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Been All Around This World

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iTunes Review

Released in 2004, this final installment of unreleased Garcia/Grisman sessions has a distinctly understated, just-for-fun vibe. Perhaps more than any other factor, Garcia and Grisman enjoyed playing together because of each other's omnivorous musical appetite. Few albums in memory are diverse enough to include tracks by Jimmy Cliff, James Brown, and Bob Dylan, but to this duo that kind of eclecticism was completely natural. Much of the material here is in a folk and country vein, with covers of Jimmie Rodgers, George Jones, Freddie Hart, Mel Tillis, and Merle Travis balancing the "left-field" selections. Not meant as hot-picking displays or grand artistic statements, this assortment of tracks merely finds two old friends engaging in some lighthearted jamming across some of their favorite tunes. As such it has a gentle charm, as if you were invited over for an informal back-porch sing-along.

Customer Reviews


An absoultely beautiful album. These are among the very last of Jerry's performances (Blue Yodel #9, if I am not mistaken, is the last song he recorded before his passing); as such, all of these songs are filled with a sense of peace and poignancy. His close friendship with Grisman, both personally and musically, shows through in the playing. This album is, for me, musical perfection, both in the songs' intrinsic vibes and the emotional weight they carry. More than worth the download.

A Treasure

Gorgeous, outstanding album filled with feeling and humanity. A must have for all Garcia/Grisman fans! Truly a treasure.


This album is unbelieveable, it captures the folk sound that jerry always said he loved. David Grisman and Jerry are the perfect combination of folk musicians. If you love Jerry, Grisman, or if you just love music....this is a must buy album!


Born: March 23, 1945 in Hackensack, NJ

Genre: Singer/Songwriter

Years Active: '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 Quintet...
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