Jerry Garcia Albums (27)
'Legion of Mary: Absolute Mary'
Release Date 1/1/2005
Tracks 6
Label Jerry Garcia
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What The Critics Say
This premium was made available to those who purchased the Jerry Garcia Collection, Vol. 1: Legion of Mary (2005) double-CD package. The sole caveat being, it had to be procured through the artist's own Internet-based boutique -- online at www.jerrygarciastore.com. Absolute Mary (2005) is an extension of the music presented on the larger set, serving up another half-dozen examples of the intricate interaction and group exploration that became the hallmark of Jerry Garcia's solo units. With the notable exception of the instrumental improvisation "LOM Jam," the chosen material reflects the eclectic nature of the ensemble, which was co-led by Garcia (guitar/vocals) and Merl Saunders (organ/vocals). Supporting the duo are the formidable rhythm section of John Kahn (bass) and Ron Tutt (drums), as well as former Sir Douglas Quintet member Martin Fierro (sax/flute). Legion of Mary were a decidedly jazzier outfit than future Garcia side projects. Their collective sense of sonic discovery reaches far beyond the demands of each song. The remake of Bob Dylan's "Wicked Messenger" has a brooding quality that slinks around, methodically moving through the melody. Conversely, the cover of Stevie Wonder's "Boogie on Reggae Woman" is a full-blown funky workout with Saunders supplying the ragged but right vocals. "It's No Use" provides a platform for the quintet to sink its proverbial chops into the blues. Garcia, Saunders, and Fierro are in peak form and waste no time in trading lines and displaying their irrefutably incendiary talents. Sadly, the Legion of Mary lasted a mere six months and by the summer of 1975 Nicky Hopkins (keyboard/vocals) had replaced Saunders and the combo was rechristened the Jerry Garcia Band. ~ Lindsay Planer, All Music Guide
'After Midnight: Kean College, 2/28/80'
Release Date 9/28/2004
Tracks 16
Label Rhino
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Released in 2004, After Midnight: Kean College, 2/28/80 is a three-disc offering from a short-lived incarnation of the Jerry Garcia Band, featuring Garcia (guitar/vocals), John Kahn (bass), Ozzie Ahlers (keyboards/vocals), and Johnny De Foncesca (drums). The aggregate lasted less than six months, with De Foncesca replaced by former Sly & the Family Stone and Santana percussionist Greg Errico less than a month after this late February show. Opening up for Garcia on a majority of the East Coast run was his lyricist and primary collaborator, vocalist Robert Hunter. He joins the JGB during the second set for readings of his own "Tiger Rose" and "Promontory Rider," in addition to offering up his recollections of the experience in the package's liner essay. The quartet is exceptionally compact, with an ability to instantly expand and sidetrack into an impressive exchange of improvisations. This is evidenced by the exploratory jam linking "After Midnight" to an incendiary jazz-fused instrumental interpretation of "Eleanor Rigby" before returning for a reprise of the former. With the exception of the lamenting rocker "Sugaree" and the gorgeous Bay Area ballad "Mission in the Rain," the selections may appear short on originals. Hunter's notes point out that many of the "good Garcia solo-band songs hadn't been written yet," adding that on this evening the artist plays as many Bob Dylan tunes as he does from his own non-Grateful Dead repertoire. Speaking of which, "Simple Twist of Fate" and "Knockin' On Heaven's Door" are each given emotive interpretations, the latter adopting the nimble reggae-influenced gait reminiscent of Eric Clapton's reading. Those familiar with Hunter's interpretations of his own work will find that the versions of the aforementioned "Tiger Rose" and "Promontory Rider" by the JGB are a refreshing change of sonic scenery. While definitely a recommended spin for inclined parties, enthusiasts not familiar with this era or JGB lineup are particularly encouraged to check out After Midnight: Kean College, 2/28/80. ~ Lindsay Planer, All Music Guide
What The Critics Say
The Grateful Dead were going strong in 1980, yet somehow Jerry Garcia (guitar/vocals) found time to tour in his own quartet that featured Ozzie Ahlers (keyboards/vocals), John Kahn (bass) and Johnny DeFoncesca (drums). This lineup of the Jerry Garcia Band (JGB) was relatively short-lived, lasting less than six months after DeFoncesca was replaced by former Sly & the Family Stone and Santana percussionist Greg Errico. While Garcia would sporadically incorporate original material, as this set reflects, the majority of the JGB repertoire consisted of well-chosen covers. A supremely languid, ethereal and extended reading of the Beatles' "Dear Prudence" opens up Way After Midnight (2004) as the guitarist unleashing torrents of soulful fretwork and equally sincere vocals. Although he takes the occasional lyrical liberty, they fit flawlessly in the arrangement. Bob Dylan's "When I Paint My Masterpiece" bears much of the same rollick that defined the Band's version, thanks in part to Kahn's