Grateful Dead

i am listening to the Doors break on Through Center Coliseum, Seattl 1970

Currently listening to and learning Deep Elem Blues ... i noticed there are 2 dominant versions, live at harpur College version, which is a slowed down real bluesy version, and then the more classic and common "bluegrass" version as heard in the acoustic and JGB shows...

wondering if anyone knows what these two styles are called in the dead/music world, as I'm trying to learn the Harpur College version and having trouble searching for lessons on that specifically that version ("real bluesy version" and "harpur college version" isn't working in the searches)

Much love!

I'm off to get...

Gong Live in Lyon 1972 as a certainty. Mind your head!
Charlie Parker as a maybe.

Can't think what else I saw - those are the ones I remember when I had a look last night.

Well, I'm not off anywhere - I'll be poking around online.

any recommendation? what are people wanting to snag? im looking at.....

-muddy waters woodstock album
-sun ra
-howlin' wolf
-alex chilton
-ABB

Listening to Mason's Children and New Speedway Boogie, 2 Dead songs which were largely overlooked by both band and fans for quite a while.

Haiduk - Morph [blackened death metal]

youtube.com/watch?v=uNQ1-hyWLxo

I'm listening to Roy Kim's "Only If" right now and it makes me sleepy coz it's a ballad song.

Don’t miss this title from bassist Cleveland Eaton from 1974: Cleveland Eaton, Plenty Good Eaton.
This record refuses to get off my turntable deck.
Sorely underappreciated…

Shwack in NH

The new Haiduk album Diabolica [metal]

CD by Martin Taylor and David Grisman's Acoustic Jazz Quartet, called "I'm Beginning to See the Light.," 1999.

Taylor and Grisman go at a bunch of true standards (Autumn Leaves, Cheek to Cheek, Lover Man, Willow Weep for Me, Bewitched Bothered and Bewildered...etc.) It is good because it does focus Grisman a little, like Garcia used to do, and bring David down from his free form "Dawg" jamming. It's nice, like at a Dead concert, when the riffing resolves into a recognizable song and melody. On the other hand, maybe you can say that Grisman is excessively disciplined and sticks too closely to the melody here rather than riffing and improvising as much as many jazz players do - could have been a happy medium with his Dawg somehow - maybe he felt a little more free to do that in his collaborations with Jerry. But this is good. Great music for dinner or reading and you raise your head every once in awhile at a nice riff or return to well known swing melodies. And danceable if you know your Lindy. That's probably what was intended. Jerry would have appreciated it, I think - Jerry himself in his last interviews said he was going to see Steffan Grappelli doing this sort of riffing on standards before both of them unfortunately passed on. And of course Jerry was named after Jerome Kern, or so I heard once upon a time, so these standard would be right up his alley.