Next in the ongoing series of archival releases coming fromJerry Garcia is a three-show collection taken from Jerry Garcia Band’s summershows recorded three decades ago at French’s Camp on the Eel River in northernCalifornia. All are complete outings and,from the distinct lack of crowd noise, it can be safely deduced all are unretouchedsoundboard recordings. As such, theyvary slightly in their sonic emphasis: the 1987 leaning on Garcia’s vocals andguitar; the 1989 performance elevating John Kahn’s bass; the 1991 concert, thebest balanced among all. Accordingly, eachhas its own unique appeal despite repeats in song choices, in performance andsound, particularly within the ’87 and ’89 appearances.
The 1987 show swings pleasantly right from the outset. “Run for the Roses,” with a distinctivereference to “Touch of Grey” in Garcia’s solo, is an early highlight. The band touches on Van Morrison and BobDylan, among others, in cover nods, but it’s the set-closing Garcia original,“Deal,” that really cooks. Comparatively,this first performance seems to possess both the energy and the sharpness tomake it the standout concert among the three.
1989’s entry bares many similarities to the ’87 set, thoughthe renditions that double-up are different enough as to not be redundant, ifnot as crisply executed. After a laidback “I’ll Take a Melody,” starts the festivities, the band offers an energized“They Love Each Other” worth the price of admission. The 14-minute “Don’t Let Go” allows theensemble the freedom to explore the outer reaches of a jam, while the sweetenedgospel “I Hope It Won’t Be This Way” that precedes it marks the firstappearance of that song on a Garcia release.
The final show of the trilogy, in 1991, is distinctlydifferent enough in song choices and in its feel overall to separate itselffrom the previous two. A wonderful demonstrationof Garcia and his band’s ability to emote with the best of them comes on“Shining Star” and The Band’s “Twilight,” showing off the rich patina of hisvoice and the inspiration of his longtime group behind him, supporting hisevery move. Even when they tackleClapton, surprisingly twice, and Chuck Berry, as well, they still find the way tomake it all appear as vintage JGB.
These are all strong representations of what a trademarkJerry Garcia Band show sounded like in these respective years. And yet, given the setting and the season,there is also a unique homegrown quality to the playing, as though the group isquite content to be providing the entertainment for the best backyard barbequeof the year. All totaled, it is acollection, even with the multiple repeats of songs, that works as a warm lookback 30 years to the fun and fitness of the Jerry Garcia Band.
