If you haven't already heard, I am pleased to inform you that the #gratefuldead 1975 Ace’s studio sessions have finally been sorted. Choose from everything (24 hours) or a curated selection (11 hours). Amazing music assembled with archival and scholarly rigor. https://saveyourface.posthaven.com/grateful-dead-the-1975-aces-sessions-2026-edition

Here’s an excerpt from the 11/12/72 Kansas City #gratefuldead performance of “He’s Gone,” featuring ONLY Garcia and Weir’s guitar parts.

R.I.P. Bob Weir, my GOAT rhythm guitarist. I got into #gratefuldead via tapes of 1972-1974 improvisation, and the secret sauce for me was Bob Weir’s guitar. His rhythms, interjections, and harmonics were constant elements of surprise and delight to me. I danced to him. He had to create a space for himself in the Dead’s music, and he did so brilliantly and uniquely. I’ve never been able to listen to Dead tapes on which I can’t easily hear Weir’s guitar.

If you’re not familiar with the classic jazz remix craze, circa 2000, here’s my longstanding curation of it - which my daughter asked me to recreate on Spotify. https://open.spotify.com/playlist/2Y6d9bpSfEMHaePQxRe9VP?si=32a2d7aa25bf4bd0

I can’t let June 28 pass without appreciating (for the 1000th time) these six minutes of pure improvisation by #gratefuldead from 6/28/74, in Boston. This is the first thing I play for non-Heads to illustrate jazz Dead. It’s a one-off, but it develops like a planned event, turning corners tightly, orgasming repeatedly. (The tension and release from 2:30-3:00!) Short, self-contained Dead perfection. It should have a name.