tuning because he said it wasnât until a couple months later when he found out how to really tune it. Itâs very primitive and itâs very much that style of plunging out and jumping in with both feet first. The solo itself is basically two licks used very modestly. Very modestly.
Sara Ruppenthal Garcia: I first met Phil Lesh back at the Chateau when he was a music student. He was this madman coming in with these musical scores where there were great slashes of music going down the paper and all over. He was just so wildly excited about avant garde music, which didnât seem to have anything to do with what Jerry was doing. Jerry could share his enthusiasm for some of it but it wasnât his thing.
Peter Albin: Lesh lived down the street with a friend of my brother. Iâd go over there and Iâd see these charts that Lesh had written. I couldnât believe this weird shit. Like a symphony for fifty guitars. They were all circular. It was a circular chart. A bizarre-looking thing. How do you read this?
John âMarmadukeâ Dawson: I remember going to a couple rehearsals of Mother McCreeâs Uptown Jug Champions. Various publications have listed me as a member of that band but I never was. I was at the Warlocksâ first gig at the pizza parlor at Magooâs. This was when they finally got all their shit together. I think they rehearsed in Danaâs for the first one and then they got this gig at Magooâs. The thing about Dana was that he had all the stuff to play on so they let him be the bass player. He couldnât play bass for shit, man. They gave him the best break possible and he just couldnât do it.
Sue Swanson: I drove Jerry up to the city the day that he went to find Phil to get him to play in the band. We went up in my car. It just wasnât working with Dana Morgan playing bass. When they fired Dana from the band, it was tough. Jerryâs guitar was from Dana Morganâs Music. So all of a sudden, he didnât have an ax. I remember him and his wife Sara sitting there trying to figure it out. âWeâve got two hundred dollars in the bank. How much is this ax? Maybe I can borrow money from my mom....â Iâm not sure how but Jerry got the guitar. It was a lousy place to rehearse anyway. The whole room was instruments. There were cymbals all over the place. When they played there, everything played right back at them.
Marshall Leicester: In terms of forming the Warlocks, I especially remember Lesh as being the decisive force in that. It was not so much Lesh himself, although Phil was obviously extremely important, but the moves that got Dana Morgan out of the band. That was the moment at which something which was partly being done as a concession to grownup bourgeois life and the need to make money and all the rest of it turned into the possibility of making something greater. Dana was their original bass player. And when Lesh came along, it was a great deal more than a question of just replacing one musician with a better musician. Because Jerry took a real leap there. I remember some of us chicken bourgeois types being afraid heâd lose his job at Morganâs by firing his bossâs son. But Lesh was adamant about that. I think some of us went to Phil at one point and said, âWould you back off a little? Weâre worried about whether Jerryâs going to be able to survive.â And Lesh said, âNo way. Iâve waited too long for this.â Phil was really ambitious and could be really hard-nosed in a way that was always difficult for Jerry. Yet what often looked like a kind of narcissism on Jerryâs part was in fact him being more intense and in a certain way much more ruthless than others. I heard people say that you hadnât been dropped until youâd been dropped by Garcia. When you became no longer of interest to him because he was moving in a different direction.
John âMarmadukeâ Dawson: So
Sara Ruppenthal Garcia: I first met Phil Lesh back at the Chateau when he was a music student. He was this madman coming in with these musical scores where there were great slashes of music going down the paper and all over. He was just so wildly excited about avant garde music, which didnât seem to have anything to do with what Jerry was doing. Jerry could share his enthusiasm for some of it but it wasnât his thing.
Peter Albin: Lesh lived down the street with a friend of my brother. Iâd go over there and Iâd see these charts that Lesh had written. I couldnât believe this weird shit. Like a symphony for fifty guitars. They were all circular. It was a circular chart. A bizarre-looking thing. How do you read this?
John âMarmadukeâ Dawson: I remember going to a couple rehearsals of Mother McCreeâs Uptown Jug Champions. Various publications have listed me as a member of that band but I never was. I was at the Warlocksâ first gig at the pizza parlor at Magooâs. This was when they finally got all their shit together. I think they rehearsed in Danaâs for the first one and then they got this gig at Magooâs. The thing about Dana was that he had all the stuff to play on so they let him be the bass player. He couldnât play bass for shit, man. They gave him the best break possible and he just couldnât do it.
Sue Swanson: I drove Jerry up to the city the day that he went to find Phil to get him to play in the band. We went up in my car. It just wasnât working with Dana Morgan playing bass. When they fired Dana from the band, it was tough. Jerryâs guitar was from Dana Morganâs Music. So all of a sudden, he didnât have an ax. I remember him and his wife Sara sitting there trying to figure it out. âWeâve got two hundred dollars in the bank. How much is this ax? Maybe I can borrow money from my mom....â Iâm not sure how but Jerry got the guitar. It was a lousy place to rehearse anyway. The whole room was instruments. There were cymbals all over the place. When they played there, everything played right back at them.
Marshall Leicester: In terms of forming the Warlocks, I especially remember Lesh as being the decisive force in that. It was not so much Lesh himself, although Phil was obviously extremely important, but the moves that got Dana Morgan out of the band. That was the moment at which something which was partly being done as a concession to grownup bourgeois life and the need to make money and all the rest of it turned into the possibility of making something greater. Dana was their original bass player. And when Lesh came along, it was a great deal more than a question of just replacing one musician with a better musician. Because Jerry took a real leap there. I remember some of us chicken bourgeois types being afraid heâd lose his job at Morganâs by firing his bossâs son. But Lesh was adamant about that. I think some of us went to Phil at one point and said, âWould you back off a little? Weâre worried about whether Jerryâs going to be able to survive.â And Lesh said, âNo way. Iâve waited too long for this.â Phil was really ambitious and could be really hard-nosed in a way that was always difficult for Jerry. Yet what often looked like a kind of narcissism on Jerryâs part was in fact him being more intense and in a certain way much more ruthless than others. I heard people say that you hadnât been dropped until youâd been dropped by Garcia. When you became no longer of interest to him because he was moving in a different direction.
John âMarmadukeâ Dawson: So
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