out of mind trance. Around twelve minutes in Garcia latches on to a lush riff and squeezes the grapes until it’s fine wine. Finally, Garcia chimes in: “Dark Star crashes, pouring its light into ashes.”
There’s some strange, yet enticing guitar work from Weir, and Phil’s virtuosic bass leads dominate the landscape. The post verse jam is short, by “Dark Star” standards, and twenty-five minutes into this expedition, they enter the rapture of their latest great creation, “Eyes of the World.” This is the third time the Dead has trotted out this dazzling combo, and this “Eyes” is an impressive seventeen minutes long. “Eyes” peaked later in the year and stayed in rarified air throughout ‘74.
The Dead played Oakland Coliseum on February 26 in 1990, 1994, and 1995. I did some spot listening to these gigs and didn’t discover anything extraordinary. Although, I’m sure there are Deadheads who had religious experiences at these shows. The Jerry Garcia Band played a solid show in the Ocean State Theatre in Providence on 2-26-80 towards the end of an exceptional tour. Robert Hunter joined JGB on stage for “Tiger Rose” and “Promontory Rider.” The gig also featured a hot “Mission in the Rain” and a “Dear Prudence” encore. 

Just as they had done in 1977, the Grateful Dead’s 1981 touring year commenced with a ripping show on February 26. Going to heaven out of the gate, The Boys opens with “Feel Like a Stranger” and “Althea” from their latest studio album. This was the first of three consecutive gigs in Chicago’s Uptown Theatre. The “Stranger” jam has a festive Hawaiian luau vibe, and “Althea” is heavenly hypnotic. The crowd roars its approval after Jerry delivers a standout last solo. If you love “Althea,” 1981 is your year. The opening set of 2-26-81 has standard selections including Me and My Uncle > Big River, a nice touch on the forty-ninth birthday of Johnny Cash. During the set closing “Music Never Stopped” jam, the band jumps into an early crescendo, but Garcia uses his veto power to find a path to keep the instrumental flowing. Chicago was an unusual location for the Dead to kick off their touring year. The energy of the Windy City Deadheads inspired the musicians.

Cat > Rider smokes after break. “I Know You Rider” is a savage action-packed adventure, characteristic of live versions of this number in’81. The energy is consistently present throughout the set, and the highlight is the sensational jam after “He’s Gone.” It’s twelve-minutes of relentless improvisation that teases “The Other One” and resembles a “Caution” jam. The best pre-Drums jam of the year is the He’s Gone > Caution > Spanish jam from the Nassau Coliseum on 5-6-81. These freeform improvisations helped fill a black hole in the Grateful Dead universe since “Dark Star” had become a rare occurrence between 1976 and 1988. 

                              Deadology and Grateful Dead 1977


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