''The New Grove Dictionary of Music and Musicians'' is an encyclopedic dictionary of music and musicians. Along with the German-language ''Musik in Geschichte und Gegenwart'', it is the largest single reference work on Western music. The dictionary has gone through several editions since the 19th century and is widely used. In recent years it has been made available as an electronic resource.

Editions

A Dictionary of Music and Musicians

It was first published as ''A Dictionary of Music and Musicians'' in four volumes (1878, 1880, 1883, 1890) edited by Sir George Grove with an Appendix edited by J. A. Fuller Maitland and an Index edited by Mrs. Edmund Wodehouse. It was reprinted in 1890 and 1900.

Grove's Dictionary of Music and Musicians

The second edition (''Grove II''), in five volumes, was edited by Fuller Maitland and published from 1904 to 1910, this time as ''Grove's Dictionary of Music and Musicians''.

The third edition (''Grove III''), also in five volumes, was an extensive revision of the 2nd edition; it was edited by H. C. Colles and published in 1927.

The fourth edition (''Grove IV''), also edited by Colles, was published in 1940 in five volumes (a reprint of the third edition, with some corrections) plus a Supplementary Volume (making six volumes in all).

The fifth edition (''Grove V''), in nine volumes, was edited by Eric Blom and published in 1954. This was the most thoroughgoing revision of the work since its inception, with many articles rewritten in a more modern style and a large number of entirely new articles. Many of the articles were written by Blom personally, or translated by him. An additional Supplementary Volume, prepared for the most part by Eric Blom, followed in 1961. Blom died in 1959, and the Supplementary Volume was completed by Denis Stevens. The fifth edition was reprinted in 1966.

The New Grove, first edition

When the next edition appeared in 1980, it was under the new name ''The New Grove Dictionary of Music and Musicians'', and was greatly expanded to 20 volumes with 22,500 articles and 16,500 biographies. Its senior editor was Stanley Sadie with Nigel Fortune also serving as one of the main editors for the publication.

It was reprinted with minor corrections each subsequent year until 1995, except 1982 and 1983. In the mid-90s, the set version sold for about $2,300. A paperback edition was reprinted in 1995 which sold for $500. At that point, editors likely decided to concentrate on the second edition rather than continue to correct the mistakes of the original 1980 edition.

ISBN 0-333-23111-2 – hardback

ISBN 1-56159-174-2 – paperback

ISBN 0-333-73250-2 – British special edition

ISBN 1-56159-229-3 – American special edition

Spin-offs

Some sections of ''The New Grove'' were also issued as individual books on particular topics.

The New Grove, second edition

The second edition under this title (the seventh overall) was published in 2001, in 29 volumes. It was also made available by subscription on the internet in a service called Grove Music Online. It was again edited by Stanley Sadie, and the executive editor was John Tyrrell. It was originally to be released on CD-ROM as well, but this plan was dropped. As Sadie writes in the preface, "The biggest single expansion in the present edition has been in the coverage of 20th-century composers".

This edition has been subject to some negative criticism (e.g. in ''Private Eye'') owing to the significant number of typographical and factual errors that it contains. Some of the errors were attributed to the use of students for checking the dictionary, although in fact no students were ever employed as editorial staff. Two volumes were re-issued in corrected versions, however, after production errors originally caused the omission of sections of Igor Stravinsky's worklist and Richard Wagner's bibliography.

Ian Bent was a Senior Consulting Editor from 1971 to 1980.

ISBN 0-333-60800-3 – British

ISBN 1-56159-239-0 – American (cloth: alk.paper)

Grove Music Online

Publication of the second edition of ''The New Grove'' was accompanied by a web-based version. It attracted some initial criticism, for example for the way in which images were not incorporated into the text but kept separate.

The online version was regularly updated, including a large number of revisions and additions of new articles. As well as the 29 volumes of ''The New Grove'' second edition, Grove Music Online incorporated the four-volume ''New Grove Dictionary of Opera'' (ed. Stanley Sadie, 1992) and the three-volume ''New Grove Dictionary of Jazz'', second edition (ed. Barry Kernfeld, 2002), comprising a total of more than 50,000 articles.

As well as being available to individual and educational subscribers, it was available for use by members of many libraries worldwide.

In 2008, Grove Music Online was replaced by Oxford Music Online.

Oxford Music Online

In March 2008, Oxford University Press launched a new online service called Oxford Music Online, replacing Grove Music Online. The new service is designed to provide a "gateway that offers users the ability, for the first time ever, to access and cross-search the vast resources of Oxford's music reference in one location." In addition to providing a new interface, the new service brings the Grove encyclopedias together with the Oxford Companion to Music, the Oxford Dictionary of Music, and the Encyclopedia of Popular Music. OUP plans to continue pursuing the addition of other reference works to the service.

The Grove Dictionary component of Oxford Music Online continues to be updated much as Grove Music Online was.

Status

The New Grove is often the first source that English-speaking musicologists use when beginning research or seeking information on most musical topics. Its scope and extensive bibliographies make it exceedingly valuable to any scholar with a grasp of the English language.

Its principal competitor is the ''Musik in Geschichte und Gegenwart'' ("MGG"), currently ten volumes on musical subjects and seventeen on biographies of musicians, written in German.

The dictionary was originally published by Macmillan but was sold in 2004 to Oxford University Press.

The print edition the ''New Grove'' costs between $1100 and $1500, while an annual subscription to Grove Music Online is $295.

The companion four-volume series, ''New Grove Dictionary of Opera'', is the main reference work in English on the subject of opera.

Contents

The 2001 edition contains:

29,499 articles in total

* 5,623 entirely new articles

20,374 biographies of composers, performers and writers on music

* 96 articles on theatre directors

1,465 articles on styles, terms and genres

* 283 articles on concepts

805 articles on regions, countries and cities

* 580 articles on ancient music and church music

* 1,327 articles on world musics

* 1,221 articles on popular music, light music, and jazz

2,261 articles on instruments and their makers, and performance practice

* 89 articles on acoustics

693 articles on printing and publishing

* 174 articles on notation

* 131 articles on sources

Humour

Two non-existent composers have appeared in the work:

Dag Henrik Esrum-Hellerup was the subject of a hoax entry in the 1980 ''New Grove''. Esrum-Hellerup's surname derives from a Danish village and a suburb of Copenhagen. The writer of the entry was Robert Layton. Though successfully introduced into the encyclopaedia, Esrum-Hellerup appeared in the first printing only: soon exposed as a hoax, the entry was removed and the space filled with an illustration. In 1983, the Danish organist Henry Palsmar founded an amateur choir, the Esrum-Hellerup Choir, along with several former pupils of the Song School, St. Annae Gymnasium in Copenhagen.

Guglielmo Baldini was the name of a non-existent composer who was the subject of a hoax entry in the 1980 edition. Unlike Esrum-Hellerup, Baldini was not a modern creation: his name and biography were in fact created almost a century earlier by the renowned German musicologist Hugo Riemann. The ''New Grove'' entry on Baldini was supported by a fictional reference in the form of an article supposedly in the ''Archiv fur Freiburger Diozesan geschichte''. Though successfully introduced into the encyclopaedia, Baldini appeared in the first printing only: soon exposed as a hoax, the entry was removed.

Seven parody entries, written by contributors to the 1980 edition, and full of musical puns and dictionary in-jokes, were published in the February 1981 issue of ''The Musical Times'' (which was also edited by Stanley Sadie at the time). These entries never appeared in the dictionary itself and are:

Brown, 'Mother' (Mary) (''b'' 1550; ''d'' Wapping 3 Jan 1611)

Ear-flute

Hameln [Hamelin]

Khan't, Genghis (Tamburlaine) (''b'' Ulan Bator, c1880; ''d'' New York, 22 Nov 1980)

Stainglit (Nevers), Sait d'Ail (''fl'' Middle Ages) – i.e. 'Stanley Sadie', following the example of Luis van Rooten

Toblerone

Verdi, Lasagne ['Il Bolognese'] (''b'' Bologna, 10 Oct 1813; ''d'' Naples, 15 March 1867)

References

;Notes

External links

Worldcat listings for Grove Dictionaries

'About the New Grove Dictionary', San Francisco Symphony Orchestra

'Grove Music Online', Rutgers University Libraries

'Grove sees trees but not forest', Greg Sandow and Anne Midgette, ''The Wall Street Journal'', July 3, 2001

'You could look it up: The New Grove Dictionary of Music & Musicians' (Review), *Benjamin Ivry, ''Commonweal'', March 9, 2001

Allen P. Britton, 'Review: The New Grove Dictionary of American Music', ''American Music'', Vol. 5, No. 2 (Summer, 1987), pp. 194–203 at JSTOR

Phillip D. Crabtree, Donald H. Foster, 1993, ''Sourcebook for Research in Music'', Bloomington: Indiana University Press, ISBN 0253213231 at Google Books

Interview with Stanley Sadie, by Bruce Duffie October 29, 1992

(1904 edition, 1920 supplement)

Category:1878 books Category:Encyclopedias on music Category:Macmillan Publishers books

ca:Grove Dictionary of Music and Musicians da:Grove Dictionary of Music and Musicians de:Grove Dictionary of Music and Musicians es:Grove Dictionary of Music and Musicians fr:Grove Dictionary of Music and Musicians it:Grove Dictionary of Music and Musicians he:מילון גרוב למוזיקה ומוזיקאים pl:Grove Dictionary of Music and Musicians pt:Grove Dictionary of Music and Musicians ru:Музыкальный словарь Гроува sv:Grove Dictionary of Music and Musicians uk:Музичний словник Гроува

Fritz Kalkbrenner (° 1981 in Berlin) is a German DJ and producer.

