I'm 51. I've loved music for almost all of my life. I make music, I've studied it and delved into some of its fascinating realms. But I've never gotten into the GD. Recently I've been meaning to take the plunge. Your article has pushed me closer to it. Thanks and cheers.
I’m really pleased to read this, Ivan, thank you! I hope you enjoy the trip, and if you’re up for it, please share the result of your plunge—positive or negative!
A wonderful post Syd. Thank you! I'm 71 and in my late teens and not really that aware about different genres of music I got into the Dead at pretty much the same time as electric Miles and Coltrane. For some reason I was drawn to music with a high degree of improvisation and sonic experimentation and therefore it all made sense to me. The first times I got to see Miles were in 1969 (BBC recording at Ronnie Scotts) and 1970 (at Isle of Wight) the Dead in 1972 (Lyceum) and 1974 (Alexandra Palace). You're absolutely spot on about the Herbie/Miles/Capt Marvel/RTF influence on this period. I think Keith Godchaux was another conduit for this. (You picked out two of my favourite Dicks Pick's btw). Both the Dead and Miles were very important in bringing together different musical universes - Ornette Coleman, Stockhausen, Chuck Berry, The Carter Family, Sly Stone, Charles Ives etc etc. It seems very much the world now occupied by musicians like Bill Frisell, Julian Lage, Ambrose Akinmusire, Sam Amidon, Nels Cline and Esperanza Spalding.
Seeing that Fillmore West poster reminded me of Phil's memories of the gig from his biography:
".....we played a four-night stand at the Fillmore West, when we were faced with the unenviable task of following the great Miles Davis and his most recent band, a hot young aggregation that had just recorded the seminal classic Bitches Brew. As I listened, leaning over the amps with my jaw hanging agape, trying to comprehend the forces that Miles was unleashing onstage, I was thinking, What's the use? How can we possibly play after this? We should just go home and try to digest this unbelievable shit. ......... In some ways it was similar to what we were trying to do in our free jamming, but ever so much more dense with ideas — and seemingly controlled with an iron fist, even at its most alarmingly intense moments. Of us all, only Jerry had the nerve to go back and meet Miles, with whom he struck up a warm conversation. Miles was surprised and delighted to know that we knew and loved his music; apparently other rockers he'd shared a stage with didn't know or care."
Thanks for sharing all of this, John. It sounds like you had the opportunity to see some fantastic gigs at a time when musicians were making up new rules along the way before tearing them up to write even newer ones—exciting stuff! We’re lucky that so much of the music from those times has been carefully preserved for us to enjoy now. And I agree that the spirit lives on in many modern artists, which bodes well for the future!
I saw the Dead in 1974 at the Iowa State Fairgrounds. The “Wall of Sound” really worked well in an outdoor setting. Alas, the cost of moving, setting up, tearing down and keeping that many bits up to snuff proved too much. They sold off parts and kept some others. But it really was something else compared with the usual sound reinforcement systems of the day.
It was a tech marvel, and anybody I’ve talked to who saw one of those shows raves about how amazing it sounded. Wish I could’ve seen one of those gigs.
I don’t believe that jazz is a style. It’s an operating system, a way of thinking about music and making it. That stance makes all genre labels safe, ok, and/or meaningless. By that yardstick, I saw the GD as a jazz band. Thanks, Syd.
I agree that this is another good point of entry. Though, to be honest, there’s a little too much reliance on the two-note vamp when the tune wears out its welcome—shave off a couple of minutes from that and it’d be much stronger. IMNSHO, of course.
Great article, Syd. Jazz and the Dead sat comfortably next to each other on my system this morning as I went from Art Pepper & George Cables Tête-Á-Tête to Grateful Dead at Texas Christian University 11/14/71, that has some great improv in the second set. You may have forgotten this but when I finally decided I wanted to do a Dead deep dive I asked you for a list of 10 shows and 10 "Dark Stars" that I should start with. You kindly (and quite rapidly) provided me with that list and I used that to get started on what has been a rewarding and ongoing journey with their music. Thanks for sharing your thoughts and insights here!
I'm 51. I've loved music for almost all of my life. I make music, I've studied it and delved into some of its fascinating realms. But I've never gotten into the GD. Recently I've been meaning to take the plunge. Your article has pushed me closer to it. Thanks and cheers.
I’m really pleased to read this, Ivan, thank you! I hope you enjoy the trip, and if you’re up for it, please share the result of your plunge—positive or negative!
