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Thread: Unedited liner notes for "Dawg and T"

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    Default Unedited liner notes for "Dawg and T"

    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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    Registered User jefflester's Avatar
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    Default Re: Unedited liner notes for "Dawg and T"

    Thanks Art! Curious, if you happen to know, was the source of this recording a fan taper's board recording of the straight FOH mix?

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    Default Re: Unedited liner notes for "Dawg and T"

    What a great write-up. Thanks for sharing it!

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    poor excuse for anything Charlieshafer's Avatar
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    Default Re: Unedited liner notes for "Dawg and T"

    Yes, very nice job!

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    Default Re: Unedited liner notes for "Dawg and T"

    In reference to how the recording was made. It was recorded stereo through the board to a DAT by Larry Cumings.......... sounds GREAT!!!

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    Default Re: Unedited liner notes for "Dawg and T"

    Arthur,

    I just read and re-read the above discourse and man, o man(dolin), the newness of it all back then came to life once more, in your solid prose. That first record (Kaleidoscope F-5) was so totally fresh, that it defied categorization. With repeated listenings (still have the vinyl I bought in Tucson, AZ at the time), we all came to know, anticipate and actually crave the licks as they approached and happened. And they were perfect and became ingrained in the brain. Even if we couldn't pick them, we knew them.

    The 2nd LP was much anticipated and, although different, still thrilled, largely due to T's presence on every cut. His solos were impeccable, maybe even more refined than on the first record. As an aside, I recently attended a mandolin camp led by Alan Bibey, and at a bar gig at an outdoor beach tavern, we jammed on a few together. Alan has great love and respect for Dawg and T. So, it was a huge thrill for me to pick Janice with him and his excellent band (Zach McLamb on bass and Jeff Huffman on guitar, along with another rhythm guitarist). I did the twin above on the intro/outro and head. When it came time to take solos, I mirrored Dawg's line after the head, with that beautiful tremolo starting on the high D note, which was so perfect on the recording - almost 40 years ago now (gulp!)

    Thanks for the memories, pal.

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    Default Re: Unedited liner notes for "Dawg and T"

    Thanks Alan............for a lot of folks the first DGQ album, sold a lot of mandolins as it inspired a generation of mando-pickers. Joe Craven told me he went out & bought a mandolin the day after he first heard the album........ and later becoming a member of the band.........how cool is that! And of course with Mandolin World News, Grisman brought our community together.........which the Cafe here is the evolution and modern extension of all things mandolin.

    So cool you got to play some Dawg tunes with Alan Bibey and his band. He is one of the great players I've never met, somehow he slipped through the radar & was never a teacher at the Mandolin Symposium where I got to know so many of our heros. I recall one year I was sitting outside my room there pickin' the chords to Dawgmatism and up walks Don Julin & starts playing it with me, he paid his own way to be there the first time. I had bought his CDs from him over the years & there he was, and this cat can pick! He ended up jamming on stage with David & Mike that year.......and became an instructor the next year. I went most of the years, missed the last one.......but had I known it was the last one I would have borrowed the money to go.

    Those early years of the DGQ with Tony Rice looking back like you say was so new and fresh. They are among my desert island albums, I must have played that first album a zillion times by now...........and I can just about pick all the tunes decades later, just not up to their speed. I was lucky to have been in the right place at the right time. I've learned so much about music and met so many wonderful musicians from my friendship with David. It was an honor to be asked to write the liner notes. Everyone needs this album "Dawg and T." in your collection.

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    Default Re: Unedited liner notes for "Dawg and T"

    Yessir.

    The 1997 show is excellent, with much of that original vibe still intact, with added seasoning and experience. I, too, can play/fake most all of those first 2 records' numbers. There's a bass player here who just nails 16-16. We pick at a monthly bg jam at a local music store (where I was fortunate to meet Loar#1 owner recently - see photo - and where Ebo Walker attends regularly - how cool is that). Whenever Richard and I do 16-16, the crowd quiets down and listens...a good thing.

    The one tune I struggle with is, yep, you guessed it....Fish Scale...haha.
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    Default Re: Unedited liner notes for "Dawg and T"

    Quote Originally Posted by AlanN View Post
    Yessir.

    The one tune I struggle with is, yep, you guessed it....Fish Scale...haha.
    Yep! I guessed it. Cool you have a bass player like that for 16-16. A lot of Dawg tunes you need other pickers.

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    Default Re: Unedited liner notes for "Dawg and T"

    Nice, evocative write-up, Arthur. It puts me in the place and time. Thank you for posting it.

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