Friday, June 2, 2017

July 74: nothing's weirder than coming to New York

July 74, Bottom Line, unknown
[edit: apparently this dating has been hotly debated]
I had been meaning to give these two July 1974 Bottom Line shows a relisten for a while, but was prompted to do so both by an unknown comment asking about Garcia's performances without Kahn and also by a small discovery that turned out to be pretty well-documented already.  The Garcia/Saunders band came to New York for the second time on July 1-3, 1974, at the tail end of a Dead tour; the first time in Sept 1973 was similarly affixed to a larger Dead tour, but otherwise it wasn't typical for Garcia's side projects to piggyback like this on the Dead's road schedule.  My understanding was that these 1974 shows were booked because Garcia had just released his Compliments album a week earlier, and that that making the gig happen was relatively easy: the Dead's tour ended in Springfield, MA on 6/30, so Garcia, Kreutzmann, and the crew could scoot down to NYC for a couple more gigs; Kahn was already in the area performing with Maria Muldaur, and Saunders had to hop on a plane.  Martin Fierro was either still a too-casual addition to get the call, or he was engaged elsewhere (he doesn't play on the band's next two July gigs in San Francisco either, but he's on every other recording from the year).  But I had overlooked the fact that the Dead's tour wasn't actually over: they had another show booked at the University of Wisconsin, a planned Fourth of July blowout with Eric Clapton and the Band.  Panicked locals shut it down, and the remainder of the band and crew spent four days running up hotel bills, getting up to no good (see Ned Lagin's entry for 7/4/74 here), and scandalizing the local Kiwanis Club.  It makes no real difference in the big picture, but it does paint a slightly interesting picture of Garcia and Kruetzmann heading out to work while the rest of the band was waiting around in a hotel in Wisconsin, but anyway.  Given all that, you might think that these would be big shows in the minds of many listeners, but my sense is that they aren't.

Some more sources fill in some more coloful context.  Thanks to JGMF's detailed reading notes from manager Richard Loren's book, I learned second-hand that
"On the Fourth of July weekend, the Garcia-Saunders Band was playing in New York at the Bottom Line on West Fourth Street in Greenwich Village. The Dead had just finished an East Coast tour, and Jerry's Compliments album had been recently released. The owners of the Bottom Line had contacted me back in February, offering a four-show engagement for the Garcia-Saunders Band, and we'd accepted. I arranged for John Kahn and Merl to fly in, and John brought along his girlfriend at the time, Maria Muldaur, who was riding high on her hit single "Midnight at the Oasis." She sat in as a guest vocalist, and the group was hot. Word got out, and lines stretched around the block for every show. The Bottom Line was the happening place to be in the city, and all sorts of people were showing up."
and I found this review in the New York Times [1]
"Last Friday [June 28] it was announced -- on radio only -- that something called Merl Saunders and friends would be at the Bottom Line Monday and Tuesday [July 1-2]. The place was immediately sold out, another show added late Wednesday, and security guards engaged to repel the hordes. Scalpers reportedly enjoyed a field day outside the door. For Dead fans know that Merl Saunders and friends include not only Mr. Saunders, a first-rate organist, electric pianist, and synthesizerist with an impressive jazz background, and John Kahn, an excellent bass player, but also Bill Kreutzmann, the Dead's drummer and Mr. Garcia on guitar."
stub courtesy lostlivedead

Unlike later Bottom Line appearances (in November '74 and April '75), these July gigs weren't early/late show arrangements.  Steeleye Span headlined the early shows, and "Merl Saunders & Friends" had the late shows.

The music is good, but most of it (with one notable exception) doesn't do it for me the way that a lot of '74 Garcia/Saunders does.  Part of it, admittedly, has something to do with the recording: given the circumstances, Jerry Moore's tapes of 7/2 and 7/3 are about as good as it was going to get, but it's still a recording made with mics hidden on a tabletop in a packed nightclub.  I also miss Fierro.  His playing polarizes a lot of listeners, but I think he was a talented player who fit well with the music and added some welcome color to the front line.

