1/26/72 setlist (outer space regions)

Howard Wales in Buffalo, 1/29/72, by Phil Simon (GDAO)

For the anniversary of this show, and in belated memoriam for Howard Wales, it is time to clean up my listening notes and correct some longstanding setlist confusion.  For background, context, and commentary about all things Jerry Garcia & Howard Wales, I direct you to:

http://jgmf.blogspot.com/2010/12/hwjg-quick-question-on-january-72-east.html
http://lostlivedead.blogspot.com/2011/01/hooteroll-when-was-it-recorded.html
http://jgmf.blogspot.com/2011/01/response-to-llds-hooteroll-when-was-it.html
https://archive.org/post/357084/jerrys-jazz-style-howard-wales-tour-pitb-march-72

I am not going to comment much on the quality of the music itself, but I have to emphasize up front that this set is hot.  Hot hot hot.  Garcia is playing out of his skin, in prime 1972 flight for almost all of it.  Wales, of course, is a mad genius, and this is likely the closest we'll ever get to hearing what it might have sounded like if he had actually joined the Dead instead of Keith Godchaux.  Jim Vincent (guitar), Roger Jellyroll Troy (bass/vocals), and Jerry Love (drums) more than hold up their end of the bargain.  They had been together as Wales regular gigging quartet for over a year at this point, and while Garcia and Wales understandably attract the most attention, everyone else does a top-drawer job.

My goal is to propose a more accurate setlist than the one that has been around at least since the Deadbase days, and that still lives on in Jerrybase, jerrygarcia.com, and the latest digital fileset (the earlier one is better, fwiw).  My guess is that either the taper himself or some well-meaning goober somewhere down the line did his best to cobble together an impressionistic semblance of what he was hearing, with nary a thought for any future obsessive nerdherders like me who might be fretting over it almost 50 years (!) later. 

Observation/theory #1: This tour was over a year removed from the recording of Hooteroll? and the general vibe of the music here actually reminds me less of Hooteroll? itself and more of the music from Roger Troy's own Jellyroll album (released in 1971, albeit with none of these musicians).  I'm not sure to what extent the performances on Hooteroll? were arranged in advance, but -- as loose as they are -- the music on that album sounds a little more planned out than most of the music here, a lot of which sounds like jams on a one chord groove.  That's not to say it's not exciting and compelling music!  But I don't think it's a stretch to think that a fair portion of this show is totally improvised.  By all accounts, Wales' MO was jamming without a net, and Jim (James) Vincent recalls in his memoir Space Traveler that the group rehearsed with Garcia exactly once prior to this tour.  

So here goes.  If anyone is hearing anything else or can identify some piece of music, please let me know!

d1t01. South Side Strut - the tape starts off with everyone getting the noodles out, a weather report (doesn't sound too awful for Boston in January), and the MC welcoming the group.  "South Side Strut" was the only single from Hooteroll? and is played here in a more stripped down arrangement (Wales plays the horn melody).  So far, so good.

d1t02. unknown mellow groove (Dm) (mislabeled "Up From The Desert").  This is not "Up From the Desert" from Hooteroll?, which has a distinct chord progression and is in a different key.  What they play here is mostly a D minor vamp with a mellow "Riders on the Storm"-ish kind of jazzy feel.

d1t03. One AM Approach - basically the same as the Hooteroll? performance, a meditative cosmic duet between Wales on Fender Rhodes piano and Garcia.  Sublime.  Of course this is when the DJ takes the opportunity to do his station ID (insert eyeroll emoji).

d1t04. unknown blues-rock (Em) ("Come On Baby > Jam > Outer Space Regions")  Observation/theory #2: I suspect that most of Troy's lyrics are mostly improvised, kind of like what Sarah Fulcher would later do with Garcia/Saunders.  Troy does have a song called "Come On Baby" on his Jellyroll album, but this isn't it.  The "chorus" of what Troy sings in this jam is "come on back child, come on back girl," but that's the chief similarity with the album cut. 

This is where the tape labeling gets a little squiggly.  The track begins with Wales playing simple E blues riff, and Troy starts playing a bassline.  They cruise on an E minor blues-rock groove.  Troy starts singing over this -> Wales solos -> more vocals -> Jerry solos, and things slide into A major and then get spacey -> more Troy vocals.  @6ish min the beat doubles up; Troy sings "get on down to the railroad tracks..." and the guitarists take solo breaks over the drums (still playing the blues in E minor) -- this is pretty uptempo, and pretty shredding.  Towards the end it kiiind of wanders back to Troy's initial groove, but not really.  This segues into...

d1t05. Troy plays a short bass solo.

d1t06. funk instrumental (G) (labeled "Get Funky Brother") - After Troy's brief solo, there's a quick drum break, then Troy announces “We’re gonna do something extraordinary - ha ha! - get funky, drummer, get funky!” which leads into a funky instrumental in G.   It follows the basic James Brown template, i.e. a complex drum pattern, a simple bassline, and the two guitarists playing call & response figures, while Wales solos over all of this.  It's not much of an arrangement, but I don't think it's being totally improvised on the fly.  After 5 minutes it dissolves into spaciness for about a minute; Vincent takes the wheel from Jerry briefly, then everything gets quiet...

d1t07. Wales solo (mislabeled "A Trip to What Next") - ...and this track starts with 30 seconds of full-band space, then drops out into a mostly a Wales unaccompanied solo on Hammond B3.  This is wild, ranging from from Sun Ra to Sunday morning gospel and everything in between.  I'm not sure how this got labeled "A Trip to What Next" (another Hooteroll? tune) but I'm not hearing any connection to this wild solo.