full-bodied and rock-solid basslines. For his part, Garcia likewise provides thoroughly enjoyable solos after the respective verses. Even while he only performed briefly in the JGB, DeFoncesca is a tremendous foil for both Kahn and Garcia, adding his own subtle inflections and percussive fills tucked deep within the groove. Irving Berlin's "Russian Lullaby" spans over a quarter-hour and is evidence of the bandleader's uncanny melodic sense. The JGB's adaptation could not be more different from the interpretation included on Garcia (Compliments) (1974). The tempo is brought way down and the melody is sonically scrutinized for maximum effect. The opposite is true of the incendiary "That's Alright Mama" that is given a rip snortin' rendition twice as fast and furious as those done either in the context of the Grateful Dead or with Merl Saunders, Kahn and Bill Vitt on Live at the Keystone (1973). "Deal," the sole Garcia/Robert Hunter number, concludes Way After Midnight on an up note as the combo bop freely around Garcia's fiery leads, as Ahlers is particularly affective in his support. This disc was initially only available as a gratis supplement to purchasers of After Midnight: Kean College, 2/28/80 (2004) from the official Jerry Garcia website, www.jerrygarcia.com. ~ Lindsay Planer, All Music Guide
'Been All Around This World'
Release Date 3/23/2004
Tracks 12
Label Acoustic Disc
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What The Critics Say
Jerry Garcia and David Grisman enjoyed getting together in Grisman's studio to record informally for their friends, with the mandolinist wisely choosing to share their best efforts with the public by releasing a series of CDs following Garcia's death. With various members of Grisman's quintet and a couple of other musicians as well, the two old friends explore a wide range of material, including a bluegrass treatment of James Brown's "I'll Go Crazy," an instrumental of a popular old sea shanty renamed "Handsome Cabin Boy Waltz," and country legend Jimmie Rodgers' "Blue Yodel No. 9," along with fresh interpretations of works by Bob Dylan, Merle Travis, and Mel Tillis. Throughout these undated sessions, Garcia's brilliant guitar and folksy vocals are beautifully complemented by Grisman's imaginative mandolin accompaniment. According to Grisman's liner notes, this may be the final collection of their previously unissued collaborations to be issued; like earlier volumes, it is highly recommended. ~ Ken Dryden, All Music Guide
'Pure Jerry: Keystone Berkeley, September 1, 1974'
Release Date 1/1/2004
Tracks 19
Label Jerry Made
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This triple-disc installment from the Jerry Made label dedicated to archival Jerry Garcia performances hails from the guitarist's primary non-Grateful Dead vehicle circa the early to mid-'70s. Garcia flanks Merl Saunders (keyboards/vocals) as the co-leader of an improvisation-heavy aggregate that also included John Kahn (bass) and, during this particular era, Paul Humphrey (drums), Martin Fierro (sax/flute/percussion), and an anonymous trumpeter credited as "Mystery Artist." Remarkably, the September 1, 1974, show at Keystone Korners in Berkeley that is presented here was only the sixth to feature Humphrey. He and Kahn provide a consistently supple rhythm section, whose moods facilely vacillate from the delicate intimacy of "Sitting in Limbo" to the full-flight and hard-driving "Soul Roach." The latter is likewise marked by one of the better contributions from the unknown trumpet player. Within this context, Garcia's predilection and underrated jazz leanings are given plenty of room for some stretched-out exploratory excursions. Primary among them is the liberated interpretation of Antonio Carlos Jobim's "Favela" and the Fierro original "La La." Saunders steps up to the microphone for the extended "Wondering Why" (a soulful and psychedelic-tinged ballad that Geoff Muldaur would overhaul to great effect on 1975's Is Having a Wonderful Time), featuring Fierro's light and ethereal flute wisps between Garcia's ominous fretwork and Saunders' chiming electric piano. They land on an instrumental reading of the Thom Bell-penned Philly soul entry "People Make the World Go Round," which is every bit as essential as the Stylistics or the Ramsey Lewis version. Out of its ashes rises the expansive, appropriately named interplay titled "Keystone Jam." In much the same way that Garcia would channel the Grateful Dead into rarefied sonic strata, he and Saunders forge ahead into a good ol' fashioned mind melt. Contrasting the freer expeditions, the combo runs through the more structured but still well-jammed Dylan cover "Tough Mama" and a rare rendition of "Going, Going, Gone" -- both from Zimmy's most recent release, 1974's Planet Waves. So infatuated was Garcia with the former that he kept it in the Jerry Garcia Band repertoire for the rest of the group's existence. He also draws from the ample Motown songbook for infectiously fun remakes of Junior Walker's sleeper classic "Roadrunner" and Smokey Robinson's "I Second That Emotion." For the inclined, 2004's Pure Jerry Keystone Berkeley, September 1, 1974 is a no-brainer, while the faithful might liken it unto aural manna for the masses. Curious parties won't leave disappointed, either. ~ Lindsay Planer, All Music Guide
