GarciaLive Volume 14 carries the distinction of being the first solely acoustic entry in this ongoing vault series. But this complete show from The Ritz New York, NY January 27, 1986 (and its direct companion piece, from the following night, in the form of a bonus disc offered during pre-order of the main title) isn’t altogether without antecedent. In fact, it’s a corollary to Marin Veterans Memorial Auditorium, San Rafael, California, February 28, 1986 from the earlier Pure Jerry initiative. Meanwhile, Almost Acoustic and Ragged But Right, plus portions of the previously-released recordings from the 1987 run on Broadway, are in a similar ‘unplugged’ vein.
Yet this latest issue, based on its depiction of Garcia and long-time collaborator bassist John Kahn in a duo format, virtually constitutes an embarrassment of riches. While much of the material like “Run For The Roses,” is familiar, including the various Bob Dylan covers such as “Simple Twist of Fate,” as well as culls from the canon of the Grateful Dead on par with “Ripple,” hearing the songs in this intimate setting places them in a decidedly different perspective than those imparted by the Jerry Garcia Band or the iconic psychedelic warriors. Musician Billy Strings communicates as much in the essay he authors, more vividly during the introductory paragraphs than a song-by-song description bogged down with some clumsy syntax and word choices.
A comparison of the two main setlists illustrates how the rotation of material offers more than just contrasting titles. Substitution of songs from the various aforementioned sources makes for subtle changes in mood as much as tempo, so that, respectively, the Nobel Laureate’s “When I Paint My Masterpiece” and “It Takes A Lot to Laugh, It Takes A Train to Cry” each conjures an atmosphere quite distinct from the other. In keeping with those compositions too, traditionals like “Jack-A-Roe” become more of a piece familiar Garcia/Hunter originals such as“Dire Wolf.” And the dual musicianship, so consistently fluid throughout the varied song selection, adds further continuity because Garcia and Kahn know the material so well.
Thus, the range of tunes illustrates the camaraderie between the two by counterpoint with the playing. It is indeed uncanny to hear musicians interact this fluently, but something altogether different when it sounds like an extended call-and-response in time-elapsed form. The “Deep Elem Blues” of 1/28, for example, is just one sterling instance of how John’s agility on the stand-up bass complements the precision in Jerry’s picking, virtues both honed in just this kind of setting when members of Old And In The Way.
Not surprisingly, the relaxed informality actually becomes paramount in extended instrumentals. The interval within on “Bird Song,” to name just one, allows Garcia and Kahn to imbue the tune with the same affection and reverence they hold for each other as the music they’re playing. And judging by the alternately loud clamor and respectful silence emanating from the audience(s), it’s a wholly infectious sensation, savored just as deeply by those listeners whose connection with the musicians also mirrors the communicative bond between the performers.
The Round Records/ATO label curators have done yeoman’s work here again, especially in securing Fred Kevorkian to master the original soundboard recordings. As a result of that collective expertise, both editions of GarciaLive Volume 14 no doubt radiate much the same warmth as existed in that room where they were originally taped thirty-plus years ago.
