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Post by kate on Jul 12, 2014 21:29:26 GMT -5
The Spring 90 tour is one of a handful already recognized as supreme from a 30-year career of prodigious touring; thus, the addition of a talented jazz performer - meaning, to my admittedly untutored mind, at heart a true 'listener' who plays reactively, rather than by rote - was particularly fortuitous on the night of 3/29; great link Jim.
However, a second box set is a bit much for my predominantly '70's preferences, especially as I already own the first release (which encompasses 6 full shows); or, as I posted on deadnet earlier, I've found the GD saturation point that I didn't really believe existed...nonetheless, I shall certainly purchase 3/29 separately. For a band whose operative performance paradigm was deeply rooted in improvisational play, Branford's addition for a song and a subsequent full set constitute a must-have acquisition./k
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Post by musicman on Jul 13, 2014 21:19:31 GMT -5
I just don't see the Dead with Marsalis! But that is just me. Guess I need some more of that Seattle/Denver grass huh?
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Post by Admin on Jul 14, 2014 9:08:23 GMT -5
I just don't see the Dead with Marsalis! But that is just me. Guess I need some more of that Seattle/Denver grass huh? Hmmmm...I can't see Marsalis playing with the Dead! But then I listened to the following: Marsalis is kind of overshadowed isn't he? Check the video at 5:00.
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Post by Pistol Pete on Aug 17, 2014 5:02:36 GMT -5
I was interested to come across this article in last month's Uncut about the extended re-release of Grayfolded - an album by John Oswald which attempted to create a 110 minute 'ultimate' version of Dark Star by piecing together multiple improvisations from the Dead's history. The re-release is a triple vinyl LP with extra sections that didn't appear on the original 1994/5 CD releases! [laughing] So the question has to be, was the 23 minute version on Live Dead not long enough in the first place?
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Post by rooster on Aug 19, 2014 20:18:44 GMT -5
I count myself among the fans of the Grateful Dead. I have been enjoying their music for a good number of years, now and it seems to me that a longer version of "Greyfolded" amounts to overkill. I've never really been a fan of music that has to be created inorganically. Editing and stitching all of those "Dark Star" versions together doesn't really interest me much. The Grateful Dead created music that flowed on it's own. They got into many jams on many themes that seemed to go on and on, but as a general rule, when an idea played out they let it go and moved on to something else. Certainly, the 23 minute version on "Live/Dead" is long enough. So is the 29+ minute version they played on February 13, 1970 at The Filmore East (14 minutes of which was mixed into the "Greyfolded" construct) and again so is the over 35 minute version played at Winterland on November 11, 1973. Each "Dark Star" is unique in and of itself. The ones I mentioned are officially released. We're not even bringing into account all of the bootlegged concerts that exist. I think somebody needs to say stop. There are enough versions of "Dark Star" now, without "Creating" new ones, that were never actually played by the band.
rooster
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Post by Pistol Pete on Aug 23, 2014 2:28:43 GMT -5
I've never really been a fan of music that has to be created inorganically. Editing and stitching all of those "Dark Star" versions together doesn't really interest me much. I'm interested to know why you feel it's less organic than the stitching together of songs from multiple shows to make Live/Dead or the widespread use of studio overdubs on similar 60s & 70s live albums? Is it because it's John Oswald's vision of how Dark Star should sound rather than Jerry Garcia's?
