LN jg1989-01-27.jgb.all.sbd-moses.84866.flac1644
Can’t believe I haven’t annotated any 1989 Garcia Band. For
my money, 1988-1989 is one of the great JGB periods, which a fresh and healthy
Jerry (that’s what starts to break down, for me, 1990-1991), solid band, some
fresh material, rehearsed arrangements, and lots of classic American songs.
Nothing too crazy, lots of good music.
Friday, January 27, 1989 finds Garcia healthy and frisky
after, I believe, an extended Maui scuba vacation. This is his first public
appearance since the New Year’s Eve Dead show, and the first Garcia Band gig
since early December (2–3), also at the Orpheum. The Dead would play four
shambolic Chinese New Year shows at Oakland’s Henry J. Kaiser Auditorium
starting a week from this night, so 1/27 really does feel like warming up.
after, I believe, an extended Maui scuba vacation. This is his first public
appearance since the New Year’s Eve Dead show, and the first Garcia Band gig
since early December (2–3), also at the Orpheum. The Dead would play four
shambolic Chinese New Year shows at Oakland’s Henry J. Kaiser Auditorium
starting a week from this night, so 1/27 really does feel like warming up.
It’s hard to listen to any show in isolation, which is what
I’d really like to do here – put some fresh ears on a show that has a positive
connotation in my head, just listen to it on its own terms. But I can’t. I know
I am a fan of the next night, and the next Orpheum weekend (March 3-4), which I
also really like, and the rest of the spring, which is a peak period for me.
I’d really like to do here – put some fresh ears on a show that has a positive
connotation in my head, just listen to it on its own terms. But I can’t. I know
I am a fan of the next night, and the next Orpheum weekend (March 3-4), which I
also really like, and the rest of the spring, which is a peak period for me.
But I can’t hear this one out of its context, and the
greatness of the context leads me to sympathize with this show. Where vocals
are flubbed (as they really are throughout the night), I hear Jerry shaking out
the cobwebs. Where things are a little brief, I call them “tight”.
When entropy strikes arrangement, I give them unearned credit for how they meant
it to sound. I try not to beat myself up about it – it probably is a good show.
But I also think it’s true that I am looking ahead to what’s coming.
greatness of the context leads me to sympathize with this show. Where vocals
are flubbed (as they really are throughout the night), I hear Jerry shaking out
the cobwebs. Where things are a little brief, I call them “tight”.
When entropy strikes arrangement, I give them unearned credit for how they meant
it to sound. I try not to beat myself up about it – it probably is a good show.
But I also think it’s true that I am looking ahead to what’s coming.
Setlist Notes
It’s certainly an interesting show. Here’s the setlist with
some notes.
some notes.
 |
| JGB setlist 1/27/89 Orpheum Theatre |
“Let’s Spend The Night Together” (Jerrybase) is a great song on any measure, and
most every Garcia version is excellent. The fact that he played this so well
and often with Nicky Hopkins gives it special resonance. In the Hopkins era it served as a “jam vehicle”, stretching out and thus not usually played
on a night with another long number such as “Don’t Let Go”. This
night we get both, but LSTNT, coming out of 13 years of mothballs (last
played 1/28/76), clocks in at a brisk 6:47. This resurrected version stayed much tighter, usually clocking in 10 minutes, I’d estimate. This was the first time Jerry ever opened a show with it, and he’d only do that one more time, five weeks later on 3/3/89. It’s still a work in progress,
but I have always argued that toying with the repertoire is an unalloyed good –
when he’s working up new material, Garcia is engaged. (The version from the next night, 1/28/89, is much hotter and is overall outstanding.)
most every Garcia version is excellent. The fact that he played this so well
and often with Nicky Hopkins gives it special resonance. In the Hopkins era it served as a “jam vehicle”, stretching out and thus not usually played
on a night with another long number such as “Don’t Let Go”. This
night we get both, but LSTNT, coming out of 13 years of mothballs (last
played 1/28/76), clocks in at a brisk 6:47. This resurrected version stayed much tighter, usually clocking in 10 minutes, I’d estimate. This was the first time Jerry ever opened a show with it, and he’d only do that one more time, five weeks later on 3/3/89. It’s still a work in progress,
but I have always argued that toying with the repertoire is an unalloyed good –
when he’s working up new material, Garcia is engaged. (The version from the next night, 1/28/89, is much hotter and is overall outstanding.)
“Waiting For A Miracle” (Allan | deaddisc | JB): Canadian singer-songwriter Bruce Cockburn penned this lovely paean
to popular hope amidst war and poverty in Managua, Nicaragua in winter 1986.
