[rating=8.00]
Garcia Live Volume Four stands as a testament to the wealth of material available for the on-going archive project. In fact, this two-disc set, from a Colorado stop on a tour with Robert Hunter, might well serve as a template for the series in terms of song selection, performance and packaging.
It’s well nigh impossible not to luxuriate in the relaxed atmosphere here, set right from the start by what became a regular opener for JGB, “How Sweet It Is (To Be Love by You).” No one, least of all the leader, is any hurry anywhere throughout these two sets as the group moves leisurely through staples of the repertoire including Dylan’s “Simple Twist of Fate,” Jimmy Cliff’s “The Harder They Come” and The Band’s “The Night They Drove Old Dixie Down.”
The sound as mastered may be a bit bass heavy, but that only emphasizes the earthy atmosphere, otherwise kept lean through the use of (mostly) acoustic piano played by Keith Godchaux (who gives way to Ozzy Ahlers during the latter part of set two). Bassist John Kahn and drummer Buzz Buchanan are sure and steady throughout, particularly when the arrangements are as structured as that of “Love in the Afternoon.”
But, as on that relatively economical performance, the former (Garcia’s long-time standby in virtually all stages of his solo endeavors), isn’t averse to swooping and diving through the mix, especially when the band stretches out; at this stage of its evolution, it was no more or less inclined to jam on Peter Rowan’s “Midnight Moonlight” or the poignant Garcia/Hunter original “Mission in the Rain.”
The affection for the array of material here is as palpable as that of the musicians’ mutual respect for each other, a tone no doubt set by front man. Yet even as formally ensconced in that role as primary instrumentalist and vocalist (here reinforced by the presence of Maria Muldaur as well as Donna Godchaux), Jerry Garcia was able to function in a comfortable setting, that led directly to understated inspiration. Nine of the thirteen cuts here are in the ten-thirteen minute range and, as on “Midnight Moonlight,” the unit gets right to the point(s) and remain focused as they stretch out.
Stylish and replete with detail as they are, the ‘Garcia Live’ titles might still benefit from the inclusion of essays that offer historical perspective on the shows included in the set. Such additions would make releases like March 22 1978 Veterans Hall truly comprehensive, further reinforcing the long-standing impact of the performances themselves.
