Jerry Garcia, A Legacy?


Unfortunately, many years have passed since Jerry Garcia engaged in the art of music making. I've never known of another electric guitarist who could incorporate without clear and cut demarcations the many multitudes of rock and roll, folk, jazz, blues, bluegrass, country, explorational real time composition, sustain induced psychedelic developments Be it partially safe to say also that I've yet to know of another electric guitarist whose playing was either loved or scorned to the extent that his was. Throughout my life as a Dead fan and follower of Jerry Garcia and of his various musical projects, I remember verbal battles with musicians who found JG's playing less enlightening than I and often my comments turned into vicious polemics defending the Grateful Dead' artistic integrity. Granted, JG did have many obvious musical hurdles during performances and didn't exhibit a typical so called pristine guitar playing technique but first and foremost consider that he played mainly rock and popular music (to make a point), on mainly an electric guitar, with a pick and 4 fingers, using electronic components on stages inside theaters, OK get real! Does Hiram Bullock posses the same technical polish as Julian Bream? The answer to that is a resounding no, neither did Jimi Hendrix and it's really of no consequence anyhow. What I very much loved about Jerry Garcia was that he placed musicality before entertainment and he took on a sense of risk, even danger, in order to help elevate the other playing musicians around him. Yes, Jerry Garcia's playing often ran hot and cold but when his playing ran hot, the rest of the Grateful Dead or Jerry Garcia Band would rise to a whole new level and when he ran cold, it had tenuous effect on the other participating musicians. I have to attribute Jerry Garcia's heightened level of ensemble cooperation to the way he listened intently with creative imagination, to his sensitive and tasteful playing, to his getting out of the way when the band needed space and to the degree of his vast musical knowledge that he gave away freely whenever the opportunity presented itself. From a subjective perspective while disregarding controversy, the music and persona of the Grateful Dead and of Jerry Garcia touched an enormous fan base which exhibited a degree of loyalty and dedication beyond compare. Many of the kids that I grew up with disliked the Grateful Dead and I would make the radical assumption that they still do. I don't mind bucking the trends and I'll even take a little pride in my prophetic wisdoms. How about you??
goofyfoot
 My understanding is that after Coleman went to see the Dead in 1987 he was impressed and then picked Jerry to be the guitarist on 3 cuts of his next album. 

He he later played with them in 1993, coming out during space and then through the rest of the show. I've never heard where he made that comment but can understand it when it comes to space.

Anyway, I don't think he picked Jerry because he thought he was not a very good guitar player but most likely the opposite.
Branford Marsalis also played with them a few times. His contribution on "Eyes of the world" off their live "Without a net" album, is awesome. 
In the early 1990s, Coleman was hanging out backstage, waiting to sit in with the much beloved and much detracted improvisational rock band, the Grateful Dead. Coleman didn't like what he was hearing. An admirer of Jerry Garcia's effervescent guitar playing, Coleman had played with him a number of times. But these were the dying days of the junked-out Grateful Dead. Improvisations that once had seemingly unrelated and indeed contradictory had degenerated into six musicians playing whatever was coming into their minds. Not a pretty sight. Listening to this cacophony, Coleman said to the Dead's manager: "Man, these guys don't listen to each other when they play." Yet a listen to a bootleg recording of the concert has Coleman hitting the stage during the Dead's "space" segment (their own "free jazz" that by the '90s was very much driven by MIDI and electronics). Suddenly, the band sprung to life, culminating in a version of Bobby Bland's "Turn on your Lovelight"--precisely the type of rhythm and blues that Coleman played as a kid in Texas. The band was listening to each other again.

https://socialistworker.org/2015/07/10/listening-with-ornette-coleman
1993 was a mixed bag for Jerry, there were good shows and some iffy. However, his tour with JGB, was exceptional. So, he did around 125 concerts in 1993 and all of it was recorded, warts and all. That's a whole career for some artist. It was just another day at the office for Jerry.
Having been to a couple of GD concerts, I did happen to notice the great majority of the listeners were 'altered' in some fashion or another.  They, like the majority of any group, had their good days and the not-so-good ones.  The albums and studio stuff was polished, but considering the 'support' they had in the era, it's pretty understandable...and by whom it came from, well...that's almost legendary. ;)

I liked and still do some of their selections.  A 'camp follower', no.  I save  my hero worship for the truly heroic; admiration is doled out ruled by HO.  And that makes for a short list...