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Post by rooster on Aug 23, 2014 12:54:01 GMT -5
I've never really been a fan of music that has to be created inorganically. Editing and stitching all of those "Dark Star" versions together doesn't really interest me much. I'm interested to know why you feel it's less organic than the stitching together of songs from multiple shows to make Live/Dead or the widespread use of studio overdubs on similar 60s & 70s live albums? Is it because it's John Oswald's vision of how Dark Star should sound rather than Jerry Garcia's? As to your first question, I think it has to do with the approach taken, that is macrocosmic vs. microcosmic. Taking songs from various concerts to produce an LP is a macrocosmic endeavor. The multiple songs making up the album are complete, in and of themselves, as intended by the band. Taking multiple versions of a single song and stitching them together to create something else is a microcosmic process. the "Song" that was created (for instance, in the case of "Greyfolded") wasn't a something the band really had anything to do with. Phill Lesh (Grateful Dead Bassist) apparently had the original idea and it was he who gave one hundred versions of "Dark Star" to Oswald to create this Frankenstein's Monster. After the initial passing of the raw tapes, neither Lesh nor anyone else in the band had any real involvement with piece. Therefore, there was no organic growth of the song by the group itself out of ideas they themselves put into effect. In the case of overdubs, that's something a band does to make a song more appealing (if only to themselves). It's still the band (or a member of the band) that has the final say on what said overdub eventually sounds like within the concept of the song itself. In regard to your second question, "Dark Star", being in the main a largely improvisational piece was the vision of each individual member of the band and not merely Garcia's. What Oswald has done is created a sound collage. In my view, nothing better or worse than the sampling done by rappers. Oswald like those rappers, hasn't created anything new. He has simply rearranged that which had already existed to his own purpose. It's not much different than when Hollywood gets hold of a book and makes a movie of it. Those people who have read and loved the book generally dislike the movie, because of what's been removed, what's been added and what's been rearranged. rooster
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Post by rooster on Aug 25, 2014 9:41:33 GMT -5
if anyone wants to sample a little grateful dead while their surfing Around and Around, try this: www.gdradio.net/rooster
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Post by kate on Sept 12, 2014 22:52:13 GMT -5
Since my last visit, the site has certainly established itself as a reliable jazz-blues forum. Given the universe of diverse alternatives in the ether, securing a consistent - if intimate - base of informed, energetic posters with regards to any genre is an admirable accomplishment. However, there isn't much appetite or appreciation for cross-pollination, as reflected by limited participation outside those main threads, as well as comments regarding Marsalis and the Dead on that apocryphal night of 3/29. Indeed, I'd have thought their collaboration to be a match made in heaven, which it was - perhaps the last, great show ever performed by the band; though the circus maintained for another 5+ years. The jazz paradigm, typified by an extemporaneous ensemble discourse, is the predominantly defining characteristic of the Dead's 3-decade touring career. That BM and the GOGD weren't familiar with one another, let alone hadn't practiced together, prior to the former's ad hoc invitation to perform, is an indication of shared aesthetic values and universal technical excellence among all musicians on stage that magical evening.
Jim's apparent absence is a significant void; if you're out there J: thanks for your warm welcome when I first stumbled in from the cold and I hope all is well./kate
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Post by JamesP on Sept 13, 2014 12:09:21 GMT -5
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Post by JamesP on Sept 13, 2014 12:11:55 GMT -5
Jerry Garcia gets heckled for playing Country Music
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Post by tom1960 on Nov 5, 2015 10:55:40 GMT -5
I recently picked up some of the Dick's Picks. Most notably Dicks #34 Rochester, NY, Dicks #3 Pembroke Pines, Florida, Dicks #19 Madison, Wisconsin/Cedar Falls, Iowa and The Road To Terrapin Hartford '77. These recordings have been a real revelation to me. While I've been a fan of the Dead's music and even attended a couple shows back in the late 80's(?), I never once considered myself a Deadhead. Some of this stuff is just plain incredible. Jerry's playing and of the band itself is top notch. I've understood that '77 was a great year for The Dead. No denying that after hearing these recordings. You can say I've been on a real Grateful Dead obsession recently. As a hardcore jazz fan, that has taken a back seat until I somehow shake this. Not a bad thing of course.
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Post by JamesP on Nov 6, 2015 15:25:26 GMT -5
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Post by JamesP on Nov 21, 2015 16:37:03 GMT -5
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Post by JamesP on Nov 21, 2015 16:37:42 GMT -5
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