Jackie LaBranch heard it on the radio and brought it to the Garcia Band
(Jackson 1989, 44), which sandpapered it a little, roughened it up some, and put
a radio-worthy version on the double-disc live Jerry Garcia Band (Arista 18690, August
1991). This is a great example of the idea that fresh repertoire reflects
fresh Jerry – here, he not only agreed to tackle a new number, but Garcia -I
presume, since he’s the one who has to sing ’em- made some lyrical edits that
really worked, scuffling for a nickel and struggling for a dime instead of
struggling for a dollar and scuffling for a dime, looking more toward the
future than toward the past, standing up tall instead of proud. This is
probably just driven by how singable the different sounds could be for this
particular singer, but Garcia certainly made the song his own.
to popular hope amidst war and poverty in Managua, Nicaragua in winter 1986.
Jackie LaBranch heard it on the radio and brought it to the Garcia Band
(Jackson 1989, 44), which sandpapered it a little, roughened it up some, and put
a radio-worthy version on the double-disc live Jerry Garcia Band (Arista 18690, August
1991). This is a great example of the idea that fresh repertoire reflects
fresh Jerry – here, he not only agreed to tackle a new number, but Garcia -I
presume, since he’s the one who has to sing ’em- made some lyrical edits that
really worked, scuffling for a nickel and struggling for a dime instead of
struggling for a dollar and scuffling for a dime, looking more toward the
future than toward the past, standing up tall instead of proud. This is
probably just driven by how singable the different sounds could be for this
particular singer, but Garcia certainly made the song his own.
“I Hope It Won’t
Be This Way Always” (Allan | deaddisc
| JB): The canonical
version is from the Angelic Gospel Singers’ 1968 Nashboro release Jesus Paid It All (deaddisc). Founded
in 1944 by Margaret Wells Allison and her sister, adopting its first male
member in 1961, and performing and touring about sixty years, the Angelic
Gospel Singers are dubbed by the Encyclopedia
of American Gospel Music “the longest consistently selling female
gospel group in African American history” (via wiki). A staple
in observant African American households, they’re probably rare in white homes
and largely silent in white cultural accounts. John Kahn’s place was an exception
– he loved and curated a huge record collection around inter alia every black American musical idiom, including church
music, and brought this one to the Band from the likely-sounding compilation All Time Gospel Hits (perhaps Nashboro LP
7034, 1966) (Jackson
1989, 44).
Be This Way Always” (Allan | deaddisc
| JB): The canonical
version is from the Angelic Gospel Singers’ 1968 Nashboro release Jesus Paid It All (deaddisc). Founded
in 1944 by Margaret Wells Allison and her sister, adopting its first male
member in 1961, and performing and touring about sixty years, the Angelic
Gospel Singers are dubbed by the Encyclopedia
of American Gospel Music “the longest consistently selling female
gospel group in African American history” (via wiki). A staple
in observant African American households, they’re probably rare in white homes
and largely silent in white cultural accounts. John Kahn’s place was an exception
– he loved and curated a huge record collection around inter alia every black American musical idiom, including church
music, and brought this one to the Band from the likely-sounding compilation All Time Gospel Hits (perhaps Nashboro LP
7034, 1966) (Jackson
1989, 44).
As is so often the case, Blair Jackson was on the job,
reporting on “Waiting For A Miracle” and “I Hope It Won’t Be This
Way Always” in the Golden Road,
along with another new-to-the-Garcia-Band-repertoire number, “Throw Out The Lifeline”,
again brought in by Kahn from all-male North Carolina gospel group the
Sensational Nightingales.
reporting on “Waiting For A Miracle” and “I Hope It Won’t Be This
Way Always” in the Golden Road,
along with another new-to-the-Garcia-Band-repertoire number, “Throw Out The Lifeline”,
again brought in by Kahn from all-male North Carolina gospel group the
Sensational Nightingales.
Race, Class,
Gender, and JGB #21b
Gender, and JGB #21b
If I were feeling expansive, I’d add to Blair’s
characteristically excellent account a little analysis of the race, gender and
class contours laid bare by the advent of these songs to the JGB repertoire.
characteristically excellent account a little analysis of the race, gender and
class contours laid bare by the advent of these songs to the JGB repertoire.