Since 2002, Kalkbrenner has worked as a culture and music journalist for TV stations including MDR, MTV and Deutsche Welle.

In 2008 he produced the soundtrack for the motion picture ''Berlin Calling'' with his brother Paul Kalkbrenner. Both appeared in the film. The track ''Sky and Sand'' was his breakthrough in the music business.

Unlike compositions by his brother, Paul, Fritz's music is warmer - his cold electro-beats are influenced by warm soul-sounds and is a distinguishing characteristic from other electronic artists. His real breakthrough came with the movie “Berlin Calling” and in particular the soundtrack: “Sky and Sand”, which Fritz and his brother produced together. Fritz himself has released one album: “Here Today Gone Tomorrow”.

''source: http://best4ears.de/''

Discography

;2004 : ''Stormy Weather'' (Cabinet Records) ;2009 : Chopstick & Johnjon feat. Fritz Kalkbrenner; ''A New Day'' (Baalsaal Music) : Paul Kalkbrenner feat. Fritz Kalkbrenner; ''Sky and Sand'' (BPitch Control) : ''Wingman'' (Baalsall Music) ;2010 : ''The Dead End'' (Suol) : ''Here Today, Gone Tomorrow'' (Suol)

Movies

;2008 : ''Berlin Calling'' (Hannes Stöhr)

External links

Fritz Kalkbrenner at MySpace

Berlin Calling (Hannes Stöhr) at iTunes

Fritz Kalkbrenner at Best4Ears

Category:German electronic musicians Category:German DJs Category:1981 births Category:Living people

de:Fritz Kalkbrenner fr:Fritz Kalkbrenner

Name	Waka Flocka Flame
Background	solo_singer
Birth name	Juaquin Bertholimule Malphurs
Born	May 31, 1986New York City, New York
Origin	Atlanta, Georgia, United States
Genre	Hip hop, Crunk, Southern hip hop
Years active	2008-present
Label	1017 Brick Squad, Warner Bros., Asylum, Mizay, Brick Squad Monopoly
Associated acts	1017 Brick Squad, Gucci Mane, Roscoe Dash
Url	www.wakaflocka1017.com }}

Juaquin Malphurs (born May 31, 1986), better known by his stage name Waka Flocka Flame, is an American rapper signed to 1017 Brick Squad and Warner Bros. He is a Southern hip hop artist best known for his singles "O Let's Do It", "Hard in da Paint" & "No Hands", along with his debut album, ''Flockaveli''. Waka Flocka Flame has announced that his second album will be released during the summer.

Biography

Early life and career

Juaquin Malphurs was born in South Jamaica, Queens, New York in 1986. His family eventually settled in Riverdale, Georgia. He is the son of Debra Antney, Gucci Mane's former manager and CEO of So Icey/Mizay Entertainment. The name "Waka" was given to him by his cousin, after the Muppets character Fozzie Bear's catch phrase, "Waka Waka". The name "Flocka Flame" was given to him by rapper Gucci Mane. .Waka Flocka Flame's publicist, Kali Bowyer, unleashed a global crossover campaign for Waka Flocka Flame. Waka Flocka posed for a nude but unrevealing picture for the company PETA to boycott killing animals. The picture says "Ink not Mink". The picture design is similar to Waka Flocka Flame's album Flockaveli. Waka Flocka Flame said that he has known Gucci Mane since he was 19

2009-2010: ''Flockaveli''

Waka Flocka Flame came to fame with his breakthrough single "O Let's Do It" in 2009, which peaked at #62 on the Billboard Hot 100. Waka Flocka Flame is a member of the 1017 Brick Squad with Gucci Mane, OJ Da Juiceman, Frenchie, and Wooh Da Kid. On January 19, 2010, Malphurs was shot and robbed at a car wash in Atlanta. The bullet went through his right arm. He is currently preparing multiple mixtapes with Brick Squad. His debut album, ''Flockaveli'' was released on October 5, 2010. He was featured on Lil Jon's album ''Crunk Rock'' on the track "Throw It Up, Pt. 2 (Remix)". The album debuted at #5 on the Billboard 200. He was named the eighth hottest MC of 2010 by MTV.

Gucci Mane fired Debra Antney as his manager. Despite rumors, there is no animosity between the two rappers due to this event. In an MTV interview, both he and Waka Flocka Flame affirmed that their relationship is in good standing even though they no longer speak. In early September, Gucci Mane was seen at Flocka's ''Flockaveli'' listening party supporting the artist.

2011-present: ''Triple F Life and Mixtapes''

Waka Flocka Flame has release previous mixtapes this year including ''Salute Me or Shoot Me 3'', ''Benjamin Flocka'' and his last ''Twin Towers 2'' with Slim Dunkin'. On August 9, 2011 his latest compilation with Gucci Mane, ''Ferrari Boyz'' was released. The first single was "She Be Puttin On".

On August 9, 2011, the first single for his sophomore album, "Round of Applause" was released. It is produced by Lex Lugar. The album is slated to release before the end of the year.

Discography

; Studio albums

''Flockaveli'' (2010)

''Triple F Life: Friends, Fans and Family'' (2011)

References

External links

Waka Flocka Flame Official Website

Category:1986 births Category:Living people Category:African American rappers Category:American shooting survivors Category:People from Clayton County, Georgia Category:People from Queens Category:Rappers from Atlanta, Georgia Category:Warner Bros. Records artists

de:Waka Flocka Flame hu:Waka Flocka Flame ja:ワカ・フロッカ・フレイム pl:Waka Flocka Flame ru:Waka Flocka Flame

Kebo Gotti (born July 27, 1985) is an American rapper affiliated with Waka Flocka Flame, Gucci Mane, and OJ Da Juiceman. Kebo Gotti is signed to Real Money Ent and represents HitSquad. He is a southern hip hop artist from Atlanta, GA. best known for being featured on Waka Flocka Flame single "Grove St. Party" The song is the fourth single off of Waka Flocka Flame's album ''Flockaveli'' which was already released. The producer of the track is Lex Luger

The music video features fellow hip hop artist Gucci Mane, and YC.

On February 27, 2011 "Grove St. Party" debuted at #38 on the U.S. Billboard R&B;/Hip-Hop Tracks Chart. The single has also charted on the Billboard Rap Charts reaching #10, and on the U.S. Billboard Hot 100 at #93

Discography

Kebo Gotti - Anybody Can Get It – 1st mixtape

Lebron Flocka James 2

Waka Flocka Flame - Fight (Feat. Slim Dunkin, Kebo Gotti & Lil Cap) [Prod. By Tay Beatz]

Waka Flocka Flame - DuFlocka Rant

Waka Flocka Flame - Clayco (Feat. Gucci Mane, Kebo Gotti, Cartel MGM & Lil Capp) [Prod. By Southside On The Track]

Waka Flocka Flame - Pass Around (Feat. Kebo Gotti & Slim Dunkin)

Waka Flocka Flame - Pot Of Gold (Feat. YG Hootie & Kebo Gotti)

Wooh Da Kid - Strap-A-Holics

Wooh Da Kid - Real Street Niggaz (Feat. Kebo Gotti & Bo Deal) [Prod. By Southside On The Track]

Waka Flocka Flame - Salute Me Or Shoot Me 2

Waka Flocka Flame - Kebo Gotti (Interlude)

Waka Flocka Flame - Salute Me Or Shoot Me 3 (Hip Hops Outcast)

Waka Flocka Flame - Robot Rapper (Feat. Kebo Gotti & Bo Deal) [Prod. By Southside On The Track]

Lil Capp - Jimmy Capp Carter

Lil Capp Feat. Doeshun, Kebo Gotti & Shawn Jay - Shoot It Out [Prod. By Southside On The Track]

Lil Capp Feat. Ace Boon Coon & Kebo Gotti - Cut Da Check

Lil Capp - Caplanta (Hosted By Mike Mike)

Lil Capp Feat. Fresh, Rico Gotti, Pimp Mode, T.O. Green & Kebo Gotti - Quit Lyin

Lil Capp Feat. Waka Flocka Flame & Kebo Gotti - Ray Ray

Trap Music (In The Hood For The Holidays)

Wooh Da Kid Feat. Kebo Gotti & Bo Deal - Real Niggaz [Prod. By Southside]

Trap Music (Trappy New Year!)

