05.19.1989 Irvine Meadows
Irvine, California
Friday
5th JGB Band Performance of 1989
May of 1989 was in many
respects a month of transition for Jerry Garcia. Having just
finished the final Spring 1989 shows with the Grateful Dead, Jerry
was strapped into mostly average performances. His improvisation was
getting to be a bit predictable and short. He seemed to lack overall
enthusiasm in his performances. Despite two above average JGB
performances (1.27.1989 and 3.3.1989) and one exceptional JGB
performance (1.28.1989) Jerry’s overall Dead performances through
mid May of 1989 were not his finest. Ultimately Jerry would bring
back Dark Star in the Fall of 1989. Obviously the Grateful Dead did
not seem ready for Dark Star’s improvisational requirements
through May of 1989. The improvisational vehicles of PITB, The Other
One, and Space, while interesting at times, lacked any indication
that Jerry was even interested in the complex improvisation required
with Dark Star at the conclusion of the Dead’s 1989 Spring Tour.
The JGB, on the other hand, showed a very different side of Jerry.
In his JGB performances on 1.27, 28, and 3.3.1989 (3.4 unfortunately
does not circulate) Jerry’s overall enthusiasm was much higher on
average, and the overall typical show for the JGB was above average.
Despite the song predictability of the JGB from show to show, Jerry
seemed more energetic than in his typical Grateful Dead performance
through May of 1989. While I certainly understand that the JGB and
the Grateful Dead were two very different bands, I firmly state that
Jerry’s best performances whether with the Dead or the JGB
occurred when he was impressively improvising. The Grateful Dead
through May of 1989 did not feature exceptional or even above
average improvisation from Jerry as a whole. In particular, the
crown jewel of the 1989 JGB performances into May of 1989 was Don’t
Let Go. It was in Don’t Let Go that Jerry expanded beyond the
typical and emitted deep improvisation. From an improvisation
perspective, the versions of Don’t Let Go on 1.27, 1.28 and
3.3.1989 stretched well beyond any improvisation Jerry had provided
in any other Grateful Dead performance through May of 1989. As such,
an argument may be made that Jerry’s preparation for Dark Star
began not with the Grateful Dead, but rather with the versions of
Don’t Let Go within the JGB. Indeed, on May 19, 1989 the JGB put
forth another nearly exceptional show. But more importantly, on May
19, 1989 Jerry put forth likely one of the deepest and most
psychedelic displays of the late 1980s with a stellar version of Don’t
Let Go. The ensuing Grateful Dead shows in the Summer of 1989 were
typically more energetic and interesting, and filled with more
improvisation (albeit not as deep as with the Don’t Let Gos).
While exceptional shows were still hard to come by, above average
shows would become the norm. As such, May of 1989 marked the closure
of a very average Jerry run, and the beginning of a tremendous Jerry
run that some say stretched through 1992, and some argue was Jerry’s
last great stand. Based on the 5.19.89 version of Don’t Let Go, I
would purport that this was the beginning of that run.
The May 19, 1989 show began
with How Sweet It Is. Immediately noticeable is that Jerry sounds
very happy. His singing is filled with swells of moans, and the band
behind him seems equally exuberant. The first solo has Jerry running
through relatively typical progressions, but each progression seems
to have that extra bit of note flavor suggesting Jerry was more than
testing the waters but avidly swimming. The ensuing Seals solo is
very well done. He maintains the nice feeling generated by Jerry and
increases the overall intensity. Jerry dives back into his
improvisation at the conclusion of Seals’ solo, and creates a nice
conclusion to this version. The band sounded very tight and happy to
be where they were at this point in the show.
Next is Stop That Train.
This version seems a bit more contemplative than the January
versions as Jerry’s solo is a bit slower and filled with more
direct flavorings than fast progressions. Considering that this was
only the second song of the night for Jerry, he clearly was on top
of his game and very interested in stretching the norm of at least
this song.
Jerry next reaches beyond
slow paced improvisation with Get Out of my life woman. The pacing
is very bouncy and the harmony from Gloria and Jaclyn is as usual
nearly perfect. Jerry’s solo switches from the bouncy groove to a
digging bluesy sound. His progressions were filled with sassy note
progressions. While not explosive or overly aggressive, this first
Jerry solo was well done. Seals’ solo maintains the bluesy sound.
Jerry’s rhythm through Seals’ solo is quite pronounced and still
sassy and edgy. Seals reaches some nice peaks but nothing overly
impressive. Jerry’s second turn begins with some very nice note
bendings that leads to a climax filled with fanning and an overall
increase in the song’s intensity.
Next is Run For The Roses.
The song portion is flawless and the harmonies still shine through.
The Jerry solo has some nice runs in it but none that stretch beyond
average. Each run through the chords of the jam has Jerry nearly
reaching impressive note runs but which fall short of sending this
version over the top.