On race, I have argued (WIP) that THE Jerry Garcia Band,
#21b, the one that ran almost continuously for over a decade from summer 1983, integrated
two of the three musics that formed the core of Garcia’s musical life: white
and black American roots and rootsy contemporary music. (The third,
electronica, was supplied by the contemporary Grateful Dead.) In the past,
Garcia had maintained different bands for these purposes, playing lots of
contemporary (and some older) black music with Merl and white roots music in
his country and bluegrass side projects. After the mid-1970s, the he starts bringing
in more Dylan and Garcia-Hunter material, i.e., rootsy white contemporary
Americana, refines the (white) bluegrass offerings to a few Peter Rowan
originals (Mississippi Moon and Midnight Moonlight), and leavens everything
with a big dose of R&B. JGB #21b was a racially integrated American musical
act. It’s hard for me to overstate the importance of this as a statement about
Garcia’s musical interests and commitments. I am fascinated that Kahn brought
in the black church number while Jackie LaBranch brought in the deeply white
and Canadian Cockburn’s tune.
#21b, the one that ran almost continuously for over a decade from summer 1983, integrated
two of the three musics that formed the core of Garcia’s musical life: white
and black American roots and rootsy contemporary music. (The third,
electronica, was supplied by the contemporary Grateful Dead.) In the past,
Garcia had maintained different bands for these purposes, playing lots of
contemporary (and some older) black music with Merl and white roots music in
his country and bluegrass side projects. After the mid-1970s, the he starts bringing
in more Dylan and Garcia-Hunter material, i.e., rootsy white contemporary
Americana, refines the (white) bluegrass offerings to a few Peter Rowan
originals (Mississippi Moon and Midnight Moonlight), and leavens everything
with a big dose of R&B. JGB #21b was a racially integrated American musical
act. It’s hard for me to overstate the importance of this as a statement about
Garcia’s musical interests and commitments. I am fascinated that Kahn brought
in the black church number while Jackie LaBranch brought in the deeply white
and Canadian Cockburn’s tune.
I am also fascinated by the gender and “class”
contours of the fresh material. Jackie LaBranch brought “Waiting For A
Miracle” to the group, a black woman who was definitely part of the band
rather than its leadership (the Garcia-Kahn duopoly). Maybe every band (and
leadership) worth its salt alights to a good song when it comes along – that’d
be the hope. But I think that there are loads of bandleaders who weren’t really
looking for suggestions from the backup singers. The whole jazz band leader
trip, show business itself, cuts against that kind of democracy. The Garcia
Band has often been lauded for its relatively egalitarian ethos, especially
early on and especially when it came to divvying up receipts from a bar gig.
But as it got more lucrative, this has to have given way – does anyone really
think that the band got the same amount as Jerry for a 1990s gig at the
Warfield? I don’t think so. But it probably wasn’t a straight line, and I conjecture that it was down as much, at
times, to Garcia’s level of engagement as to the bottom line. In late 1988,
Garcia is healthy, open, thriving, engaged. “Jackie’s got a song? Let’s
try it.” As either Jackie or Gloria can be heard repeatedly on this and
other contemporary Garcia Band tapes, I’d give that a “Yeah, Jerry!”
contours of the fresh material. Jackie LaBranch brought “Waiting For A
Miracle” to the group, a black woman who was definitely part of the band
rather than its leadership (the Garcia-Kahn duopoly). Maybe every band (and
leadership) worth its salt alights to a good song when it comes along – that’d
be the hope. But I think that there are loads of bandleaders who weren’t really
looking for suggestions from the backup singers. The whole jazz band leader
trip, show business itself, cuts against that kind of democracy. The Garcia
Band has often been lauded for its relatively egalitarian ethos, especially
early on and especially when it came to divvying up receipts from a bar gig.
But as it got more lucrative, this has to have given way – does anyone really
think that the band got the same amount as Jerry for a 1990s gig at the
Warfield? I don’t think so. But it probably wasn’t a straight line, and I conjecture that it was down as much, at
times, to Garcia’s level of engagement as to the bottom line. In late 1988,
Garcia is healthy, open, thriving, engaged. “Jackie’s got a song? Let’s
try it.” As either Jackie or Gloria can be heard repeatedly on this and
other contemporary Garcia Band tapes, I’d give that a “Yeah, Jerry!”
Misc.
Why did Garcia play the Orpheum for Bill Graham six times in
four months in late 1988-early 1989 (December 2–3, January 27-28 and March 3-4),
and then never again? I assume the Warfield was being renovated, but I just
don’t know. In 1990, the Garcia-Graham partnership would move a quarter mile
down Market and would never leave.
four months in late 1988-early 1989 (December 2–3, January 27-28 and March 3-4),
and then never again? I assume the Warfield was being renovated, but I just
don’t know. In 1990, the Garcia-Graham partnership would move a quarter mile
down Market and would never leave.
The poster advertises a special guest. Was this meant to be
Clarence Clemons, or was there an opener? I don’t know.
Clarence Clemons, or was there an opener? I don’t know.