Waka Flocka Flame, Kebo Gotti & Lil Cap - Ray Ray

Da KID & Slim Dunkin - Bad Boys

Slim Dunkin Feat. OJ Da Juiceman, Parlae, Da KID & Kebo Gotti - F*ck With Me [Prod. By Kritical]

Trap Music (Gametime Edition)

Waka Flocka Feat. Kebo Gotti & Mouse - Smoke, Drink

It's A South Side Track

Kebo Gotti Feat. Wooh Da Kid & Bo Deal - Real Street Niggas

Strictly 4 The Traps N Trunks 15 (Hosted By Lil Capp & Kebo Gotti)

Kebo Gotti Feat. Lil Capp & Pimp Mode - Grove St.

Kebo Gotti - 100 [Prod. By South Side]

Kebo Gotti – Exotic

Bo Deal - The Chicago Code (Gang Related)

Bo Deal Feat. Guttaville Dough, Kebo Gotti & Co-Still - Act A Fool [Prod. By Donye]

Trap Music 2012

Young Chris & Kebo Gotti – Racks

Bo Deal - Good Side, Bad Side

Bo Deal Feat. Wooh Da Kid, BFN & Kebo Gotti - Ridin' [Prod. By Southside]

Trap Music (Trick Or Trap Edition)

Lil Capp & Kebo Gotti - I See You

Gorilla Zoe - All We Do Is Work

Waka Flocka Feat. Kebo & Gotti - G Street Party

Wooh Da Kid - Pressure (The Mixtape)

Wooh Da Kid Feat. Kebo Gotti & Shay - Get Some Business [Prod. By Track Mills]

Trap Music - Play Me Some Pimpin (Hosted By Bishop Don Magic Juan & Three 6 Mafia)

Roscoe Dash Feat. Kebo Gotti - Showout (Remix)

Bo Deal - Deal Or No Deal

Bo Deal Feat. Cartier, Kebo Gotti, Alley Boy, Slim Dunkin, 20, YG Hootie, Frenchie & Lil Capp - Mizay Posses Song

Trap Music (Hosted By Ace Hood)

Bo Deal Feat. Kebo Gotti, Doughboy & Costill - Act A Fool [Prod. By Donye]

Trap Music (Hosted By Ace Hood)

Bo Deal Feat. Kebo Gotti, Doughboy & Costill - Act A Fool [Prod. By Donye]

Codeine Hitz 11

Waka Flocka Flame Feat. Kebo Gotti - Grove St. Party

B.A.M.A - Street Idol 2 (Back Witta Vengeance)

Beesy B Feat. Kebo Gotti & BAMA - Whole Lotta [Prod. By Southside]

DJ Smallz, DJ Shure Fire › 4.20 Favorites

Waka Flocka Flame Feat. Kebo Gotti - Grove St. Party

Black Bill Gates › Snypa Ryfle - Casino Life (The Bosses)

Snypa Ryfle Feat. Kebo Gotti & Pceezy – Superstar

Trap-A-Holics › Trap Radio

Waka Flocka Feat. Kebo Gotti - Grove St Party

DJ JSess Xclusivez › Free Gas 16 (Hosted By Tha Joker)

Kebo Gotti Feat. Block 125 - We Straight [Prod. By Lil Lody]

Waka Flocka Flame - DuFlocka Rant (10 Toes Down)

Waka Flocka Flame - Clayco (Feat. Gucci Mane, Kebo Gotti, Cartel MGM & Lil Capp) [Prod. By Southside On The Track] (4:41)

Waka Flocka Flame - Pass Around (Feat. Kebo Gotti & Slim Dunkin) (4:03)

Waka Flocka Flame - Pot Of Gold (Feat. YG Hootie & Kebo Gotti) (4:41)

Lebron Flocka James 2

Waka Flocka Flame - Fresh & Fly (Feat. Kebo Gotti, Lil Cap, Slim Dunkin & Cassidy) (3:49)

Waka Flocka Flame - Fight (Feat. Slim Dunkin, Kebo Gotti & Lil Cap) [Prod. By Tay Beatz] (5:03)

Waka Flocka Flame - Salute Me Or Shoot Me 2

Waka Flocka Flame - Kebo Gotti (Interlude) (2:10)

Waka Flocka Flame - Salute Me Or Shoot Me 3 (Hip Hops Outcast)

Waka Flocka Flame - Robot Rapper (Feat. Kebo Gotti & Bo Deal) [Prod. By Southside On The Track] (5:12)

Wooh Da Kid - Strap-A-Holics

Wooh Da Kid - Real Street Niggaz (Feat. Kebo Gotti & Bo Deal) [Prod. By Southside On The Track] (5:16)

Trap-A-Holics

Kebo Gotti - Anybody Can Get It

Lil Capp - Jimmy Capp Carter

Trap-A-Holics

Lil Capp - Caplanta (Hosted By Mike Mike)

Trap-A-Holics

Trap Music (In The Hood For The Holidays)

Trap-A-Holics

Trap Music (Trappy New Year!)

DJ Geronimo, Trap-A-Holics

Da KID & Slim Dunkin - Bad Boys

Trap-A-Holics

Trap Music (Gametime Edition)

Trap-A-Holics

It's A South Side Track

Traps-N-Trunks, Cartune Netwerk, Ms. Rivercity

Strictly 4 The Traps N Trunks 15 (Hosted By Lil Capp & Kebo Gotti)

Trap-A-Holics

Bo Deal - The Chicago Code (Gang Related)

Trap-A-Holics

Trap Music 2012

DJ Holiday, DJ Moondawg

Bo Deal - Good Side, Bad Side

Trap-A-Holics

Trap Music (Trick Or Trap Edition)

DJ Kamillion

All We Do Is Work

Trap-A-Holics, DJ Holiday

Wooh Da Kid - Pressure (The Mixtape)

Unknown

Trap Music - Play Me Some Pimpin (Hosted By Bishop Don Magic Juan & Three 6 Mafia)

T.Brewer, DJ Joey D

Bo Deal - Deal Or No Deal

Trap-A-Holics

Trap Music (Hosted By Ace Hood)

Tapemasters Inc.

Codeine Hitz 11

Bigga Rankin

B.A.M.A - Street Idol 2 (Back Witta Vengeance)

DJ Smallz, DJ Shure Fire

20 Favorites

Black Bill Gates

Snypa Ryfle - Casino Life (The Bosses)

Trap-A-Holics

Trap Radio

T.Brewer, DJ JSess Xclusivez

Free Gas 16 (Hosted By Tha Joker)

References

http://www.mtv.com/videos/waka-flocka-flame/640260/grove-st-party.jhtml

http://www.mtvu.com/music/video-premiere/waka-flocka-flame-ft-kebo-gotti-grove-st-party/

http://www.xclusivecity.com/2011/04/waka-flocka-flame-ft-kebo-gotti-grove.html

http://www.thisis50.com/profiles/blogs/waka-flocka-grove-st-party-ft

External links

http://www.billboard.com/#/song/waka-flocka-flame-featuring-kebo-gotti/grove-st-party/24829541

Category:1985 births Category:Living people Category:American rappers

Name	Jerry Garcia
Landscape	yes
Background	solo_singer
Birth name	Jerome John Garcia
Born	August 1, 1942San Francisco, California, U.S.
Died	August 09, 1995Forest Knolls, California, U.S.
Occupation	Musician, songwriter
Instrument	Guitar, pedal steel guitar, banjo, vocals
Genre	Folk rock, jam, bluegrass, country rock, jazz, rock and roll, psychedelic rock, rhythm and blues, blues-rock
Years active	1960–1995
Label	Rhino, Arista, Warner Bros., Acoustic Disc, Grateful Dead
Associated acts	Grateful Dead, Legion of Mary, Reconstruction, Jerry Garcia Band, Old and in the Way, Jerry Garcia Acoustic Band, New Riders of the Purple Sage
Website	JerryGarcia.com
Notable instruments	Gibson SGsGuild Starfire1957 Gibson Les PaulGold-top Les Paul with P-90Fender Stratocaster "Alligator"Doug Irwin-modified Alembic "Wolf" Doug Irwin Custom "Tiger" Doug Irwin Custom "Rosebud"Stephen Cripe Custom "Lightning Bolt," Martin D-28, Takamine acoustic-electric guitars }}

Jerome John "Jerry" Garcia (August 1, 1942 – August 9, 1995) was an American musician best known for his lead guitar work, singing and songwriting with the band the Grateful Dead. Though he vehemently disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group.