Jerry next reduces the pace
with I Shall Be Released. The song is flawless with moaning Jerry
vocals backed by beautiful harmony. The first Jerry solo is slowly
paced and very contemplative. His guitar expressions is nearly
morose, but filled with complicated and very interesting note
progressions. Another example of Jerry’s exquisite interpretation
of Dylan. The second Jerry solo begins with a faster pace. He drives
into a grooving display of improvisation that slowly but surely
increases the intensity of the song. The jam ends with a dramatic
spackling of notes. Not enough can be said of Jerry’s
interpretation of Dylan. This version is a prime example – the
singing is nearly indifferent yet filled with emotion, the first
guitar solo is slow and careful but interesting, and the second
guitar solo provides a different interpretation that culminates in
an emotional zenith. For the most part it certainly is ineffable and
words don’t do the justice that ears are capable of. This version
of I Shall Be Released was the first exceptional song of May 19,
1989.
As if in sarcastic reply to
the dark meaning of I Shall Be Released, the next tune is Hope It
Won’t Be This Way. Again the song portion is flawless. The Jerry
solo is again sassy and bluesy. As a whole though, this Jerry solo
doesn’t reach any interesting moments.
Deal ends the first set. It
starts out with very accelerated beginning. Jerry’s vocals are a
bit hoarse, but again the harmonies compensate beautifully. The
first Jerry jam is filled with very nice flavorings and speed. The
main jam first theme is a driving jam that reaches a nicely flavored
peak. The second theme is a chopping attack that achieves another
nicely flavored peak. The third theme starts out slowly but
eventually rises to another driving jam that surges and gains speed
as it progresses. This third theme peaks with a dramatic cycling of
high notes from Jerry that is nothing short of classic Garcia. The
fourth theme is a nice descent to the vocal finale. With three
impressive peaks during the main jam, this version of Deal was the
second exceptional song of the night.
The conclusion of this
first set marked another well above average Jerry performance.
Despite only two exceptional songs (I Shall Be Released and Deal)
the set displayed a happier and more improvisation driven Garcia
than the typical Grateful Dead performance through May of 1989.
The second set starts with
Harder They Come. The first Jerry solo is quite average, however, as
his progressions fail to stretch beyond typical. The ensuing Seals
solo is the Jimmy Buffet sounding solo that is nearly verbatim in
sound to previous versions. Jerry’s second solo barely increases
in pace and again fails to reach any peaks. Not the best start to
this second set.
Next is Waiting For A
Miracle. This version is quite relaxed but effective. The song is
tight, but not aggressive (in striking contrast to the 1.28.1989
version). Jerry’s solo is by no means filled with aggressive or
statement flavors, but the calm approach is consistent with the song’s
pace. Still, this version is perhaps just a bit too calm for my
taste.
Jerry next returns to Dylan
interpretation with Simple Twist of Fate. This version is exquisite.
Jerry’s first solo is slowly paced and is nearly a tippy toe
spinning web. The second Jerry solo increases in pace and is more
poignant in its attacking of the notes. Still the pace remains true
to the song and is impressive not in the pace but rather in Jerry’s
careful and precise note placements. John Kahn provides an extended
bass solo as well that couldn’t be better. Kahn’s solo is
contemplative funky as his notes reach a soothing yet unnerving
zone. As this extended solo concludes, Jerry leaps up and provides a
dramatic conclusion to the song. As noted above, this is another
mind numbing Dylan interpretation from Jerry.
Next is the highlight of
the night and clearly the highlight of 1989 through August of 1989
– Don’t Let Go. This version is about 22:50ish minutes. The
vocals are harsh as Jerry’s voice was at best haggard, but the
ensuing jam was one of the finest Jerry solos I’ve heard. As a
whole the jam is quite layered with numerous themes, but may be
summarized as the return of roaring and scalding Garcia. This
amazing jam starts out with jazzy theme that Jerry that stretches
for a good 4 or 5 minutes that has him racing up and down his fret
board with dashes, stabs and sprints, and also slowly developed
runs. This is a wide open theme from Jerry that definitely was
headed toward a deeper zone. Jerry’s improvisation here was
extremely impressive as each mini jam within this first theme
reaches small peaks that blur into another mini jam. Ultimately as
this theme extends, Jerry paints a deeper and deeper picture. The
2nd theme has him slowing pace a bit and getting less jazzy and more
spacey. This theme starts with less note runs but more note bendings
and chord blasts. Jerry eventually starts jabbing notes with Seals
back and forth lending an agitated or aggressive theme – all the
while still opening things up. The 3rd theme has Jerry returning a
bit to the jazzy jam by sprinting with a familiar sound – but the
jam has changed because now the band is spacey and Jerry is cruising
– a very nice contrast (before jam and jam). Jerry starts 4th
theme with a retreat to a slower pace again, but with a more wah wah
feel that lends psychedelic twist. At this point the band nearly
stops behind him wondering where he was going. The pace drops a bit
