Otherwise, the customary high-quality of Betty Cantor-Jackson’s original recordings (mastered by Fred Kevorkian) mitigate the sonic shortfall at the source(s). Cale’s “After Midnight”–plus a pianist who relied on the percussive qualities of the ivories, “How Sweet It Is (To Be Loved By You,” gains an intimacy that translates directly into the dignity permeating “The Way You Do The Things You Do.” While some of the vocal levels are slightly off on “Mystery Train,” the caveat on sound quality printed on the back cover here may or may not be absolutely necessary (except perhaps for inveterate audiophiles).įurther technical difficulties of greater magnitude preclude complete performances of these concerts. Not that any iteration of JGB was too busy for its own good, but with just one extra singer in tow-Donna is sweetly restrained on J.J. Rather, it’s a boon to the potent combination of economy and purpose. The generally familiar presence of all involved, however, is hardly a source of complacency. And while the complementary nature of each man’s playing increased over the course of time regularly spent on stage in various contexts, the comparative simplicity of their partnership may never have been so invigorating as it sounds here during “Russian Lullaby.” In rendering fourteen excerpts from a group repertoire in the process of crystallizing, the fivesome displays no little panache (albeit the most understated sort.) Not to disparage the rest of this lineup, but the key attributes of the ensemble are centered in the individual playing styles of the main instrumentalists: clear as it was from hearing the earliest official releases on Europe ’72 and Dick’s Picks #35, the contrast was delicious between Godchaux’ steady rolling piano work and the precision of Garcia’s electric guitar playing. Erstwhile member of Elvis Presley’s band of the time, not to mention a notable participant in the mythic Legion of Mary, that vaunted session percussionist (who passed in October of ’21) first collaborated with Jerry on the 1974 solo album Compliments whether or not intended as such, this three-CD set sounds like deserved homage to a skilled musician.
The lineup includes both Godchaux, Keith, and Donna, plus the perpetual linchpin of the JGB throughout its history, bassist John Kahn, who maintains a rhythmic lock with drummer Ron Tutt. By the time Hank Ballard’s “Tore Up Over You” and the late NOLA icon Allen Toussaint’s “I’ll Take A Melody’ appear, the pinpoint precision of this musicianship is unmistakable, and GarciaLive Volume 17 has thus become a testament to natural chemistry and camaraderie. They are comfortable in their element as they open with “Sugaree” and “They Love Each Other,” while the collective poise is exquisite within this reading of “Friend of the Devil,” the third composition here by the Garcia/(Robert) Hunter writing team.