One of its founders, Garcia performed with the Grateful Dead for their entire three-decade career (1965–1995). Garcia also founded and participated in a variety of side projects, including the Saunders-Garcia Band (with longtime friend Merl Saunders), Jerry Garcia Band, Old and in the Way, the Garcia/Grisman acoustic duo, Legion of Mary, and the New Riders of the Purple Sage (which Garcia co-founded with John Dawson and David Nelson). He also released several solo albums, and contributed to a number of albums by other artists over the years as a session musician. He was well known by many for his distinctive guitar playing and was ranked 13^th in ''Rolling Stone'''s "100 Greatest Guitarists of All Time" cover story.

Later in life, Garcia was sometimes ill because of his unstable weight, and in 1986 went into a diabetic coma that nearly cost him his life. Although his overall health improved somewhat after that, he also struggled with heroin addiction, and was staying in a California drug rehabilitation facility when he died of a heart attack in August 1995.

Childhood and early life

Jerry Garcia's ancestry was Galician (Spanish), Irish, and Swedish. He was born in San Francisco, California, on August 1, 1942, to Jose Ramon "Joe" Garcia and Ruth Marie "Bobbie" (née Clifford) Garcia. His parents named him after composer Jerome Kern. Jerome John was their second child, preceded by Clifford Ramon "Tiff", who was born in 1937. Shortly before Clifford's birth, their father and a partner leased a building in downtown San Francisco and turned it into a bar, partly in response to Jose being blackballed from a musician's union for moonlighting.

Garcia was influenced by music at an early age, taking piano lessons for much of his childhood. His father was a retired professional musician and his mother enjoyed playing the piano. His father's extended family—who had emigrated from Spain in 1919—would often sing during reunions.

At age four, while vacationing in the Santa Cruz Mountains, Garcia underwent amputation of two-thirds of his right middle finger. Garcia was given the chore of steadying wood while his elder brother chopped, when he inadvertently put his finger in the way of the falling axe. After his mother wrapped his hand in a towel Garcia's father drove him over thirty miles to the nearest hospital. A few weeks later, Garcia—who never looked at the finger after the accident—was surprised to discover most of it missing when the bandage he was wearing came off during a bath. Garcia later confided that he often used it to his advantage in his youth, showing it off to other children in his neighborhood.

Garcia experienced several tragic events during his youth. Less than a year after losing the segment of his finger, his father died. While on vacation with his family near Arcata in Northern California in 1947, his father went fly-fishing in the Trinity River, part of the Six Rivers National Forest. Not long after entering he slipped on a rock underfoot, plunging into the deep rapids of the river. The incident was witnessed by a group of boys who immediately sought help, beckoning a pair of nearby fishermen. By the time he was pulled from the water, he had already drowned. Garcia later claimed to have seen his father fall into the river, but Dennis McNally, author of the book ''A Long Strange Trip: The Inside Story of the Grateful Dead'', asserts that he did not, instead forming the memory from hearing the story repeated many times. Blair Jackson, who wrote the biography ''Garcia: An American Life'', lends weight to McNally's claim, citing that the newspaper article describing Jose's death made no mention of Garcia being at the scene—even misidentifying him as his parents' daughter.

Following the accident, Garcia's mother took over their late father's bar, buying out his partner for full ownership. As a result, Ruth Garcia began working full-time, sending Jerry and his brother to live just down the road with their maternal grandparents, Tillie and William Clifford. During the five-year period in which he lived with his grandparents, Garcia enjoyed a large amount of autonomy and attended Monroe School, the local elementary school. At the school, Garcia was greatly encouraged in his artistic abilities by his third grade teacher: through her, he discovered that "being a creative person was a viable possibility in life." According to Garcia, it was around this time that he was opened up to country and to bluegrass by his grandmother, who he recalled enjoyed listening to the Grand Ole Opry. His elder brother, Clifford, however, staunchly believed the contrary, insisting that Garcia was "fantasizing all [that] ... she'd been to Opry, but she didn't listen to it on the radio." It was at this point that Garcia started playing the banjo, his first stringed instrument.

In 1953, Garcia's mother was remarried to a man named Wally Matusiewicz. Subsequently, Garcia and his brother moved back home with their mother and new stepfather. However, due to the roughneck reputation of their neighborhood at the time, the Excelsior District, Garcia's mother moved their family to Menlo Park. During their stay in Menlo Park, Garcia became acquainted with racism and antisemitism, things he disliked intensely. The same year, Garcia was also introduced to rock and roll and rhythm and blues by his brother, and enjoyed listening to the likes of Ray Charles, John Lee Hooker, B. B. King, Hank Ballard, and, in a few years, Chuck Berry. Clifford often memorized the vocals for his favorite songs, and would then make Garcia learn the harmony parts, a move to which Garcia later attributed much of his early ear training.

In mid-1957, Garcia began smoking cigarettes and was introduced to marijuana. Garcia would later reminisce about the first time he smoked marijuana: "Me and a friend of mine went up into the hills with two joints, the San Francisco foothills, and smoked these joints and just got so high and laughed and roared and went skipping down the streets doing funny things and just having a helluva time". During this time, Garcia also took up an art program at the San Francisco Art Institute to further his burgeoning interest in the visual arts. The teacher there was Wally Hedrick, an artist who came to prominence during the 1960s. During the classes, he often encouraged Garcia in his drawing and painting skills.

In June of the same year, Garcia graduated from the local Menlo Oaks school. He then moved with his family back to San Francisco, where they lived in an apartment above the newly built bar, having previously been torn down to make way for a freeway entrance. Two months later, on Garcia's fifteenth birthday, his mother purchased him an accordion, to his great disappointment. Garcia had long been captivated by many rhythm and blues artists, especially Chuck Berry and Bo Diddley: his one wish at this point was to have an electric guitar. After some pleading, his mother exchanged the accordion for a Danelectro with a small amplifier at a local pawnshop. Garcia's stepfather, who was somewhat proficient with instruments, helped tune his guitar to an unusual open tuning.

After a short stint at Denman Junior High School, Garcia attended tenth grade at Balboa High School in 1958, where he often got into trouble for skipping classes and fighting. Consequently, in 1959, Garcia's mother again moved the family to get Garcia to stay out of trouble, this time to Cazadero, a small town in Sonoma County, 90 miles north of San Francisco. This turn of events did not sit well with Garcia. To get to Analy High School, the nearest school, he had to travel by bus thirty miles to Sebastopol, a move which only made him more unhappy. Garcia did, however, join a band at his school known as the Chords. After performing and winning a contest, the band's reward was recording a song—they chose "Raunchy" by Bill Doggett.

Recording career

Relocation and band beginnings

Garcia stole his mother's car in 1960, and as punishment, joined the United States Army. He received basic training at Fort Ord. After training, he was transferred to Fort Winfield Scott in the Presidio of San Francisco. Garcia spent most of his time in the army at his leisure, missing roll call and accruing many counts of AWOL. As a result, Garcia was given a general discharge on December 14, 1960.

In January 1961, Garcia drove down to East Palo Alto to see Laird Grant, an old friend from middle school. Garcia, using his final paycheck from the army, purchased some gasoline and an old Chevrolet car, which barely made it to Grant's residence before it broke down. Garcia proceeded to spend the next few weeks sleeping where friends would allow, eventually using his car as a home. Through Grant, Garcia met Dave McQueen in February, who, after hearing Garcia perform some blues, acquainted him with many people from the local area, as well as introduced him to the people at the Chateau, a rooming house located near Stanford University which was then a popular hangout.