'Pure Jerry: Theatre 1839, San Francisco July 29 & 30, 1977'
Release Date 1/1/2004
Tracks 18
Label Jerry Made
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Joining guitarist/vocalist Jerry Garcia on 2004's Pure Jerry are concurrent Grateful Dead members keyboardist Keith Godchaux and vocalist Donna Jean Godchaux as well as bassist John Kahn and seminal skinsman Ron Tutt. This incarnation of the Jerry Garcia Band had been together since January 1976 and would conclude their collaborations in a little over a week after these dates at the Theatre 1839 in San Francisco during late July 1977. Immediately striking is how good the recordings sound, adding to the intimacy and presence of the band's musical communication. The set list reflects Garcia's own decidedly eclectic tastes in addition to the wider variety of styles afforded him, in contrast to his concurrent involvement with the Grateful Dead. Even the songs that were being played by both outfits, such as "Friend of the Devil" and "They Love Each Other," are rendered with significantly different energies. The combo likewise became an outlet for Garcia's lengthy and expressive improvisations, one of the unquestionable fortes of the guitarist's non-Dead endeavors. There are no compact arrangements, as each of the selections -- consisting of classic R&B, rock, and reggae tunes -- are thoroughly explored, prime examples being Kahn's extemporaneous solo in "Russian Lullaby" and Keith Godchaux's playful interaction during "That's What Love Will Make You Do." While highlights abound and enthusiasts will inevitably find their favorites, the slinky reading of Jesse Stone's "Don't Let Go" is especially tasty as Godchaux navigates the loose and funky syncopated counterpoint. Garcia retorts with searing leads and is matched by Tutt's animated interjections. Luckily, there is plenty to enjoy as the jam clocks in three minutes shy of half an hour. Although Garcia also handles the lion's share of the vocals, Donna Jean Godchaux contributes to "Stir It Up" and provides some lovely counterpoint throughout, particularly on "Simple Twist of Fate," "The Night They Drove Old Dixie Down," and the duet on a bluesy rendition of Paul McCartney's "Let Me Roll It." Incidentally, that is among a handful that are making their debut on a Garcia Band live release; others include their agile take of Jimmy Cliff's "The Harder They Come" and a co-composition with lyricist Robert Hunter titled "Gomorrah," which wouldn't even surface on a studio album until Cats Under the Stars in 1978. ~ Lindsay Planer, All Music Guide
What The Critics Say
Prior to releasing his first non-Grateful Dead-related solo albums, Jerry Garcia (guitar) teamed up with Howard Wales (keyboards), another Bay Area performer, for the instrumental studio outing Hooteroll? (1971). They had actually been sharing the stage of local clubs -- most notably the Matrix and Keystone Korners -- during Monday night open-jam sessions circa 1968 and 1969. It was these free-form live collaborations that connected the guitarist with future Jerry Garcia Band colleague John Kahn (bass), and the pair maintained a close musical association until Garcia's passing in 1995. The "anything goes" and "no expectations" mentality fuelling those Garcia and Wales gigs likewise translated into the primary motivating force behind this platter. Joining the two are Curly Cook (rhythm guitar), Bill Vitt (drums), Michael Marinelli (drums), Ken Balzall (trumpet), and Martin Fierro (sax/flute). "Morning in Marin" and the funky "South Side Strut" fuse intricate and advanced jazz progressions with soulful and driving rhythms, recalling Miles Davis' (trumpet) late-'60s work and Tony Williams' (drums) subsequent recordings Emergency! (1969) and Turn It Over (1970). "Da Bird Song" -- which bears no relationship to the "Bird Song" that Garcia cut on his 1972 self-titled debut -- provides a nice contrast, as it takes on a gospel flavor. The blend of Fierro's windswept flute, Wales' robust piano inflections, and Garcia's weepy pedal steel guitar licks put the selection in a category all its own. The moody "Up From the Desert" embraces a slightly ethereal air, especially within the quaint baroque introductory passages. "One A.M. Approach" is remarkable in its intimacy between the co-leads. Garcia brings a quality and pure tonality that he would rarely revisit, either on his own or in the context of the Grateful Dead. The original LP included seven tracks -- minus both "Morning in Marin" and "Evening in Marin." The 2004 CD reissue from Evolver inexplicably removed "A Trip to What Next," making the Rykodisc and Grateful Dead Records pressings the most complete available. ~ Lindsay Planer, All Music Guide
What The Critics Say
