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Reseña de álbum

Jerry Garcia and David Grisman released two albums on the latter's Acoustic Disc label during the last years of Garcia's life, and since his death in 1995, Grisman has culled a series of albums from other sessions the two recorded together. Shady Grove (1996) presented traditional folk and country material, while So What (1998) contained jazz compositions. The Pizza Tapes (so named because Garcia' s cassette of the sessions supposedly was stolen by a pizza delivery boy and circulated clandestinely) chronicles two nights worth of sessions that Garcia and Grisman shared with guitarist Tony Rice. The Grisman albums with Garcia have become increasingly informal as he has delved into picking dates that may have been intended as rehearsals or just get-togethers, and The Pizza Tapes carries that trend further. There's lots of conversation (delineated by the five "Appetizer" titles), along with false starts, mistakes, and fragments of songs, and there is some repetition of tunes (though not performances) from previous albums. "Shady Grove" and "Louis Collins" from Shady Grove are here, as is "So What" from So What. But the two guitarists show a genuine rapport as they range from pop/jazz standards like "Summertime" to folk songs like "Man of Constant Sorrow" and folk-rock fare like "Knockin' on Heaven's Door." "I'm having a great time," declares Garcia enthusiastically, and his pleasure comes across. Dead Heads long ago found that Garcia was at his best away from the formal restrictions and pressures of recording, and the same thing seems to hold for the Garcia/Grisman albums. Rice, meanwhile, more than holds his own.

Reseñas de usuarios

Garcia at his best (and happiest)

Musicians usually play their best when they are the most comfortable as well as happy. And for Garcia during the last years, that place was in the informal sessions with David Grisman. Some of Jerry's best playing was recorded with David Grisman. So listening to "The Pizza Tapes" puts a big smile on my face because you can hear the happiness in Jerry's voice. For all of the rough moments he had been going through on and off tour, he had a little oasis of musical comfort at Grisman's home studio. This recording is like a gift to us fans as well as a historical document. This is pure- not perfect, not without flaws, but pure. As I wrote previously- I, as a fan, feel good knowing Jerry was enjoying his music in his final years. "The Pizza Tapes" recording is proof that these guys loved playing together. It went beyond record labels, concert tours, or social politics. And because of that the music that comes out of that relationship can only be something special. So enjoy!

Welcome to Myth

Anybody familiar with the Inklings (an informal group at Oxford in the '30s & 40s with C.S. Lewis and J.R.R. Tolkien that met in a pub to read works-in-progress aloud) will understand what Tony, Jerry & David were doing in David's Marin County home (basement) recording studio. Like the Inklings' pub readings, these tracks are musical myth and legend-lands seen, heard & felt-in-the-heart as they're being created. Comforting familiarity mixed with newness & wonder; a place where fantasy elf-lands meet real wood, metal strings, and years of running scales in laughing, effortless, authentic expression. Glimpse an open seam in the curtain between our everydays and the myth-music we've always known. An essential download!

5.5 stars for brilliance...

Garcia and Grisman at thier best here on the pizza tapes. the appitizers are gripping little flavors of what these guys can do. I still get chills every time i hear the second appitizer, and it's just garcia messin' around! with no further adu ladies and gentlemen, buy this album, steal it, do whatever you can to get a hold of it, because it is incrediblely well done and completely laid back while driving you through the entire recording. amazingly well done.


Nacido(a): 23 de marzo de 1945 en Hackensack, NJ

Género: Intérprete/compositor

Años de actividad: '70s, '80s, '90s, '00s

David Grisman is normally associated with the bluegrass wing of country music, but his music owes almost as much to jazz as it does to traditional American folk influences. Because he couldn't think of what to call his unique, highly intricate, harmonically advanced hybrid of acoustic bluegrass, folk, and jazz without leaning toward one idiom or another, he offhandedly decided to call it "dawg music" — a name which, curiously enough, has stuck. A brilliant mandolinist, with roots deep in the...
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The Pizza Tapes, David Grisman
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