On February 20, 1961, Garcia entered a car with Paul Speegle, a 16-year-old artist and acquaintance of Garcia; Lee Adams, the house manager of the Chateau and driver of the car; and Alan Trist, a companion of theirs. After speeding past the Menlo Park Veterans Hospital, the car encountered a curve and, traveling around ninety miles per hour, collided with the guard rail, sending the car rolling turbulently. Garcia was hurled through the windshield of the car into a nearby field with such force he was literally thrown out of his shoes and would later be unable to recall the ejection. Lee Adams, the driver, and Alan Trist, who was seated in the back, were thrown from the car as well, suffering from abdominal injuries and a spine fracture, respectively. Garcia escaped with a broken collarbone, while Speegle, still in the car, was fatally injured.

The accident served as an awakening for Garcia, who later commented: "That's where my life began. Before then I was always living at less than capacity. I was idling. That was the slingshot for the rest of my life. It was like a second chance. Then I got serious". It was at this time that Garcia began to realize that he needed to begin playing the guitar in earnest—a move which meant giving up his love of drawing and painting.

Garcia met Robert Hunter in April 1961. Hunter would go on to become a long-time lyrical collaborator with the Grateful Dead. Living out of his car next to Robert Hunter on a lot in East Palo Alto, Garcia and Hunter began to participate in the local art and music scenes, sometimes playing at Kepler's Books. Garcia performed his first concert with Hunter, each earning five dollars. Garcia and Hunter would also play in a band with David Nelson, a contributor to a few Grateful Dead albums, labeled the Wildwood Boys.

In 1962 Garcia met Phil Lesh, the eventual bassist of the Grateful Dead, during a party in Menlo Park's bohemian Perry Lane neighborhood (where Ken Kesey lived). Lesh would later write in his autobiography that Garcia resembled the "composer Claude Debussy: dark, curly hair, goatee, Impressionist eyes".

While attending another party in Palo Alto, Lesh approached Garcia to suggest that he record some songs on Lesh's tape recorder (Phil was musically trained, though he did not start playing bass guitar until the formation of the Grateful Dead in 1965) with the intention of getting them played on the radio station KPFA. Using an old Wollensak tape recorder, they recorded "Matty Groves" and "The Long Black Veil", among several other tunes. Their efforts were not in vain, and they later landed a spot on the show, where a ninety-minute special was done specifically on Garcia. It was broadcast under the title "'The Long Black Veil' and Other Ballads: An Evening with Jerry Garcia".

Garcia soon began playing and teaching acoustic guitar and banjo. One of Garcia's students was Bob Matthews, who later engineered many of the Grateful Dead's albums. Matthews went to high school and was friends with Bob Weir, and on New Year's Eve 1963, he introduced Weir and Garcia to each other.

Between 1962 and 1964, Garcia sang and performed mainly bluegrass, old-time and folk music. One of the bands Garcia was known to perform with was the Sleepy Hollow Hog Stompers, a bluegrass act. The group consisted of Jerry Garcia on guitar, banjo, vocals, and harmonica, Marshall Leicester on banjo, guitar, and vocals, and Dick Arnold on fiddle and vocals. Soon thereafter, Garcia joined a local bluegrass and folk band called Mother McCree's Uptown Jug Champions, whose membership also included Ron "Pigpen" McKernan, a rhythm and blues fan.

Around this time, the psychedelic LSD was beginning to gain prominence. Garcia first began experimenting with LSD in 1964; later, when asked how it changed his life, he remarked: "Well, it changed everything [...] the effect was that it freed me because I suddenly realized that my little attempt at having a straight life and doing that was really a fiction and just wasn't going to work out. Luckily I wasn't far enough into it for it to be shattering or anything; it was like a realization that just made me feel immensely relieved".

In 1965, Mother McCree's Uptown Jug Champions evolved into the Warlocks, with the addition of Phil Lesh on bass guitar and Bill Kreutzmann on percussion. However, the band quickly learned that another group was already performing under their newly selected name, prompting another name change. After several suggestions, Garcia came up with the name by opening a Funk and Wagnall's dictionary. He was then promptly greeted with the "Grateful Dead". The definition provided for "Grateful Dead" was "a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial". The band's immediate reaction was disapproval. Garcia later explained the group's feelings towards the name: "I didn't like it really, I just found it to be really powerful. [Bob] Weir didn't like it, [Bill] Kreutzmann didn't like it and nobody really wanted to hear about it. [...]" Despite their dislike of the name, it quickly spread by word of mouth, and soon became their official title.

Career with the Grateful Dead

Garcia served as lead guitarist, as well as one of the principal vocalists and songwriters of the Grateful Dead for their entire career. Garcia composed such songs as "Dark Star", "Franklin's Tower", and "Scarlet Begonias", among many others. Robert Hunter, an ardent collaborator with the band, wrote the lyrics to all but a few of Garcia's songs.

Garcia was well-noted for his "soulful extended guitar improvisations", which would frequently feature interplay between himself and his fellow band members. His fame, as well as the band's, arguably rested on their ability to never play a song the same way twice. Often, Garcia would take cues from rhythm guitarist Bob Weir on when to solo, remarking that "there are some [...] kinds of ideas that would really throw me if I had to create a harmonic bridge between all the things going on rhythmically with two drums and Phil [Lesh's] innovative bass playing. Weir's ability to solve that sort of problem is extraordinary. [...] Harmonically, I take a lot of my solo cues from Bob."

When asked to describe his approach to soloing, Garcia commented: "It keeps on changing. I still basically revolve around the melody and the way it’s broken up into phrases as I perceive them. With most solos, I tend to play something that phrases the way the melody does; my phrases may be more dense or have different value, but they’ll occur in the same places in the song. [...]"

Garcia and the band toured almost constantly from their formation in 1965 until Garcia's death in 1995, a stint which gave credit to the name "endless tour". Periodically, there were breaks due to exhaustion or health problems, often due to unstable health and/or Garcia's drug use. During their three decade span, the Grateful Dead played 2,314 shows.

Garcia's mature guitar-playing melded elements from the various kinds of music that had enthralled him. Echoes of bluegrass playing (such as Arthur Smith and Doc Watson) could be heard. But the "roots music" behind bluegrass had its influence, too, and melodic riffs from Celtic fiddle jigs can be distinguished. There was also early rock (like Lonnie Mack, James Burton and Chuck Berry), contemporary blues (such as Freddie King and Lowell Fulson), country and western (such as Roy Nichols and Don Rich), and jazz (like Charlie Christian and Django Reinhardt) to be heard in Jerry's style. Don Rich was the sparkling country guitar player in Buck Owens's "the Buckaroos" band of the 1960s, but besides Rich's style, both Garcia's pedal steel guitar playing (on Grateful Dead records and others) and his standard electric guitar work, were influenced by another of Owens's Buckaroos of that time, pedal-steel player Tom Brumley. And as an improvisational soloist, John Coltrane was one of his greatest personal and musical influences.

Garcia later described his playing style as having "descended from barroom rock and roll, country guitar. Just 'cause that's where all my stuff comes from. It's like that blues instrumental stuff that was happening in the late Fifties and early Sixties, like Freddie King." Garcia's style varied somewhat according to the song or instrumental to which he was contributing. His playing had a number of so-called "signatures" and, in his work through the years with the Grateful Dead, one of these was lead lines making much use of rhythmic triplets (examples include the songs "Good Morning Little School Girl", "New Speedway Boogie", "Brokedown Palace", "Deal", "Loser", "Truckin'", "That's It for the Other One", "U.S. Blues", "Sugaree", and "Don't Ease Me In").

Side projects

In addition to the Grateful Dead, Garcia had numerous side projects, the most notable being the Jerry Garcia Band. He was also involved with various acoustic projects such as Old and in the Way and other bluegrass bands, including collaborations with noted bluegrass mandolinist David Grisman. The documentary film ''Grateful Dawg'' chronicles the deep, long-term friendship between Garcia and Grisman.

Other groups of which Garcia was a member at one time or another include the Black Mountain Boys, Legion of Mary, Reconstruction, and the Jerry Garcia Acoustic Band. Jerry Garcia was also an appreciative fan of jazz artists and improvisation: he played with jazz keyboardists Merl Saunders and Howard Wales for many years in various groups and jam sessions, and he appeared on saxophonist Ornette Coleman's 1988 album, ''Virgin Beauty''. His collaboration with Merl Saunders and Muruga Booker on the Grammy-nominated world music album ''Blues From the Rainforest'' launched the Rainforest Band.

