So exactly what is it, then, that marks Garcia as a rock 'n roll icon? It would be too simplistic - and ignorant - to dismiss his popularity as a result of the drug-induced delusions of a bunch of relics from the Summer of Love era. After all, how many relics (and curious onlookers) are there such that the Grateful Dead were able to fill 100,000 seat racetracks and 60,000 seat stadiums during summer tours in the Seventies and Nineties, respectively? There was certainly something that others were seeing that went far, far beyond a bunch of hippies engaging in reefer madness as part of an all-out effort to avoid the trappings of a regular life and its attendant responsibilities.
There really is no one stock answer to the Garcia question; however, one should be quick to recognize that Garcia himself constituted a tripartite musical order that was one part soulful singer, one part superior songwriter (with lyricist and chum Robert Hunter) and one part uncanny guitar player. It is rare for one person to truly be gifted in but one of these areas- let alone all three. (John Lennon, of course, also immediately comes to mind- which shows Garcia to be in pretty elite company.)
For comparison, imagine Bob Dylan - or Ray LaMontagne, to use a more recent example -and augmenting their considerable talents with the additional capability of laying down a remarkable, memorable and precise lead break between verses of one of their most moving ballads. Now imagine further that these lead guitar lines are never played the exactly same way again - occasionally for the worse, usually consistent, and sometimes so creatively and perfectly so as to be sublime - in city upon city, night after night.
But the ability to improvise effectively - the most cherished, most sought-after skill among serious musicians - isn't the only facet of Garcia's playing that separates him from others in the rock realm. Garcia also was able to meld an understanding of music theory with his ability to adeptly move his pick and fingers around the instrument. Most rock guitar players - from the Sixties through today - simply chose one blues or pentatonic scale and let it rip over all of a song’s chord changes, playing the same notes scrambled in different patterns throughout the guitar's neck. Garcia, in contrast, often considered each chord or series of chords in a certain progression as a separate and distinct entity, using a combination of different scales and arpeggios to outline the changes in the same way that a jazz musician would approach the instrument. A track like Dark Star from 1969's Live Dead- even with the remarkable contributions from the other musicians- is nonetheless likely reduced to an inconsistent, acid-drenched and pedestrian effort afforded only cult status if not driven by Garcia's modal guitar lines. Instead, his lyrical, creative playing elevates it to an example of transcendental psychedelia that must be heard to be believed.
Article comments
1 - Eric Olsen
wow - terrific, comprehensive, perceptive job Jim, and spectacular pics by Susan - thanks so much!
2 - uao
This really is a supurb article.
Garcia's appeal relied on two things, his musicianship, and that intangible something few have been able to put words to. Great job in putting words to both.
When I read Miles Davis' autobiography, shortly after Davis died and shortly before Garcia did, it was interesting to me which rock performers Davis slammed (most), and which (very few) he respected.
Davis had kind words about Garcia and his abilities (in the 60's and 70's); I was impressed by that very much.
3 - Lono
We (heads) are everywhere. I was at Iron Maiden Tuesday night (review in here somewhere) and I was wearing a Dead tee, as it had been 10 years since he passed. When I got to my seats, I was surrounded by all these people in Dead shirts. It was really cool, because that is certainly not the crowd you would imagine at a Maiden show.
Somehow, though, we were all there to enjoy the music and remember Jerry.
4 - Natalie Davis
Terrific piece. You zeroed in on the complicated essence and wonder of Jerry Garcia, musician, masterfully. Thank you.
5 - godoggo
I'm surprisingly inclined to agree with a lot of this, although I haven't got much use for his singing, and I'm also pretty sure that their main appeal was non musical (that's why their shows did so much better than their records; even some of my punk rock friends enjoyed the parking lot scene). Essentially what you're saying is that he had some of the qualities of a good jazz player. Personally, though, I'd rather listen to musicians with a bit more of those qualities, if you know what I'm saying.
6 - godoggo
By the way, I recall seeing Miles praise Kenny G. in his later years, so take it for what it's worth.
7 - Jim McCoy
Thanks to all who had kind words about the article...and for the record, I saw Iron Maiden last month as well!