Anyway, I love this period. The next night is better than
1/27, but this show has its moments.
1/27, but this show has its moments.
Jerry Garcia Band
January 27, 1989 (Friday) – 8 PM
sbd-moses flac1644 shnid-84866
–set I (8 tracks, 52:04)–
s1t01. Let’s Spend The Night Together [6:47] [0:41]
s1t02. Stop That Train [6:40] [0:25]
s1t03. Someday Baby [5:34] [0:50]
s1t04. Run For The Roses [5:22] [0:20]
s1t05. Mississippi Moon [7:41] (1) [0:49]
s1t06. Waiting For A Miracle [5:05] [0:03] %
s1t07. I Hope It Won’t Be This Way, Always [4:35] ->
s1t08. Deal [7:07] (2) [0:07] %
–set II (7 tracks, 62:53)–
s2t01. The Harder They Come [10:14] [0:20]
s2t02. And It Stoned Me [5:52] [0:14] % [0:02]
s2t03. Knockin’ On Heaven’s Door [8:19] [0:37]
s2t04. Think [5:57] [0:06] %
s2t05. Don’t Let Go// [14:36] %
s2t06. That Lucky Old Sun (Just Rolls Around Heaven All Day)
[9:18] [0:09]
[9:18] [0:09]
s2t07. Midnight Moonlight [7:05] (3) [0:04] %
! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia – guitar, vocals;
! lineup: John Kahn – bass;
! lineup: Melvin Seals – keyboards;
! lineup: Jacklyn LaBranch – backing vocals;
! lineup: Gloria Jones – backing vocals;
! lineup: David Kemper – drums.
JGMF:
! Recording: symbols: % = recording discontinuity; / =
clipped song; // = cut song; … = fade in/out; # = truncated timing; [x:xx] =
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.
clipped song; // = cut song; … = fade in/out; # = truncated timing; [x:xx] =
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/19890127-01. On
poster there is a special guest listed. Was that supposed to have been Clarence
Clemons (sp?), or was there an opener?
poster there is a special guest listed. Was that supposed to have been Clarence
Clemons (sp?), or was there an opener?
! db: http://etreedb.org/shn/14015 (Dan Cole MAC shnf SBEs,
deprecated); http://etreedb.org/shn/16577 (Dan Cole MAC shnf);
http://etreedb.org/shn/84866 (sbd flac1644, this fileset).
deprecated); http://etreedb.org/shn/16577 (Dan Cole MAC shnf);
http://etreedb.org/shn/84866 (sbd flac1644, this fileset).
! venue:
http://jerrygarciasbrokendownpalaces.blogspot.com/2012/08/orpheum-theatre-1192-market-street.html
http://jerrygarciasbrokendownpalaces.blogspot.com/2012/08/orpheum-theatre-1192-market-street.html
! map: https://goo.gl/maps/J6txb
! band: JGB #21b, THE Jerry Garcia Band (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).
! historical: the “year too late” thesis. Sounds
to me like they are thinking about recordable arrangements. Also of note, a few
things. First JGB of 1989, and first JGB gig in almost two months! The prior
shows (December 2-3, 1988) were also at the Orpheum, as were the next two
(March 3-4, 1989). That’s six gigs in a three month span at the same room,
which he’d never play again, and which he had only played a few times in the
previous 15 years (twice, to be exact – 5/21/76 and 5/7/88). What gives? I
wonder if the Warfield was being renovated?
to me like they are thinking about recordable arrangements. Also of note, a few
things. First JGB of 1989, and first JGB gig in almost two months! The prior
shows (December 2-3, 1988) were also at the Orpheum, as were the next two
(March 3-4, 1989). That’s six gigs in a three month span at the same room,
which he’d never play again, and which he had only played a few times in the
previous 15 years (twice, to be exact – 5/21/76 and 5/7/88). What gives? I
wonder if the Warfield was being renovated?
! R: main source (through s2t04): unknown soundboard tape
> ? > A (big) cardboard box, maxell XL2S90 cassette dolby B >
Nakamichi CR3A,(Dolby B) eq out > hp
computer > Sound Forge ([email protected]) > CD wave > Flac > you!
> ? > A (big) cardboard box, maxell XL2S90 cassette dolby B >
Nakamichi CR3A,(Dolby B) eq out > hp
computer > Sound Forge ([email protected]) > CD wave > Flac > you!
! R: “Guessing 2nd or 3rd gen SBD”, to which I’d
say, “at most”. This is a nice tape.
say, “at most”. This is a nice tape.