Garcia also spent a lot of time in the recording studio helping out fellow musician friends in session work, often adding guitar, vocals, pedal steel, sometimes banjo and piano and even producing. He played on over 50 studio albums the styles of which were eclectic and varied, including bluegrass, rock, folk, blues, country, jazz, electronic music, gospel, funk, and reggae. Artists who sought Garcia's help included the likes of Jefferson Airplane (most notably ''Surrealistic Pillow'', Garcia being listed as their "Spiritual Advisor"), Tom Fogerty, David Bromberg, Robert Hunter (''Liberty'', on Relix Records), Paul Pena, Peter Rowan, Warren Zevon, Country Joe McDonald, Ken Nordine, Ornette Coleman, Bruce Hornsby, Bob Dylan and many more. He was also one of the first musicians to really cover in depth Motown music in the early 1970s and probably the most prolific coverer of Bob Dylan songs. In 1995 Garcia played on three tracks for the CD ''Blue Incantation'' by guitarist Sanjay Mishra, making it his last studio collaboration.

Throughout the early 1970s, Garcia, Grateful Dead bassist Phil Lesh, drummer Mickey Hart, and David Crosby collaborated intermittently with MIT-educated composer and biologist Ned Lagin on several projects in the realm of early electronica; these include the album ''Seastones'' (released by the Dead on their Round Records subsidiary) and ''L'', an unfinished dance work.

Garcia also lent pedal-steel guitar playing to fellow-San Francisco musicians New Riders of the Purple Sage from their initial dates in 1969 to October 1971, when increased commitments with the Dead forced him to opt out of the group. He appears as a band member on their début album ''New Riders of the Purple Sage'', and produced ''Home, Home On The Road'', a 1974 live album by the band. He also contributed pedal steel guitar to the enduring hit "Teach Your Children" by Crosby, Stills, Nash, & Young. Garcia also played steel guitar licks on Brewer & Shipley's 1970 album ''Tarkio''. Despite considering himself a novice on the pedal steel, Garcia routinely ranked high in player polls. After a long lapse from playing the pedal-steel, he played it once more during several of the Dead's concerts with Bob Dylan during the summer of 1987.

Having studied art at the San Francisco Art Institute, Garcia embarked on a second career in the visual arts. He offered for sale and auction to the public a number of illustrations, lithographs, and water colors. Some of those pieces became the basis of a line of men's neckties characterized by bright colors and abstract patterns. Even in 2005, ten years after Garcia's death, new styles and designs continued to be produced and sold.

Personal life

Garcia met his first wife, Sara Ruppenthal Garcia, in 1963. She was working at the coffee house in the back of Kepler's Bookstore where Garcia, Hunter, and Nelson performed. They married on April 23 of the same year, and had their only child together, a daughter whom they named Heather, on December 8, 1963.

Garcia and his fellow musicians were subjected to a handful of drug busts during their lifetime. On October 2, 1967, 710 Ashbury Street in San Francisco (where the Grateful Dead had taken up residence the year before) was raided after a police tip-off. Grateful Dead members Phil Lesh, Bob Weir, and Ron "Pigpen" McKernan were apprehended on marijuana charges which were later dropped, although Garcia himself was not arrested. The following year, ironically, Garcia's picture was used in a campaign commercial for Richard Nixon.

Most of the Grateful Dead were arrested again in January 1970, after they flew to New Orleans from Hawaii. After returning to their hotel from a performance, the band checked into their rooms, only to be quickly raided by police. Around fifteen people were arrested on the spot, including many of the road crew, management, and nearly all of the Grateful Dead (except Garcia, who arrived later, and Ron "Pigpen" McKernan, who was not taking drugs at the time).

During August 1970, Garcia's mother Ruth was involved in a car accident near Twin Peaks in San Francisco. Garcia, who was recording the album ''American Beauty'' at the time, often left the sessions to visit his mother with his brother Clifford. She died on September 28, 1970. That same year, Garcia participated in the soundtrack for the film ''Zabriskie Point''.

Carolyn Adams, also known as 'Mountain Girl', gave birth to Garcia's second and third daughters, Annabelle Walker Garcia (February 2, 1970) and Theresa Adams "Trixie" Garcia (September 21, 1974). Adams and Garcia married in 1981.

In 1975, around the time ''Blues for Allah'' was being created, Garcia met Deborah Koons, the woman who would much later become his third wife and widow. He began seeing her while he was still involved with Adams, with whom Koons had a less-than-perfect relationship. Garcia and Adams eventually went different ways.

While touring in late 1973 the band began to use cocaine in order to reduce the exhausting effects of constantly being on the road. During the band's hiatus in 1975, Garcia was introduced to a smoke-able form of heroin. Influenced by the stresses of creating and releasing ''The Grateful Dead Movie'' in 1977, Garcia's cocaine and heroin use increased. This, combined with the drug use of several other members of the Grateful Dead, produced turbulent times for the band: the band's chemistry began "cracking and crumbling", resulting in poor group cohesion. As a result, Keith and Donna Godchaux were asked to leave the band in February 1979. With the addition of the astounding keyboardist Brent Mydland, the band was reaching new heights. Though things seemed to be getting better for the band, Garcia's health was descending. By 1983, Garcia had lost his "liveliness" on stage. The so-called "endless tour", the result of years of financial risks, drug use and mistakes, also became extremely taxing.

Garcia's use of heroin increased heavily over the years, eventually culminating in the rest of the Grateful Dead holding an intervention in January of 1985. Given the choice between the band or the drugs, Garcia readily agreed to check into a rehabilitation center in Oakland, California. A few days later in January, nearing the completion of his program in Oakland, Garcia was arrested for drug possession in Golden Gate Park; Garcia subsequently attended a drug diversion program. Throughout 1985, Garcia fought to kick his habit while on tour, and by 1986, was completely clean.

Precipitated by an unhealthy weight, bad eating habits, and recent drug use, Garcia collapsed into a diabetic coma in July 1986, waking up five days later. Garcia later spoke about this period of unconsciousness as surreal: "Well, I had some very weird experiences. My main experience was one of furious activity and tremendous struggle in a sort of futuristic, space-ship vehicle with insectoid presences. After I came out of my coma, I had this image of myself as these little hunks of protoplasm that were stuck together kind of like stamps with perforations between them that you could snap off." Garcia's coma had a profound effect on him: it forced him to have to relearn how to play the guitar, as well as other, more basic skills. Within a handful of months, Garcia quickly recovered, playing with the Jerry Garcia Band and the Grateful Dead again later that year. Garcia frequently saw a woman named Manasha Matheson during this period. Together they produced Garcia's fourth and final child, a girl named Keelin Noel Garcia, who was born December 20, 1987. (Jerry, Keelin and Manasha toured and shared a home together as a family until 1993.) After Garcia's recovery, the band released a comeback album "In the Dark" in 1987, which became their best ever selling studio album. Inspired by Garcia's improved health and a successful album, the band's energy and chemistry peaked in the late 1980's and 1990.

During the summer of 1990, when keyboardist Brent Mydland died, Garcia relapsed. Before the winter tour later 1990, Garcia was confronted by the Grateful Dead with another intervention. After a disastrous meeting, Garcia invited Phil Lesh over to his home in San Rafael, California, where he explained that after the meeting he would start attending a methadone clinic. Garcia said that he simply wanted to clean up in his own way.

After returning from the Grateful Dead's 1992 summer tour, Garcia became extremely sick, evidently a throwback to his diabetic coma in 1986. Refusing to go to the hospital, he instead enlisted the aid of an acupuncturist named Yen Wei Choong and a licensed doctor to treat him personally at home. Garcia recovered over the following days, despite the Grateful Dead having to cancel their fall tour to allow him time to recuperate. Following this episode, Garcia quit smoking and began losing weight.

Garcia and girlfriend Barbara Meier, who had met in December of the previous year, separated at the beginning of the Dead's 1993 spring tour. In 1994, Garcia renewed acquaintances with Deborah Koons, with whom he had been involved sometime around 1975. They married on February 14, 1994, in Sausalito, California. The wedding was attended by family and friends. Garcia had divorced Adams in January of that year.

By the beginning of 1995, Garcia's physical and mental condition began a decline. His playing ability suffered to the point where he would turn down the volume of his guitar, and he often had to be reminded of what song he was performing. Due to his frail condition, he began to use again just to dull the pain.

In light of his second drug relapse and current condition, Garcia checked himself into the Betty Ford Center during July 1995. His stay was limited, however, lasting only two weeks. Motivated by the experience, he then checked into the Serenity Knolls treatment center in Forest Knolls, California.