d1t8. My Blues (mislabeled "Would You Leave Me") -> blues in G ("Wales' Boogie")
Two songs here on this track.  The first is actually a Wales original called "My Blues," the b-side to Wales' "Huxley’s Howl" single (see below) and also on his later Rendezvous with the Sun lp.  It's a nice, slow, soulful instrumental.  This segues into a brisk blues instrumental in G with a pretty simple riff and the usual blues changes.  I don't know what this is (if it's anything), so "Wales' Boogie" might as well do for now.  In the last few seconds they move into E minor (?), which sounds like it could be a bridge, but instead the tune just ends somewhat abruptly.

d1t09. Garcia announces, “thank you very much, I’m gonna sit out for a while and let these guys play for you for a while.  This is Howard Wales playing the organ here.  And Jim Vincent playing guitar.  Jerry Love playing drums.  And Jellyroll playing bass.”  The tape cuts--

d2t01.  --and the DJ welcomes us back: "Howard Wales is just beginning a solo set."  The broadcast fades into

d2t02. "Get Down Mama" - a blues-rock shuffle in progress, with most of the song missing.  It fades in on Troy's vocal, then Vincent solos, then more vocals.  I don't know if "Get Down Mama" if really the name of this, but based on Troy's lyrics, it's a good guess.  Anyone recognize it?  When they finish, Troy addresses all the deadheads: “Thank you.  Jerry’ll be back in a few minutes, he wanted to get off and fix his guitar, all right?”

d2t03. Huxley's Howl (mislabeled "DC 502") -- The track begins with a minute and a half of spacey noodling by Wales on Fender Rhodes, before the tune begins.  "Huxley's Howl" is a Wales original released on a pre-Hooteroll 45rpm single.  There's no relation to "DC 502" (a song from Hooteroll?) that I can hear.  Vincent’s solo here is pretty angular, advanced jazzy stuff. 

d2t04. drum solo -> 

d2t05 - Huxley's Howl, cont ("DC 502") - they jam the tune some more, never returning to the head, but it's still basically the same song.  If I were retracking this, I'd just lump these last three tracks together.

d2t06-07 - They tune up, and Troy says, “Since we’re being way up north and east, uh -- do you like the blues?  Them people down south, they don’t know.”  Yeah, I bet.
Blues medley: over a slow blues, Troy sings a verse of "Sweet Little Angel" (BB King), a verse of "Sweet Cocaine" (not sure), and then a third verse that I don't recognize (labeled here "Shine On Love").  Labeling these as three separate songs seems like it's missing the point.  I'm sure Troy is either just singing whatever comes to mind, or it's a blues medley that he sang before.  I'm not sure what variant of "Sweet Cocaine" he's singing, or if he's just riffing on his own thing.  Wales and Vincent both take solos in here.

d2t08 - Garcia returns and Troy introduces everyone.  Then they start a one-chord groove in G, pensive, with a kind of an early electric Miles Davis feel.  It dissolves into spacier arrhythmic playing (i.e. more like a GD "space") ->

d2t09 - starts off in space still (again, I wouldn't track this as anything separate).  Garcia’s off on his own spacey jag when Troy starts a bassline (about 1:20 in) that everyone else locks into and things groove along still in G.  Jerry is wailing over this with some heavy wahwah.  This groove provides the loose backbone for the jam, all while Garcia takes the lead in playing over the top.  The groove pulls up and stops, as Jim Vincent comes to the fore with a big countryish/wahwah trill

Someone labeled some part of this "Fighting for Madge," presumably after the Fleetwood Mac track from Then Play On.  That track was an except from a one-chord blues jam (in B), a pretty fiery duel between Peter Green and Danny Kirwin.  I can see why someone might hear a similarity -- but it's not what they're playing here.

d2t10 - The drums double up the beat, and this leads into a new groove, but it's still basically just a one-note thing in G.  Wales takes the lead.  The beat shifts into a Bo Diddley kind of syncopation (think Not Fade Away), and at 3 minutes Troy starts singing an assortment of Bo Biddley lyrics, but mostly "You Can't Judge a Book" (note that the band follows the changes of the tune).  This jams until the end.  Troy introduces everyone again. 

d2t11.  blues-rock in E ("Gypsy Woman")  The audience calls for an encore.  I hear someone holler for Sugaree.  Troy starts a hard-driving blues rock tune in E with Troy vocals - again, this sounds more like free associated lyrics than an actual composed song.  It lasts under two minutes, then Troy breaks for an audience clap-along, and then the groove breaks apart into something more Walesian and fusion-y.  Everyone gets a solo break, then they land on a big sustained ending chord.  

So, what's the setlist already?

How's this?

1/26/72 Symphony Hall, Boston, MA

South Side Strut >
unknown jazzy (Dm) >
One AM Approach
unknown blues-rock (Em) >
bass solo >
unknown funk (G) >
organ solo >
My Blues >
blues instrumental (G)
- (Garcia out)
"Get Down Mama"
Huxley's Howl
Blues Medley
- (Garcia in)
unknown jazz/space/rock (G) >
You Can't Judge a Book
e: "Gypsy Woman"
 

Not terribly satisfying, perhaps.  But at least you can fix some errors.

1/29/72, by Phil Simon (GDAO)

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.