A wonderful post Syd. Thank you! I'm 71 and in my late teens and not really that aware about different genres of music I got into the Dead at pretty much the same time as electric Miles and Coltrane. For some reason I was drawn to music with a high degree of improvisation and sonic experimentation and therefore it all made sense to me. The first times I got to see Miles were in 1969 (BBC recording at Ronnie Scotts) and 1970 (at Isle of Wight) the Dead in 1972 (Lyceum) and 1974 (Alexandra Palace). You're absolutely spot on about the Herbie/Miles/Capt Marvel/RTF influence on this period. I think Keith Godchaux was another conduit for this. (You picked out two of my favourite Dicks Pick's btw). Both the Dead and Miles were very important in bringing together different musical universes - Ornette Coleman, Stockhausen, Chuck Berry, The Carter Family, Sly Stone, Charles Ives etc etc. It seems very much the world now occupied by musicians like Bill Frisell, Julian Lage, Ambrose Akinmusire, Sam Amidon, Nels Cline and Esperanza Spalding.
Seeing that Fillmore West poster reminded me of Phil's memories of the gig from his biography:
".....we played a four-night stand at the Fillmore West, when we were faced with the unenviable task of following the great Miles Davis and his most recent band, a hot young aggregation that had just recorded the seminal classic Bitches Brew. As I listened, leaning over the amps with my jaw hanging agape, trying to comprehend the forces that Miles was unleashing onstage, I was thinking, What's the use? How can we possibly play after this? We should just go home and try to digest this unbelievable shit. ......... In some ways it was similar to what we were trying to do in our free jamming, but ever so much more dense with ideas — and seemingly controlled with an iron fist, even at its most alarmingly intense moments. Of us all, only Jerry had the nerve to go back and meet Miles, with whom he struck up a warm conversation. Miles was surprised and delighted to know that we knew and loved his music; apparently other rockers he'd shared a stage with didn't know or care."
Thanks for sharing all of this, John. It sounds like you had the opportunity to see some fantastic gigs at a time when musicians were making up new rules along the way before tearing them up to write even newer ones—exciting stuff! We’re lucky that so much of the music from those times has been carefully preserved for us to enjoy now. And I agree that the spirit lives on in many modern artists, which bodes well for the future!
I saw the Dead in 1974 at the Iowa State Fairgrounds. The “Wall of Sound” really worked well in an outdoor setting. Alas, the cost of moving, setting up, tearing down and keeping that many bits up to snuff proved too much. They sold off parts and kept some others. But it really was something else compared with the usual sound reinforcement systems of the day.
It was a tech marvel, and anybody I’ve talked to who saw one of those shows raves about how amazing it sounded. Wish I could’ve seen one of those gigs.
I don’t believe that jazz is a style. It’s an operating system, a way of thinking about music and making it. That stance makes all genre labels safe, ok, and/or meaningless. By that yardstick, I saw the GD as a jazz band. Thanks, Syd.
Well said, sir! I'm glad we had the chance to see them together back in the day.
Great article, Syd!
Q: "Where should jazz fans looking to go deeper with the Dead go?"
A: The "Eyes of the World" with Branford Marsalis from Without A Net would be my Exhibit A.
https://youtu.be/NSDfn8GmDkc
I agree that this is another good point of entry. Though, to be honest, there’s a little too much reliance on the two-note vamp when the tune wears out its welcome—shave off a couple of minutes from that and it’d be much stronger. IMNSHO, of course.
Great article
Thank you!
Great article, Syd. Jazz and the Dead sat comfortably next to each other on my system this morning as I went from Art Pepper & George Cables Tête-Á-Tête to Grateful Dead at Texas Christian University 11/14/71, that has some great improv in the second set. You may have forgotten this but when I finally decided I wanted to do a Dead deep dive I asked you for a list of 10 shows and 10 "Dark Stars" that I should start with. You kindly (and quite rapidly) provided me with that list and I used that to get started on what has been a rewarding and ongoing journey with their music. Thanks for sharing your thoughts and insights here!
-Howard P
Thanks HP! I hope that list served you well (and continues to) or I’ll need to create a new one for you!
And let us not forget David Murray. https://youtu.be/FDCe6LPsras?si=yg3Z2jbGzgndAK1c
never!
Spot on, thanks. Funny, the dead were my conduit to jazz...Miles, coltrane, Don Cherry, mingus, dolphy etc...I'm most grateful for that