The Bottom Line was, at the time, the premiere rock & roll club in Manhattan, and, while I'm sure that a vaguely billed Jerry Garcia show (vaguely promoting an album on his own independent label) wouldn't have been the industry feeding frenzy that other Bottom Line showcases were, I'll bet that a whole mess of freaks came out of the woodwork.  I think the Bottom Line and the Keystone were roughly the same capacity rooms (400ish?), but the difference in atmosphere was probably night and day.  As Corry put it, "it was actually on the East Coast where the Dead became really huge, and Garcia became larger than life... the Dead could headline Madison Square Garden, and a few weeks later Garcia would play this bar [in Berkeley] where he had to walk through the crowd to get to the stage."  In addition to a hearty number of rabid heads who hadn't seen a local show in a while, the NYC chapter of the Hells Angels must have also been out in full force, not to mention anyone else who wanted a piece of Jerry (hell, John Lennon showed up drunk and belligerent when they came back in November).  So while it wasn't the Wall of Sound, I doubt it was a real relaxing time, either. Maybe all that's projection or conjecture that's unfairly coloring my impressions of this tape?  My impression is that they hit some high moments but don't really settle into the kind of sustained groove that was easier to conjure on more relaxed home turf, that vibe that carries the music along with it, until the second set of the final night.

We have no recording of the first night, and although there's a setlist, I wonder if any official tape exists -- Kidd Candelario had been taping the Dead's shows, but he probably would have been with the crew in Wisconsin, and I don't think Betty was working this tour at all.  For what it's worth, the NY Times review (above) liked it:
"The early show on Monday fulfilled the wishes of most of the Dead's fans present (and the late show that night apparently went even better). Mr. Saunders was satisfying virtuosic [sic], Mr. Garcia unleashed his customary brand of introverted and extroverted blues guitar, Maria Muldaur bounced onstage for a song, and in general the group blended jazz, blues, country and Dead funk in satisfying proportion." [1] [note: I think he means first/second set instead of early/late show]

7/2, the second night, has its moments, but I find it to be an inconsistent performance.  The first set is mostly strong but unremarkable.  My Funny Valentine gets the frothiest: after a fairly tame start, they get looser and woolier as they roll through its 23 minutes, but there's a bummer of a cut as Garcia is moving to the top of one his solos (@11:40ish).  Still, they slowly unmoor themselves from the song itself and boil to a spacey, tumbling climax, with Garcia trilling heatedly before walking down neatly back into the melody.  Very nice!  Roger "Jellyroll" Troy appears in the 2nd set to sing How Long Blues.  As far as guests go, he was an infrequent regular: we have tape of a couple of earlier sit-ins, and he was in the Howard Wales group that Garcia toured briefly with in Jan 72.  I'm not a big fan of Troy's singing style or his more aggressive bass playing (it reminds me a little of Jack Casady), but he was clearly a strong musician who was welcome onstage with some heavies (I see that Troy also guests on a Mike Bloomfield/Al Kooper Bottom Line recording from a few months earlier).  Garcia peels off a really nice solo in It's Too Late,  but nothing else in the set does much for me: After Midnight seems to never get off the ground, and My Problems Got Problems feels good but is much shorter than most other versions.  Garcia introduces Troy again at the end of the set, so maybe he's also sitting in for the closing How Sweet It Is?  A word for the audience, though: Moore's recording captures a crowd that's clearly hanging on every note, but is also listening hard and respectfully, with very little of the usual "Jerreee! Casey Jones! Dark Star!" hubbub.

