4-12-70: fillmore west, san francisco, CA.
the dead didn't play many shows in april 1970, and this run with the miles davis quintet serving as the opening act is clearly the highpoint. the downside of the 4-night stand is that, like many of the spring ’70 shows they taped, most of the reels were haphazardly lost or stolen. fortunately for us, a good deal of bear’s 7 inch half track reel master of the final night’s performance survived. harry ely’s fantastic stereo field recording fills in the gaps.
catching miles davis alongside the dead during this fillmore engagement must have been a total gas. davis’ appearance came close on the heels of the release of his groundbreaking double LP bitches brew, which represented another big artistic leap for the trumpeter. the band that he brought along comprising of chick corea on keys, bassist dave holland, soprano sax player steve grossman, drummer jack dejohnette, and percussionist airto moreira, was fully versed in this new music and stood the fillmore audiences on their ears. i’ve included youtube links of both the 4/11 and 4/12 performances here for evidence. trust me, they’ll blow your top.
the dead’s set opens with a lengthy and very laid-back version of good morning little schoolgirl, a tune they hadn’t dusted off since december of the previous year. after a bright and punchy casey jones, a slightly botched china > rider, and a rip roaring good lovin’, we’re treated to two mid set treats: the first electrified candyman, and a real slinky version of deep elem blues. two workingman cuts and the customary broken string announcement later, the band launches into the show’s centerpiece—dancin’ in the streets. the improvisational furry begins early; jerry and phil really play off of each other, hacking away at their strings with an energy that makes this excursion one of the more notable jams from 1970. without question, it rivals the tour de force they’ll lay down at harpur college a few weeks later.
the remainder of the evening is just as tasty. black peter and uncle john’s band are presented in fine form, with solid harmonies. it’s a man’s man’s man's world is also excellent; mckernan’s vocals are impassioned and garcia’s guitar work is slippery, and oh so funky. viola lee blues closes out the show, with pigpen back on organ. the sextet slides into the song with ease, their playing loose, but perfectly controlled. in due time the jamming is full-tilt, ablaze with what makes this tune so satisfying—a deliberate balance of rage and fervor. and like that, the retooled gus cannon jug band hit ends with a crash, followed by howls of gorgeous feedback.
miles:
https://www.youtube.com/watch?v=NBlTjFf_eYE https://www.youtube.com/watch?v=b4WXT_JgfTM&t=1637s
the dead end kids:
https://archive.org/details/gd70-04-12.sbd.kaplan.3820.sbeok.shnf
4-12-70: fillmore west, san francisco, CA.the dead didn't play many shows in april 1970, and this run with the miles davis quintet serving as the opening act is clearly the highpoint. the downside of the 4-night stand is that, like many of the spring ’70 shows they taped, most of the reels were haphazardly lost or stolen. fortunately for us, a good deal of bear’s 7 inch half track reel master of the final night’s performance survived. harry ely’s fantastic stereo field recording fills in the gaps.catching miles davis alongside the dead during this fillmore engagement must have been a total gas. davis’ appearance came close on the heels of the release of his groundbreaking double LP bitches brew, which represented another big artistic leap for the trumpeter. the band that he brought along comprising of chick corea on keys, bassist dave holland, soprano sax player steve grossman, drummer jack dejohnette, and percussionist airto moreira, was fully versed in this new music and stood the fillmore audiences on their ears. i’ve included youtube links of both the 4/11 and 4/12 performances here for evidence. trust me, they’ll blow your top.the dead’s set opens with a lengthy and very laid-back version of good morning little schoolgirl, a tune they hadn’t dusted off since december of the previous year. after a bright and punchy casey jones, a slightly botched china > rider, and a rip roaring good lovin’, we’re treated to two mid set treats: the first electrified candyman, and a real slinky version of deep elem blues. two workingman cuts and the customary broken string announcement later, the band launches into the show’s centerpiece—dancin’ in the streets. the improvisational furry begins early; jerry and phil really play off of each other, hacking away at their strings with an energy that makes this excursion one of the more notable jams from 1970. without question, it rivals the tour de force they’ll lay down at harpur college a few weeks later.the remainder of the evening is just as tasty. black peter and uncle john’s band are presented in fine form, with solid harmonies. it’s a man’s man’s man's world is also excellent; mckernan’s vocals are impassioned and garcia’s guitar work is slippery, and oh so funky. viola lee blues closes out the show, with pigpen back on organ. the sextet slides into the song with ease, their playing loose, but perfectly controlled. in due time the jamming is full-tilt, ablaze with what makes this tune so satisfying—a deliberate balance of rage and fervor. and like that, the retooled gus cannon jug band hit ends with a crash, followed by howls of gorgeous feedback.miles:
https://www.youtube.com/watch?v=NBlTjFf_eYE https://www.youtube.com/watch?v=b4WXT_JgfTM&t=1637s
the dead end kids:
https://archive.org/details/gd70-04-12.sbd.kaplan.3820.sbeok.shnf
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