I wrote the liner notes for the new David Grisman and Tony Rice CD. It needed to be edited quite a bit to fit the format, but I thought some might enjoy the unedited version, I did a lot of research that might be new information to some of you that are interested in these musicians, so please enjoy!
The Gasoline Bros.
The duet music on this recording marks a special reunion, a rare live performance of David “Dawg” Grisman and Tony “T” Rice recorded at Acoustic Stage in Hickory, NC on October 11, 1997. I’m sure there are others who would agree that David and Tony are both considered living legends on their respective acoustic stringed instruments, mandolin and guitar. These are the guys who launched New Acoustic Music with the original David Grisman Quintet along with Darol Anger on violin, Todd Phillips on second mandolin, and Bill Amatneek on bass. In string jazz I can only think of one other mandolin and guitar duo to compare and that would be Kenneth “Jethro” Burns and Henry “Homer” Haynes, who were totally amazing musicians but better known as musical comedians. Or for a guitar and violin duo you could go back to Django Reinhardt and Stephane Grappelli with their early string jazz to find other musicians this influential in the evolution of acoustic music.
The David Grisman Quintet started an acoustic music revolution in the San Francisco Bay Area in the late 1970’s with their hybrid music: mostly original tunes written by Grisman inspired by a heady mixture of Americana roots music; bluegrass instrumentals; British Isle fiddle tunes; a healthy dose of jazz and swing; a bit of Latin rhythms and Gypsy passion—all with classical music inspired harmonies and arrangements processed through David’s imagination. They fit no category and the music became known as Dawg Music, named after Grisman’s nickname. Many consider David the best mandolin player of his generation and he took the instrument forward, beyond his traditional bluegrass roots with his expressive and rhythmic style of playing. He inspired the next generations of mandolin pickers in many ways and became an ambassador for all things mandolin, taking it where it hadn’t gone before. Add Tony Rice’s fiery guitar solos with impeccable rhythm playing and that is the beginning of something special. Tony stood on the shoulders of his mentors Clarence White and Doc Watson, taking the acoustic guitar from folk and bluegrass music roots to another level of complexity. He raised the bar and also, like David, inspired the next generations of guitar pickers.
There was a buzz in the Bay Area that there was this new amazing guitar player in town playing in Grisman’s Quintet and that these guys were jammin’ and they were hot. Their legendary monthly shows at the Great American Music Hall in San Francisco were packed with the music intelligentsia, and many other musicians sitting there slack-jawed in amazement. There was electricity in the air. The David Grisman Quintet had arrived. Grisman’s tunes had complex arrangements, memorable melodies, but also plenty of room for improvisation. And the syncopated rhythmic force of Grisman and Rice was driving the music. It felt new! They kept getting better. It was inspiring to be in the presence of true creativity.
David and Tony met at a recording session for an album by banjo player Bill Keith, and this is where Tony also first heard some tapes of the music Grisman was working on with the Great American String Band out in the Bay Area. As musicians, they shared an instant connection. Combine that with what Tony heard on the tapes and he moved to California in 1975 to play with Grisman. He wanted to be a part of and play this new kind of music. The band rehearsed for about a year before playing gigs and then recorded their landmark album, The David Grisman Quintet, which was released in 1977.
This is about when I came into the scene. With David’s permission, I along with two other mad taper friends, began to make live recordings of the band using separate microphones from the house mix, starting with the earliest gigs. I eventually became the DGQ archivist and band members used to hang out at my art studio where Todd Phillips built and repaired mandolins in the back. Bitten by the bug, this music spoke to me. I knew it was special and I tried to be helpful, by setting up mics, mixing some shows from the soundboard, as well as making the live recordings. I was also privileged to be there in the studio to watch how hard they worked during the recording of the first DGQ album. As I became friends with these guys and they became totally comfortable with me being in their space, I was like a fly on the wall, totally invisible. Backstage before shows typically Tony would tune up and play the same exact lick on his famous old Martin D-28 to check his tuning, and Grisman playing either his old Gibson Fern or a Gibson Lloyd Loar F-5 would join in, just playing off each other. I was right there just a few feet from them, “T” in my right ear and “Dawg” in my left ear. I call that perfect stereo.
The energy these two musicians created was so impressive I can still feel the memories of the sound in my soul. For people around the band they were known as the “Gasoline Brothers”—a nickname Tony started during the recording of the first Quintet album when the playing was so hot they were about to explode. And they could burn together. But it wasn’t just hot. There was a correctness to the sound as they complemented each other so well. This remains one of those rare pairings of musicians that is like peanut butter and jelly, or pretzels and beer, a near perfect combination.
Tony stayed in the Quintet until September of 1979 when he and Todd Phillips split off to form the Tony Rice Unit. Grisman, who has an ear for talent, added new members to his Quintet: young phenom players like Mike Marshall who was already on board and Mark O’Connor the new guitarist. The DGQ carried on with the next of many versions of the band to follow. There would be occasional appearances of “Dawg” and “T” playing together in super groups at festivals or on TV. The next released recording of the “Gasoline Brothers” was a duet project entitled, Tone Poems, recorded 15 years after Tony started his own band. By that time both musicians were living legends. In my opinion, Tone Poems, is one of the finest CDs ever put out by Acoustic Disc as well as one of the finest mandolin and guitar duet projects of all time. “Dawg” and “T” share a certain chemistry, an inner clock, a way of hearing and interacting musically that few other combinations of musicians have. Steeped in the same tradition, they carried the torch together into uncharted territory. Tone Poems was released in 1994 and incidentally was recorded using numerous historical vintage instruments. There were a precious few live shows in support of the recording. I was lucky to have had the opportunity to experience one in Carmel, CA!
Now that brings us to this recording from 3 years later in 1997. David had played the same venue the night before doing duets with Doc Watson, and this recording is the following night. I wish I had been there, but I am so pleased we all get to hear this treasured recording. It is a fun mixture of some tunes from Tone Poems along with some burning bluegrass and jazz instrumentals mixed with some Grisman originals. The “Gasoline Brothers” were on fire this night and indeed about to explode. I’m thinking this might be the only duet recording of “Dawg’s Rag”, or Tony’s tune “Devlin’”and you also get a treat with Grisman playing mandola on his tune “Opus 38”. I’m a lifelong friend with these fellas, love them like brothers, and trust me, I know when they are playing great. Both these giants of acoustic stringed music are in top form here, enjoying the reunion, and the recording is so good it is just like when I used to stand a few feet away from them listening to the rehearsal backstage, with Dawg in one ear and T. in the other. Now that folks is what your ears are made for, and what I consider perfect stereo!
Arthur Stern
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