Roger Troy 1/29/72 - courtesy GDAO
The last night, 7/3, is where something special happens.  The first set kicks off in high gear, but fumbles a bit at the end with a fairly leaden Mystery Train and a pretty sloppy but spirited Harder They Come with Maria Muldaur chipping in (I'm not hearing any second female vocalist like some setlists note).  The second set, however, is pretty unusual for the year, and is worth hearing both on its own terms and as a complement to some of the Dead's June 74 music.  Roger Troy returns for two more blues numbers, again with some questionable (imho) vocals but with ample space for Garcia to dig into some heavier blues, which sounds excellent.  But then Troy launches into a more upbeat bassline, kicking off a freeform (though not particularly spacey) jam that everyone pounces on.  The G/S band weren't strangers to exploring uncharted waters, but by '74 it had become less of a common practice, so this stands out as a late example of Garcia being willing to push the limits -- not surprising, given how often the Dead were doing this over the preceding weeks.  For as outsized as Troy could be on the straighter blues tunes, he's a great fit for the funky but less structured expedition here, just as he was on the 1/26/72 tape of the Wales/Garcia group.  While it's not at the superhuman levels of many of the Dead's June 74 improvisations (ahem), it's not just a funky blues vamp either, and they take enough twists and turns over the next 17 minutes to keep it interesting and consistently engaging; Garcia and Saunders pass the baton back and forth, Kreutzmann gets a solo, and after all of them dive back in for more, Garcia ends it masterfully by threading everything into an uptempo instrumental Summertime, a rarity that we have no recording of him playing since Jan '73.  How Sweet it Is closes the night again, this time with Muldaur joining on backup vocals and wishing everyone a happy Independence Day once it's done.  I can't tell if John Kahn returns to the bass or not, but either way, it's very unusual to hear nearly a whole set without him, particularly given how exploratory a lot of the playing is.
Garcia & Troy, 1/29/72, courtesy GDAO

For as far from the Keystone or the Lion's Share as they were, it's fitting that Garcia managed to end what must have been a pretty grueling tour with a return to the unstructured, after-hours club vibe that gave birth to this band in the first place.  Like the guy said years earlier, "nothing's weirder than coming to New York."

A final bit of color: here's another nugget from the NY Times on the Bottom Line, from a slightly later puff piece on the club's classy amenities and high-end sound system.  "Big acts like Jerry Garcia or Leonard Cohen have been guaranteed from $5000 to $7500,” reports the Times (not bad for a 400 seat club?), who also reserve a few words for the Bottom Line's kitchen. "For West Coast rock and roll, like Jerry Garcia, ordering will be heavy on pizza, french fries, and Heinekens." [2]

[1] Rockwell, John. "Dead's Fans Know Who a Friend Is."  The New York Times, 5 July 1974. Web.
[2] Walker, Gerald. "The Rock Road Leads to The Bottom Line." The New York Times, 4 May 1975. Web.


  1. What an awesome post - thanks!

    Not sure it's clear from your post, but there were early and late JGMS sets on the first night, per the review you cite.

  2. I noticed that, but I assume that the reviewer was referring to the first and second sets. The Bottom Line's chronology says Steeleye Span and the Pousette Dart Band played the early shows. fwiw, Corry cites this in his post on these shows as well. And both 7/2 & 7/3 are around two hours total, with setbreaks (the 7/1 setlist looks about the same) -- that seems unusually long for a single late show, especially if there had also been an early show.

    I hadn't taken a close look at the rest of the chronology, but it's amazing -- such an incredible variety of music!

    1. also, there's an eyewitness comment at this other blog ;) ...sounds like it was one (late) show, following Steeleye Span:

  3. There was also a piece in Record World around this time confirming early and late shows the first night.

    1. um, well, I dunno. Given all the old evidence available, I still think "early and late shows" could mean first/second set, for all the reasons already given. It seems to me like a more of a stretch to assume that G/S somehow squeezed in another set than to assume that their 2-set late show was misreported as being early & late shows by journalists that were used to a traditional early/late show format. And it does seem pretty established that Steeleye Span actually played: besides Dave Tamarkin's eyewitness account, there's also an FM broadcast of one of their shows.