Though nominally the soundtrack to filmmaker Gillian Grisman's documentary about the close musical friendship between her father, legendary mandolinist David Grisman, and Jerry Garcia, late founder of the Grateful Dead, Grateful Dawg also functions as the sixth release by the duo and their first live recording. The live recordings of a Garcia and Grisman show from the early '90s (backed ably by members of the David Grisman Quintet) are intercut with several archival cuts by the likes of Bill Monroe, Ewan MacColl, and Old and in the Way, the bluegrass supergroup both Garcia and Grisman picked in during the early '70s. There is a nice narrative flow to the arrangement of the material which provides a depth to the wonderfully warm musical rapport shared by the duo. The background material focuses on the band's folk and bluegrass roots but, unfortunately, leaves the group's undeniably huge jazz influences aside. There is hardly room on the CD, but a cut by Django Reinhardt would have done well to accentuate that element of the pair's music. Though the disc is poorly annotated (a rarity in the Grisman catalog), it is little matter. The live cuts are impeccably mixed and a joy to listen to, particularly quiet numbers like the jazzy "Dawg's Waltz" and the sprawling 16-minute reading of "Arabia." Perhaps even more impressively, Garcia is at relatively full control his spectacularly expressive voice for what might be the last point in his career. The David Grisman Quintet, including ultra-subtle percussionist Joe Craven, provides an accompaniment far more sensitive and sympathetic than what the Grateful Dead were capable of at the time. ~ Jesse Jarnow, All Music Guide
What The Critics Say
During the 20-month hiatus that the Grateful Dead took from the road, lead guitarist Jerry Garcia began fronting and touring with one of the premier cover bands of the time. Don't Let Go captures this powerhouse rhythm section in the intimate confines of San Francisco's Orpheum Theatre only a few weeks prior to the Dead's resuscitation. This all-star incarnation of the Jerry Garcia Band includes Dead members Keith Godchaux on piano and Donna Jean Godchaux on vocals. Since the late '50s, Bay area bassist John Kahn had been performing with the likes of blues legends John Lee Hooker, Michael Bloomfield, and Nick Gravenites. Kahn remained with the band until they disbanded following Garcia's death in August of 1995. Ron Tutt, while perhaps best remembered as Elvis Presley's favorite drummer, has also performed on more Top 40 singles and albums than almost any other drummer -- the notable exception being Hal Blaine. This band is about infectious rhythms and soul. Garcia plays with an energy and freedom of spirit which he rarely achieved during his final two decades with the Grateful Dead. This was likely due, at least in part, to the encyclopedic catalog of material -- drawing from such disparate sources as Allen Toussaint's "I'll Take a Melody," J.J. Cale's "After Midnight," and Bob Dylan's "Knocking on Heaven's Door." The band uses the structure of each song as a platform for their unique brand of instinctual aural acrobatics. The interplay amongst the instrumental quartet is best described as inspired telepathy. For instance, between the verses of Hank Ballard's "Tore Up Over You" the rhythmic pockets left by Garcia's incendiary guitar leads are filled in with a swing time precision and grace that harkens back to Benny Goodman or Duke Ellington's orchestra. Don't Let Go is highly recommended for the curious enthusiast as well as the insatiable Deadhead. ~ Lindsay Planer, All Music Guide
'The Pizza Tapes'
Release Date 4/25/2000
Tracks 20
Label Acoustic Disc
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What The Critics Say
Jerry Garcia and David Grisman released two albums on the latter's Acoustic Disc label during the last years of Garcia's life, and since his death in 1995, Grisman has culled a series of albums from other sessions the two recorded together. Shady Grove (1996) presented traditional folk and country material, while So What (1998) contained jazz compositions. The Pizza Tapes (so named because Garcia' s cassette of the sessions supposedly was stolen by a pizza delivery boy and circulated clandestinely) chronicles two nights worth of sessions that Garcia and Grisman shared with guitarist Tony Rice. The Grisman albums with Garcia have become increasingly informal as he has delved into picking dates that may have been intended as rehearsals or just get-togethers, and The Pizza Tapes carries that trend further. There's lots of conversation (delineated by the five "Appetizer" titles), along with false starts, mistakes, and fragments of songs, and there is some repetition of tunes (though not performances) from previous albums. "Shady Grove" and "Louis Collins" from Shady Grove are here, as is "So What" from So What. But the two guitarists show a genuine rapport as they range from pop/jazz standards like "Summertime" to folk songs like "Man of Constant Sorrow" and folk-rock fare like "Knockin' on Heaven's Door." "I'm having a great time," declares Garcia enthusiastically, and his pleasure comes across. Dead Heads long ago found that Garcia was at his best away from the formal restrictions and pressures of recording, and the same thing seems to hold for the Garcia/Grisman albums. Rice, meanwhile, more than holds his own. ~ William Ruhlmann, All Music Guide
