Last weekend in a curious case of serendipity, I found The Other One: The Long Strange Trip of Bob Weir, a documentary film by Mike Fleiss. The film is focused on the Grateful Dead’s co-founder, singer and rhythm guitarist but as expected, the spotlight is also on the late Jerry Garcia, the Dead’s legendary guitarist; on the band and its origins; on its cult-like followers; on the influence of drugs and psychedelics; on the 1960s; and all of the other things that any film on any aspect of the Grateful Dead can’t not cover.
If you’re not a fan of the band, it’s not a film for you — but if you are one, then it’s a must-watch. Weir who quit school at 16 to become the youngest member of the band in 1965 is at the centerpiece of the film and talks candidly about his experience; about Garcia; and about the pressures that fame had on the band members.
Also watch: Grateful Dead Final Concert 7-9-1995
And there’s rare footage that those familiar with the Dead will love to see – including one from the early 1990s of Garcia and Weir scuba diving at Maui, Hawaii, with one underwater sequence showing the former stroking the neck of what seems to be a giant eel with its head protruding from a cave, quite in line with what you’d expect Garcia to be doing underwater.
I mentioned serendipity in the beginning because this month happens to be the 50th anniversary of the Grateful Dead and all eyes are on its remaining members who have decided to go on one final tour with a number of concerts that start on June 27 in California and end on July 5 in Chicago.
The tickets for the actual concerts sold out in less than five minutes after they went on sale (scalpers will no doubt have a field day) and so have those for the several simulcasts that are planned in theaters across various cities in the US.
Although all the remaining members of the band (Garcia died in 1995) are aging – Weir is the youngest at 67, drummers Bill Kreutzmann and Mickey Hart are 69 and 71, respectively, and bassist Phil Lesh is 75 – the yet-to-be-staged final Dead tour is already a huge draw.
The Dead have been a touring act – by one estimate, between 1965 and 1995, they may have played more than 2,300 concerts and many of their die-hard fans may now be as or near about as old as the living band members are.
Then there was a story in the June 8 issue of The New Yorker magazine about how Weir was rehearsing with Phish’s Trey Anastasio in New York before the Fare Thee Well concerts begin because the phenomenally talented Phish lead guitarist will be filling in for Garcia at the concerts.
And the info that singer-pianist Bruce Hornsby has been enlisted to do duty on the keyboards, an instrument that has been an essential part of the Dead’s ensemble. Hornsby has played nearly 100 shows with the Grateful Dead in the early 1990s and is like an extended member of the band. Anastasio would probably need to rehearse more.
All of this information has re-created interest in the band for its fans, including probably the hundreds of mostly middle-aged fans in India, all of whom will likely have hoards of their music but few of whom will have had a chance to watch the Dead in the flesh.
And then, in another serendipitous dose, to mark the 50th anniversary of the band, music website Aquarium Drunkard compiled all of its Dead Notes – in flysheet format – accompanied with zipped downloadable files of iconic performances of the band’s songs (mostly from gigs in the late 1960s and the ’70s), which together makes a great collectible for an old Deadhead (ask me, I know!). It was, altogether, a pleasant series of fortunate events to mark a landmark anniversary of a band that I loved.
DOWN MEMORY LANE:
It hasn’t been two weeks yet since Ornette Coleman, jazz saxophonist, trumpeter and violinist, died on June 11. Coleman was known for his unconventional style that became a genre named ‘free jazz’ (that name came from Coleman’s 1960 album of the same name).
The blues influenced Coleman’s music but it was iconoclastic for its time – creating controversy in the jazz world of the 1960s – because of its free form structure and non-conformist improvisation. Later, he embraced electric sounds – guitars and keyboards mainly.
And here’s some more serendipity: on Coleman’s 1988 album, Virgin Beauty, Jerry Garcia played the guitar on three tracks; and, in 1993, Coleman got on stage while the Grateful Dead were playing to jam on at least five songs.
If you haven’t heard Coleman or jazz ain’t your thing, those could be the entry point to one of the genre’s greatest innovators.
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