as Jerry nearly stops. Jerry easily could have returned to Don’t
Let Go here, but doesn’t. Seals picks up a theme that is groovy
but a bit insecure and Jerry pounces on this opening with a demented
series of notes that sound nearly frightened. Eventually Jerry
twists this direction into a cyclical bluesy groove. This leads to
an extended Jerry run that has structure, but barely, and is filled
with uncertainty. The 5th theme becomes more grisly in sound as
Jerry starts dashing in several directions – each with very
interesting progressions. The effect is a trapped or confined feel,
as if Jerry was locked in too tight of a parameter. Jerry’s note
dashing eventually causes the confines of the parameter to diminish
and implode upon itself. This part of the jam is extremely deep and
reeks of 1972 Garcia. As this jam ends, the opportunity to reach
back into Don’t Let Go presents itself again, but Jerry pushes it
even further with a sixth theme. The 6th theme has Jerry switching
more reverb on his guitar sound, and while staying at the mid to low
range of his fret board just grind the jam in one spot. This was
different than the previous theme in that during theme 5 he was
dashing to open up the space, here in the sixth theme he pretty much
remained in one spot and melted into a grisly cesspool. As he
grinded and echoed in this spot, the band furtively came back closer
to him. The jam develops into an intense and dark drift with Jerry
reaching zones that he nightly nailed in Fall 72. After this melt
down he emits some very impressive and well placed note moans and
feedback blasts. This aftermath drift lasts for about 15 seconds and
is very relieving. The 7th theme starts with Jerry switching reverb
effects and continuing the aftermath with a very interesting
resurfacing theme. Out of nowhere Jerry switches back to Don’t Let
Go. Through 8.19.1989 this was easily the deepest and most
interesting space jam of the year.
This Don’t Let Go jam
presents numerous points to consider.
First, Jerry’s ability to
control the band was extremely impressive. In particular, note the
effect Jerry creates between the first and third themes. The first
theme was solid jazzy Jerry and the band was directly in pace with
him. But, on the second theme he developed a very spacey sound and
brought the band there with him. As he opened the third theme he
emitted more fastly paced jazzy runs. But, the band was still
trapped in the second theme’s spacey theme. As such, we have two
very complex examples of jazzy jamming – the first with the band
right in pace with Jerry, and the third theme with Jerry jamming
away in jazz and the band not in pace with him but rather breaking
free of the second theme’s space. This was pure mastery of
contrast. This type of control is what Jerry was all about – not
only in his peak could he control his own themes, but also that of
the band. In many respects Jerry loved cat and mouse, and this was a
solid example of it.
Second, as the fourth theme
wallowed and was searching for direction, Jerry could have returned
to the Don’t Let Go theme, but he didn’t. This is very
interesting because it showed that he was truly yearning for a
deeper zone. This also occurred after the fifth theme. This type of
pushing the jam further and further is what Jerry is all about, but
was so absent in his Dead performances through August of 1989.
Obviously this would have to change with the approaching Dark Stars
of the Fall Tour.
Third, Jerry introduced the
midi to his repertoire on 4.17.1989, and through the summer tour
began to truly master its abilities. Would Jerry bring the midi to
his September JGB tour? In particular, would he present it in the
September Don’t Let Gos in preparation for Dark Star?
Fourth, the Dead
performances through August of 1989 had some great moments, but none
that smacked of a 15 minute all out space jam like this.
Fifth, this was a
refreshing and impressive return to the type of deep Garcia jamming
that is literally an assault on the listener. There were many faces
to Jerry throughout his illustrious career, and this return to all
out deep space jamming was a welcome return.
The show didn’t stop at
this point. Jerry next started Lucky Ol’ Sun. This is nicely
placed due to previous depth and intensity of Don’t Let Go. It is
soothing and nurturing. The jam by jerry is equally moving and again
is the perfect nightcap to the Don’t Let Go. The theme is
beautiful yet sad. The Seals solo is equally impressive as Seals
typically shines on this tune generally.
Moonlight Midnight –
Jerry’s jam is nicely done with some fastly paced and flavored
progressions which nicely increases the intensity. As a whole
though, this version is not exceptional, and is doomed to be in the
shadow of the Simple Twist Of Fate / Don’t Let Go / Lucky Ol’
Sun exceptional trifecta. Still, it was an above average version
that concludes this very important show.
While May 19, 1989 may not
as a whole be exceptional, it truly was an important show for Jerry.
It was his first incredibly deep jam of the year, and marked the
first real indication that he was truly headed toward Dark Star.
Set 1: 7.69
Set 2: 7.925
Show: 7.8075
How Sweet It Is 7.75
Next is Stop That Train 7.75
Get Out of my life woman 7.6
Run For The Roses 7.25
I Shall Be Released 8.15
Hope It Won’t Be This Way 7.25
Deal 8.1
Harder They Come7.0
Waiting For A Miracle 7.4
Simple Twist of Fate 8.15
Don’t Let Go *****9.5*****
Lucky Ol’ Sun 8.0
Moonlight Midnight 7.
Rob
Goetz ©