8 - Temple Stark
Music Editor Temple Stark picked this for an Editor's Pick of the Week. Go find out why HERE and grab a button.
Paired it with Ms. Davis' piece on the same matter.
Thank you.
9 - Julie Spigel
Here I sit reading this and still miss Jerry as much as I did the day after he died. Everything is moving here but much too slowly, a little bit quicker and we might have time to say how do you do before we are left behind -Hunter/Garcia
10 - j
I like the article overall, and I agree with most of it. I think pointing out that Garcia's journey on his instrument was almost totally derailed is important, and not often discussed; however, the author's synopsis on the last year of his playing life is a bit ridiculous. Many of the Dead's songs have extremely simple progressions, and part of Garcia's artistry was making his solos sound different using a very limited amount of notes. As the author mentioned using the Branford 3-29-90 concerts that appeared on Without A Net, when Garcia was allowed to roam harmonically (when the tune had some lush chord progressions),he could be a great player, displaying his vast knowledge of theory and feeling for exploration.
Perhaps toward the end of his life, he intentionally plays some notes sharp or flat in rebellion against some of the songs with the overly simple progressions (that is my theory) because after playing an instrument for 35 years you don't just start missing notes. Perhaps what's even more likely, is that his malaise was caused by the fact that Garcia was a junkie and lucky to live as long as he did. Unfortunately, his musicianship was not grounded deeply enough to keep his playing as his top priority, so in comparison with Bill Evans or Charlie Parker, both junkies, Garcia comes up way short. Both Evans and Parker had incredible facility right up to their demise unlike Garcia
In addition, I'd like to know where the author learned Garcia suffered from carpal tunnel. I hadn't heard that. Some background and elaboration is really necessary here. If that is true, that would definitely explain the loss of dexterity, and since Garcia's instrument was not the lightest, it would lead to a more sluggish sound.
11 - Jeff Davidson
here's one link on the carpal tunnel. I"m sure there are others:
here
12 - jp
That link was wonderful, but mentions carpel tunnel not even once. In that book, Jerry tells about exercises he did to avoid carpal, but no mention of him getting it.
13 - Jeff Davidson
nor does the article, which says "perhaps due to carpal tunnel syndrome,"
perhaps means "maybe" - you've completely mischaracterized what the author said.
14 - mikey_n
Thanks for this wonderful piece. I grew up in the 60's but I can listen to very little 60's music today outside of Jerry and the Dead. Why? "he is reaching back into the very core of American music as he plays, serving as a medium as he projects the ghosts of musical days gone by into the audience. " Jerry represents the quintessential American troubador, a conveyer of musical history and tradition from one generation to the next and from one culture to the next. For that reason his music, with all its flaws and rough spots, endures forever.
15 - mikey_n
It is a great piece, as I mentioned, but there is an important omission: Phil Lesh! No one should talk about Jerry's music with the Dead without mentioning Phil Lesh, who is a highly trained, inventive and sensitive musician and one of the great pioneers on electric bass. Without Phil, even WITH Jerry's guitar, the Dead's music would often indeed be just "an inconsistent, acid-drenched and pedestrian effort"
16 - steve
Garcia was amazing. I have always respected his songcraft and guitar abilities.
I cant believe that it has been ten years.
what a loooooong strange trip its been!
17 - filthman
what a load of old rubbish...the fatman rocked and always will.
18 - Dano
Fantastically written and memorable piece that does our long-lost brother allot of justice...he was a kind soul and master of his craft...let's all cut him some slack for human failings, eh?
{:-)Unless you think you could fill his shoes(-;} Yeah, I thought so. TOO BIG!
BTW:
I distinctly remember reading somewhere about him seeking chiropractic care for his dibilitating carpal tunnel problems for years.
Apparently he did not get allot of relief though.
FWIW:
If you have carpal tunnel issues drop me a line as there is/can be a simple solution, if you earnestly follow through with what worked for me.
Thanx Jerr...You are sorely missed around here!!!
It was/is all about the MUSIC, people...
THAT's what made shows into festivals and a "party"!
Yep...and it's worth repeating:
The Grateful~ly Dead~icated ARE everywhere!
{%^)Look, there goes one now!(^%}
JAM ON!