! R: second source (s2t05-s2t07): MAC (Sony D6C w/Sony
stereo mic) > 1 cassette > Nakamichi CR3A playback onto HP Computer (no
dolby) > Sound Forge Vol@ 5.5DB > CD Wave > Flac7.
stereo mic) > 1 cassette > Nakamichi CR3A playback onto HP Computer (no
dolby) > Sound Forge Vol@ 5.5DB > CD Wave > Flac7.
! R: transferred by John Moses 5-7-07.
! R: s1t01 maybe fast? Jerry’s guitar is buried in the mix,
organ very prominent.
organ very prominent.
! P: s1t01 LSTNT Too bad the guitar is so low in the mix,
because Jerry sounds on his game. @ 3:15 this is a very well rehearsed-sounding
return from the break. Jerry’s soloing 5-min mark sounds great. I want to check
out an audience recording. Tight stop.
because Jerry sounds on his game. @ 3:15 this is a very well rehearsed-sounding
return from the break. Jerry’s soloing 5-min mark sounds great. I want to check
out an audience recording. Tight stop.
! P: s1t03 Someday Baby JG flubs the first verse. But after
that he is singing very nicely, sounds great on this soundboard tape! Melvin
big lead late 2, very forward in the mix and sounding strong. Arrangement gets
a little squirrely again later, and Jerry just closes up shop.
that he is singing very nicely, sounds great on this soundboard tape! Melvin
big lead late 2, very forward in the mix and sounding strong. Arrangement gets
a little squirrely again later, and Jerry just closes up shop.
! P: s1t04 RFTR this sounds great. Jerry sounds amazing
here.
here.
! s1t05 (1) after MM, as after several other tracks, one can
hear the ladies talking. Here, one of them says “That was real good”,
and I can’t disagree with her.
hear the ladies talking. Here, one of them says “That was real good”,
and I can’t disagree with her.
! P: s1t06 vocal flubs on WFAM, but he’s giving it his all.
Seems like a bunch of songs have that profile this night. I think Gar is
performing courageously, with great ease and fluidity. @ 3:12 someone misses
the change, things get a little loose in the cage for a bit. Extra vocal effort
3:30, “like the ones that DIE, tryin’ to set the ay ay ayngels in us
free”! Gar is extemporizing vocally, in lieu of remembering the words. But
they hadn’t been playing this long.
Seems like a bunch of songs have that profile this night. I think Gar is
performing courageously, with great ease and fluidity. @ 3:12 someone misses
the change, things get a little loose in the cage for a bit. Extra vocal effort
3:30, “like the ones that DIE, tryin’ to set the ay ay ayngels in us
free”! Gar is extemporizing vocally, in lieu of remembering the words. But
they hadn’t been playing this long.
! song: WFAM (s1t06): hadn’t been played much. xxx
! song: IHIWBTWA first time played. Next night maybe second,
and maybe that’s it?
and maybe that’s it?
! setlist: do a setlist analysis. xxx
! s1t08 (2) JG: “We’ll be back in a few minutes.”
! P: s1 gets good points for energy, but it’s a little
sloppy. First show of the year, first show in xxx weeks! I have in my mind that
Garcia had probably just been scuba diving in Hawaii before this. He sounds
clean as a whistle. And to those who don’t like such speculation, to heck with
ya. s2 is good. This is probably an average show from an above-average period,
really showing Jerry rested, relaxed, and playing well.
sloppy. First show of the year, first show in xxx weeks! I have in my mind that
Garcia had probably just been scuba diving in Hawaii before this. He sounds
clean as a whistle. And to those who don’t like such speculation, to heck with
ya. s2 is good. This is probably an average show from an above-average period,
really showing Jerry rested, relaxed, and playing well.
! P: s2t04 Think some very heavy guitar work in the 2-min
range. Melvin steps up 2:49, playing nicely. More very heavy guitar 4:45
forward, “give up my woman!” over 5 mark.
range. Melvin steps up 2:49, playing nicely. More very heavy guitar 4:45
forward, “give up my woman!” over 5 mark.
! P: s2t05 DLG more vocal flubbing at the start of the song.
Garcia’s shaking the cobwebs out. Very exceptional work on DLG, using his voice
to push his guitar, as if by extending his diaphgram he’s just moving his
guitar grasp just a little bit.
Garcia’s shaking the cobwebs out. Very exceptional work on DLG, using his voice
to push his guitar, as if by extending his diaphgram he’s just moving his
guitar grasp just a little bit.
! R: s2t05 DLG cuts out, not much missing
! R: s2t06 TLOS level adjustment early on
! s2t07 (3) JG: “Thanks a lot, we’ll see ya
later.”
later.”
REFERENCES:
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