Death

On August 9, 1995, at 4:23 am, Garcia's body was discovered in his room at the rehabilitation clinic. The cause of death was a heart attack. Garcia had long struggled with drug addiction, weight problems, and sleep apnea, all of which contributed to his physical decline. Phil Lesh remarked in his autobiography that, upon hearing of Garcia's death, "I was struck numb; I had lost my oldest surviving friend, my brother." On the morning of August 10, Garcia was rested at a funeral home in San Rafael, California. On August 12, at St. Stephen's Episcopal Church in Belvedere, Garcia's funeral was held. It was attended by his family, the remaining Grateful Dead and their friends, including former basketball player Bill Walton and musician Bob Dylan, and his widow Deborah Koons, who barred Garcia's other two wives from the ceremony.

On August 13, a municipally-sanctioned public memorial took place in the Polo Fields of San Francisco's Golden Gate Park, and was attended by about twenty-five thousand people. The crowds produced hundreds of flowers, gifts, images, and even a bagpipe rendition of "Amazing Grace" in remembrance.

On April 4, 1996, Bob Weir and Deborah Koons spread half of Garcia's cremated ashes into the Ganges River at the holy city of Rishikesh, India, a site sacred to the Hindus. Then, according to Garcia's last wishes, the other half of his ashes were poured into the San Francisco Bay. Deborah Koons did not allow one of Garcia's ex-wives, Carolyn "Mountain Girl" Garcia, to attend the spreading of the ashes.

Musical equipment

Garcia played many guitars during his career, which ranged from Fender Stratocasters and Gibson SGs to custom-made instruments. During his thirty-odd years of being a musician, Garcia used about twenty-five different guitars.

In 1965, when Garcia was playing with the Warlocks, he used a Guild Starfire, which he also used on the début album of the Grateful Dead. Beginning in late 1967 and ending in 1968, Garcia played various colored Gibson Les Paul guitars. In 1969, he picked up the Gibson SG and used it for most of that year and 1970, except for a small period in between where he used a Sunburst Fender Stratocaster.

During Garcia's "pedal steel flirtation period" (as Bob Weir referred to it in ''Anthem to Beauty''), from approximately 1968 to 1973, he played a ZB Custom D-10 steel guitar, especially in his earlier public performances. Although this was a double neck guitar, Garcia often would choose not to attach the last 5 pedal rods for the rear or Western Swing neck. Additionally, he was playing an Emmons D-10 at the time of the Grateful Dead's and New Riders of the Purple Sage's final appearances at the Filmore East in late April 1971. Also, he had been given a Fender Pedal Steel (probably a 1000 model) prior to owning the ZB Custom, but did not play it much.

In 1969, Garcia played pedal steel on two notable outside recordings: the track "The Farm" on the Jefferson Airplane album ''Volunteers''; and the hit single "Teach Your Children" by Crosby, Stills, Nash & Young from their album ''Déjà Vu'', released in 1970. Garcia played on the latter album in exchange for harmony lessons for the Grateful Dead, who were at the time recording their acoustic albums ''Workingman's Dead'' and ''American Beauty''.

In 1972, Garcia used a Fender Stratocaster nicknamed Alligator for its alligator sticker on the pickguard. The guitar was given to him by Graham Nash. This was due in part to damage to his first custom-made guitar, made by Alembic. This guitar, nicknamed Wolf for a memorable sticker Garcia added below the tailpiece, cost $1500 - extremely high for the time.

In the late eighties Garcia, Weir and CSN (along with many others) endorsed Alvarez Yairi acoustic guitars. There are many photographs circulating (mostly promotional) of Jerry playing a DY99 Virtuoso Custom with a Modulus Graphite neck. He opted to play with the less decorated model but the promotional photo from the Alvarez Yairi catalog has him holding the "tree of life" model. This hand-built guitar was notable for the collaboration between Japanese luthier Kazuo Yairi and Modulus Graphite of San Rafael. As with most things Garcia, with his passing, the DY99 model is rendered legend and valuable among collectors.

Wolf was made with an ebony fingerboard and featured numerous embellishments like alternating grain designs in the headstock, ivory inlays, and fret marker dots made of sterling silver. The body was composed of western maple wood which had a core of purpleheart. Garcia later had former Alembic employee Doug Irwin replace the electronics inside the guitar, at which point he added his own logo to the headstock alongside the Alembic logo. The system included two interchangeable plates for configuring pickups: one was made for strictly single coils, while the other accommodated humbuckers. Shortly after receiving the modified instrument, Garcia requested another custom guitar from Irwin with the advice "don't hold back."

During the Grateful Dead's European Tour, Wolf was dropped on several occasions, one of which caused a minor crack in the headstock. Garcia returned it to Irwin to fix; during its two-year absence Garcia played predominantly Travis Bean guitars. On September 28, 1977, Irwin delivered the renovated Wolf back to Garcia. The wolf sticker which gave the guitar its name had now been inlaid into the instrument; it also featured an effects loop between the pick-ups and controls (so inline effects would "see" the same signal at all times) which was bypassable. Irwin also put a new face on the headstock with only his logo (he later claimed to have built the guitar himself, though pictures through time clearly show the progression of logos, from Alembic, to Alembic & Irwin, to only Irwin). In the "Grateful Dead Movie" Jerry is playing Wolf and this film provides excellent views of Wolf.

The above paragraph contains significant errors, in that Wolf was not delivered to Jerry until May 1973 and therefore could not have been used during a European tour in 1972. Additionally Doug states that Jerry paid Doug directly and that Doug's contracts were between Doug and Jerry. Wolf is clearly an Irwin Guitar and only in recent revisionist history is Wolf referenced as an Alembic.

Nearly seven years after he first requested it, Garcia received his third custom guitar from Irwin in 1979(The first Irwin was "Eagle", the second was "Wolf"). The first concert that Jerry played Tiger was August 4, 1979 at the Oakland Auditorium Arena. It was named Tiger from the inlay on the preamp cover. The body of Tiger was of rich quality: the top layer was cocobolo, with the preceding layers being maple stripe, vermilion, and flame maple, in that order. The neck was made of western maple with an ebony fingerboard. The pickups consisted of a single coil DiMarzio SDS-1 and two humbucker DiMarzio Super IIs which were easily removable due to Garcia's preference for replacing his pickups every year or two. The electronics were composed of an effects bypass loop, which allowed Garcia to control the sound of his effects through the tone and volume controls on the guitar, and a preamplifier/buffer which rested behind a plate in the back of the guitar. In terms of weight, everything included made Tiger tip the scales at 13½ pounds. This was Garcia's principal guitar for the next eleven years, and most played.

In 1990, Irwin completed Rosebud, Garcia's fourth custom guitar. It was similar to his previous guitar Tiger in many respects, but featured different inlays and electronics, tone and volume controls, and weight. Rosebud, unlike Tiger, was configured with three humbuckers; the neck and bridge pickups shared a tone control, while the middle had its own. Inside the guitar, a Roland GK-2 synthesizer was used in junction with GR-50 rack mount, producing the MIDI effects heard during live performances of this period. Sections of the guitar were hollowed out to bring the weight down to 11½ pounds. The inlay, a dancing skeleton holding a rose, covers a plate just below the bridge. The final cost of the instrument was $11,000.

In 1993, carpenter-turned-luthier Stephen Cripe tried his hand at making an instrument for Garcia. After researching Tiger through pictures and films, Cripe set out on what would soon become known as Lightning Bolt, again named for its inlay. The guitar used Brazilian rosewood for the fingerboard and East Indian rosewood for the body, which, with admitted irony from Cripe, was taken from a 19th century bed used by opium smokers. Built purely from guesswork, Lightning Bolt was a hit with Garcia, who began using the guitar exclusively. Soon after, Garcia requested that Cripe build a backup of the guitar. Cripe, who had not measured or photographed the original, was told simply to "wing it."

Cripe later delivered the backup, which was known by the name Top Hat. Garcia bought it from him for the price of $6,500, making it the first guitar that Cripe had ever sold. However, infatuated with Lightning Bolt, Garcia rarely used the backup.

After Garcia's death, the ownership of his Wolf and Tiger came into question. According to Garcia's will, his guitars were to go to Doug Irwin, who had constructed them. The remaining Grateful Dead members disagreed—they considered his guitars to be property of the band, leading to a lawsuit between the two parties. In 2001, Irwin won the case. Irwin, being a victim of a hit-and-run accident in 1998, was left nearly penniless. He placed Garcia's guitars up for auction in hopes of being able to start another guitar workshop.

On May 8, 2002, Wolf and Tiger, among other memorabilia, were placed for auction at Studio 54 in New York City. Tiger was purchased for $957,500, while Wolf was bought for $789,500. Together, the instruments were bought for 1.74 million dollars, setting a new world record. Wolf is in a private collection kept in a secure climate controlled room in a private residence at Utica, N.Y., and Tiger is in the private collection of Indianapolis Colts owner Jim Irsay.

