Jerry Garcia

This Grammy-nominated disc heralds the origins of the highly acclaimed acoustic duo of Jerry Garcia (guitar/vocals) and David "Dawg" Grisman (mandolin). They had been chums for years by the time they began their direct partnership in earnest on December 7, 1990, with a nine-song set at the Sweetwater in Mill Valley, CA. Over half of that material would be reworked the following spring – for inclusion on this disc – at Grisman's newly appointed, plush, and well-lit Dawg Studios. Along with David Grisman Quintet members Jim Kerwin (bass) and Joe Craven (percussion/fiddle), Garcia and Grisman revive a few familiar tunes covering every dimension of popular music, ranging from the blues ("The Thrill Is Gone") to folk-rock ("Friend of the Devil"), as well as pop music standards such as Irving Berlin's "Russian Lullaby" – which Garcia had previously covered on his 1974 Garcia (Compliments) album – and Hoagy Carmichael's "Rockin' Chair." They also examined the origins of authentic traditional folk ("Walkin' Boss"/"Two Soldiers").

GarciaLive Volume 13 puts a spotlight on the Jerry Garcia Band's legendary September '89 run highlighting the September 16th show at Poplar Creek Music Theatre located in the suburbs of Chicago. Alongside the Jerry Garcia Band – John Kahn, David Kemper, Melvin Seals, Gloria Jones, and Jacklyn LaBranch – there is one BIG addition on saxophone… the Big Man, Clarence Clemons (Bruce Springsteen and the E-Street Band).

Grateful Dead guitarist/vocalist Jerry Garcia and keyboardist Merl Saunders performed live at the Keystone in Berkeley, CA together on July 10th and 11th, 1973. Although components of this memorable show have been previously released, this is the very first time that the concert has become available in its entirety. This 4 disc box set assembles the full set list, all remastered, and in the order in which the songs were performed. The repertoire spans blues, rockabilly, jazz, funk, Broadway, Motown, two Bob Dylan songs, and Jimmy Cliff's immortal The Harder They Come.
The recordings that made up the original Live at Keystone albums by Jerry Garcia, Merl Saunders, John Kahn, and Bill Vitt took place over two nights in July of 1973…

Electric on the Eel is a live album by the Jerry Garcia Band. It contains three complete concerts on six CDs. The shows were recorded on August 29, 1987, June 10, 1989, and August 10, 1991 at French's Camp in Piercy, California, near the Eel River. The album was released on March 15, 2019. The three performances were promoted by Bill Graham and Wavy Gravy as benefit concerts for the nearby Hog Farm commune. They featured the mid-1980s to early-1990s lineup of the Jerry Garcia Band – Jerry Garcia on guitar and vocals, Melvin Seals on keyboards, John Kahn on bass, David Kemper on drums, and Gloria Jones and Jaclyn LaBranch on vocals.

GarciaLive Vol. 20 showcases the Jerry Garcia Band during their transitional, high-octane early 80's era with the Grateful Dead's Bill Kreutzmann on drums. The release presents the complete Cape Cod '82 set, plus 45+ mins of additional incendiary, uncirculated selections captured in '81 at The Stone in San Francisco - all remastered from soundboard recordings. Highlights include the relative rarity "Valerie," a show-stopping "Don't Let Go" and an otherworldly "After Midnight."

Garcia Live Volume 16 is a three-CD album by the Jerry Garcia Band. It contains the complete concert recorded on November 15, 1991 at Madison Square Garden in New York City. It is scheduled to be released on June 25, 2021. This show was the Jerry Garcia Band's first appearance at Madison Square Garden. It featured their 1986 to 1993 lineup of Jerry Garcia on guitar and vocals, Melvin Seals on keyboards, John Kahn on bass, David Kemper on drums, and Jaclyn LaBranch and Gloria Jones on backing vocals.

Even among Deadheads, there's always been a sense that Jerry Garcia's studio albums have been somewhat ignored. Part of this ties back to the often repeated urban legend that the Grateful Dead were never as good in the studio as they were live – an argument that has some truth but tends to downplay the merits of the studio albums, which had their own distinct attributes. This also applies to Garcia's studio records, but as a whole they're more problematic than the Dead's catalog…