Jerry Garcia and Merl Saunders
2119 University Avenue
Berkeley, CA 94704
November 3, 1973 (Saturday)
123 minute soundboard
–Set I (7 tracks, 83:05)–
s1t01. … After Midnight [7:26] (1) [2:48]
s1t02. Expressway (To Your Heart) [10:59] ->
s1t03. collective improvisation [15:50] ->
s1t04. transition to Merl’s Tune [2:13] ->
s1t05. Merl’s Tune [7:58] [2:34]
s1t06. Someday Baby [16:19] [1:55]
s1t07. I Second That Emotion [14:50] (2) [0:11] %
–Set II (2 tracks, 39:51, incomplete)–
s2t01. .. Mystery Train [10:01] [0:15]
s2t02. My Funny Valentine [29:05] (3)
Jerry Garcia – el-g, vocals;
Merl Saunders – keyboards;
John Kahn – el-bass;
Bill Vitt – drums;
Martin Fierro – saxophone, flute.
% = recording discontinuity
/ = clipped song
// = cut song
… = fade in/out
# = truncated timing
[ ] = recorded event time.
The recorded event time immediately after the song or item name is an attempt at getting the “real” time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.
Notes from the original uploader
The show seems originally to have been booked, and was billed, as Old And In The Way . It was listed that way in “Scenedrome,” Berkeley Barb, November 2-8, 1973, p. 17 and Hayward Daily Review, October 26, 1973, p. 34. However, the Staska-Mangrum column from 11/2 listed it as JGMS (Staska, Kathie, and George Mangrum. 1973. Rock talk from KG: Country song goes to town. Hayward Daily Review, November 2, 1973, p. 44), and the tape is, plainly, JGMS. Of course, the next night would feature the least complete OAITW show, and it only occurred as late as November 4th because of a rainout at Sonoma State on the initial date of October 7th.
the recording information I report is pieced together from available information, and may not be definitive.
analog source tapes 1) Betty Cantor Jacksonís 10″ master soundboard reel [MSR] @ 7.5ips 1/2 trk (Nagra IV-S, uncertain tape stock) (3rd Betty Batch, tape #53, 11/3/73 reel #1, set I, 83 minutes); 2) Betty Cantor Jacksonís 10″ MSR @ 7.5ips 1/2 trk (Nagra IV-S, uncertain tape stock) (3rd Betty Batch, tape #36, 11/3/73 reel #2, end of show; first part of reel blank).
Analog to digital transfer by RE, winter 1996: Otari 50/50 reel to reel > Apogee 500 A/D converter > Panasonic SV3700 DAT @ 16 bits, 48 kHz. The story of these tapes was written up in the late 2012 New Yorker article (Paumgarten 2012).
! R: subsequent: uncertain DAT > WAV > CD > EAC (extraction) > CDWave (tracking) > TLH (flac8 encoding) > foobar2000 (tagging) by JGMF.
This recording is nothing short of spectacular. It enters in the pocket and stays there. Betty Cantor-Jackson, thank you! Listeners: we are truly blessed to care about the music that Betty cared enough to record for us. Itís like Rudy van Gelder or something. We are truly lucky music fans. And thanks to whoever had the foresight to salvage these tapes, and to have RE, a Grammy-winning recording engineer, preserve them. Posterity thanks you.
So good to hear this show. As of this writing, the only Garcia/Saunders shows in circulation after the thoroughly-documented (and now completely officially released as Keystone Companions: The Complete 1973 Fantasy Recordings, Fantasy, 2012 [Allan | deaddisc] ) July 10-11, 1973 Keystone shows are the fragment of the 9/5/73 Hell’s Angels show, the complete Capital Theatre (Passaic, NJ) show of September 6, 1973, and another Hell’s Angels thing at Winterland on October 2, 1973. After that, it’s all the way out to January 17-18-19, 1974. Hearing this November show is potentially really important in stitching together a musical analysis of the band’s evolution.