Jerry Garcia - The Jerry Garcia Collection, reviews
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| Rollingstone |
 Tied down with studio projects while the Dead were on hiatus, Jerry Garcia barely played out in 1975. So you can feel the back-in-the-saddle "ahhhhhh" throughout this cover-heavy collection, recorded over two nights on his Bay Area turf with his new Garcia Band. The pace veers between back-float and stoned pimp-strut; the jazzy runs on the Chuck Berry title track don't rock but sure do roll. Garcia is casually magnificent, but bandmate Nicky Hopkins makes this some of Garcia's most magical solo work; his flowing boogie-woogie piano arpeggios never sound like overplaying — just easygoing, absolute virtuosity....full text |
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| Musicbox-online |
The very concept behind the latest series of archival recordings from Jerry Garcia’s solo career is apt to have at least a few of the late guitarist’s fans up in arms. After all, there are those who feel that if one song from a particular concert is worthy of being released, then the entire show ought to be put forth into the public’s purview, if only for the sake of historical accuracy. The problem, however, is that this isn’t always technically feasible nor is it necessarily the most commercially viable strategy. In fact, if the intent is to continue to extend the reach of Garcia’s extraordinary legacy, then, perhaps, in order to achieve the widest range of appeal, only the finest and most enlightening material ought to be pieced together and issued — at least on those offerings designed for mass consumption. If done properly, it’s possible for the final product to retain a sense of continuity that mirrors the seamless ebb and flow of an individual performance, and when that happens, the result can be positively transcendent.
This vision is the motivating factor that drives The Jerry Garcia Collection, Vol. 1: Legion of Mary, which culls 14 tracks from seven different concerts and spreads them over the course of two discs, the sum total of which equates to nearly 2 hours and 40 minutes of pure bliss. Indeed, of all of Garcia’s countless side projects, his various collaborations with keyboard player Merl Saunders arguably were the most adventurous. Coming in the wake of last fall’s edition of the Pure Jerry series, which focused upon a monumental show held in September 1974 at Keystone Berkeley, perhaps this era of his career will finally get its due. Although the group occasionally experimented with original compositions — Saunders and saxophonist Martin Fierro both contributed to its repertoire — the bulk of its canon was drawn from across a broad spectrum of music history. It wasn’t unusual for songs rooted in the blues (Hank Ballard’s Tore Up Over You) to stand next to Motown classics (Smokey Robinson’s I Second That Emotion), folk tunes (Norman Blake’s Last Train from Poor Valley), and early rock ‘n’ roll chestnuts (Chuck Berry’s Let It Rock)....full text |
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