Legacy

Garcia appeared in the 1977 movie ''Close Encounters of the Third Kind'' as an extra during the scenes in India in a crowd shot. During the following year, the Grateful Dead would occasionally improvise the theme from "Close Encounters" in concert.

In 1987, ice cream manufacturer Ben & Jerry's came out with Cherry Garcia, which is named after the guitarist and consists of "cherry ice cream with cherries and fudge flakes".

Garcia was inducted into the Rock and Roll Hall of Fame as a member of the Grateful Dead in 1994.

Famous guitar player and known Jerry fan Warren Haynes wrote the song "Patchwork Quilt" in memory of Jerry.

In the episode titled "Halloween: The Final Chapter" on the show ''Roseanne'', aired shortly after his death on October 31, 1995, a tribute to Jerry Garcia was made, and the character name of the baby was Jerry Garcia Conner.

In 2003, ''Rolling Stone Magazine'' ranked Jerry Garcia 13^th in their list of the 100 Greatest Guitarists of All Time.

In 2005, Rapper Proof from the group D12 released an album named after Garcia, ''Searching for Jerry Garcia''. The album was dedicated to the Grateful Dead and released ten years to the day of Garcia's death.

Ween recorded the song, "So Long Jerry" during the sessions for their 12 Golden Country Greats album, but it was left off the album, eventually appearing on the "Piss Up a Rope" single.

According to fellow Bay Area guitar player Henry Kaiser, Garcia is "the most recorded guitarist in history. With more than 2,200 Grateful Dead concerts, and 1,000 Jerry Garcia Band concerts captured on tape — as well as numerous studio sessions — there are about 15,000 hours of his guitar work preserved for the ages."

On July 30, 2004, Melvin Seals was the first Jerry Garcia Band member to headline an outdoor music and camping festival called the Grateful Garcia Gathering. The festival is a tribute to the Grateful Dead's guitarist Jerry Garcia. "Jerry Garcia Band" drummer David Kemper, joined Melvin Seals & JGB in 2007. To date, other musicians and friends of Jerry's have also included Donna Jean Godchaux, Mookie Siegel, Pete Sears, G.E. Smith, Barry Sless, and Jackie Greene to name a few musicians.

On July 21, 2005, the San Francisco Recreation and Park Commission passed a resolution to name the amphitheater in McLaren Park "The Jerry Garcia Amphitheater." The amphitheater is located in the Excelsior District, where Garcia grew up. The first show to happen at the Jerry Garcia Amphitheater was Jerry Day 2005 on August 7, 2005. Tiff Garcia was the first person to welcome everybody to the "Jerry Garcia Amphitheater." Jerry Day is an annual celebration of Jerry in his childhood neighborhood. The dedication ceremony (Jerry Day 2) on October 29, 2005 was officiated by mayor Gavin Newsom.

On September 24, 2005, the ''Comes a Time: A Celebration of the Music & Spirit of Jerry Garcia'' tribute concert was held at the Hearst Greek Theatre in Berkeley, California. The concert featured Bob Weir, Bill Kreutzmann, Mickey Hart, Bruce Hornsby, Trey Anastasio, Warren Haynes, Jimmy Herring, Michael Kang, Jay Lane, Jeff Chimenti, Mark Karan, Robin Sylvester, Kenny Brooks, Melvin Seals, Merl Saunders, Marty Holland, Stu Allen, Gloria Jones, and Jackie LaBranch.

Also in 2008, Georgia-based composer Lee Johnson released an orchestral tribute to the music of the Grateful Dead, recorded with the Russian National Orchestra, entitled "Dead Symphony: Lee Johnson Symphony No. 6." Johnson was interviewed on NPR on the July 26, 2008 broadcast of "Weekend Edition", and gave much credit to the genius and craft of Garcia's songwriter. A live performance with the Baltimore Symphony Orchestra, conducted by Johnson himself, was held Friday, August 1.

Seattle rock band Soundgarden wrote and recorded the instrumental song "Jerry Garcia's Finger", dedicated to the singer, which was released as a b-side with their single "Pretty Noose".

Numerous music festivals across the United States and Uxbridge, Middlesex, UK hold annual events in memory of Jerry Garcia.

Discography

Jerry Garcia

*''Garcia'' – 1972

*''Compliments'' – 1974

*''Reflections'' – 1976

*''Run for the Roses'' – 1982

Jerry Garcia Band

*''Cats Under the Stars'' – 1978

*''Jerry Garcia Band'' – 1991

*''How Sweet It Is'' – 1997

*''Don't Let Go'' – 2001

*''Shining Star'' – 2001

*''After Midnight: Kean College, 2/28/80'' – 2004

*''Let It Rock: The Jerry Garcia Collection, Vol. 2'' – 2009

Jerry Garcia Acoustic Band

*''Almost Acoustic'' – 1988

*''Ragged but Right'' – 2010

Jerry Garcia and Merl Saunders

*''Heavy Turbulence'' – with Tom Fogerty – 1972 (LP)

*''Fire Up'' – 1973 (LP)

*''Live at the Keystone'' – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1973 (LP)

*''Keystone Encores, Volume 1'' – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (LP)

*''Keystone Encores, Volume 2'' – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (LP)

*''Live at the Keystone Vol. 1'' – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (CD)

*''Live at the Keystone Vol. 2'' – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (CD)

*''Keystone Encores'' – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (CD)

*''Fire Up Plus'' – with John Kahn, Tom Fogerty and Ron Tutt – 1992 (CD)

*''Keystone Berkeley, September 1, 1974'' – Jerry Garcia and Merl Saunders – 2004 (also listed under Pure Jerry series)

*''Legion of Mary: The Jerry Garcia Collection, Vol. 1'' – Legion of Mary – 2005

*''Well Matched: The Best Of Merl Saunders & Jerry Garcia'' – 2006 (also listed under Compilations)

New Riders of the Purple Sage

*''New Riders of the Purple Sage'' – 1971

*''Before Time Began'' – 1986

*''Vintage NRPS'' – 1986

Old and in the Way

*''Old and in the Way'' – 1975

*''That High Lonesome Sound'' – 1996

*''Breakdown'' – 1997

*''Live at the Boarding House'' – 2008

Jerry Garcia and David Grisman

*''Garcia/Grisman'' – 1991

*''Not for Kids Only'' – 1993

*''Shady Grove'' – 1996

*''So What'' – 1998

*''The Pizza Tapes'' (featuring Tony Rice) – 2000

*''Grateful Dawg'' – 2001

*''Been All Around This World'' – 2004

Compilations

*''All Good Things'' – 2004 (box set of studio albums ''Garcia'', ''Compliments'', ''Reflections'', ''Cats Under The Stars'', ''Run For The Roses', as well as outtakes, jams, and alternate versions)

*''Garcia Plays Dylan'' – 2005

*''The Very Best of Jerry Garcia'' – 2006

*''Well Matched: The Best Of Merl Saunders & Jerry Garcia'' – 2006

Pure Jerry — a series of live concert CDs licensed by the Garcia Family LLC.

*''Theatre 1839, July 29 & 30, 1977'' – Jerry Garcia Band – 2004

''Lunt-Fontanne, New York City, October 31, 1987'' – Jerry Garcia Band and Jerry Garcia Acoustic Band – 2004     (This album is one of 10 "live jam releases of this century" according to the August issue of Guitar One magazine.)

*''Lunt-Fontanne, New York City, The Best of the Rest, October 15 – 30, 1987'' – Jerry Garcia Band and Jerry Garcia Acoustic Band – 2004

*''Keystone Berkeley, September 1, 1974'' – Jerry Garcia and Merl Saunders – 2004

*''Merriweather Post Pavilion, September 1 & 2, 1989'' – Jerry Garcia Band – 2005

*''Warner Theatre, March 18, 1978'' – Jerry Garcia Band – 2005

*''Coliseum, Hampton, VA, November 9, 1991'' – Jerry Garcia Band – 2006 (with Bruce Hornsby)

*''Marin Veterans Memorial Auditorium, February 28, 1986'' – Jerry Garcia and John Kahn – 2009

*''Bay Area, 1978'' – Jerry Garcia Band – 2009

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With other artists

*''Surrealistic Pillow'' – Jefferson Airplane – 1967

*''Volunteers'' – Jefferson Airplane – 1970

*''Tarkio'' – Brewer & Shipley – 1970

*''Déjà Vu'' – Crosby, Stills, Nash & Young – 1970

*''Blows Against the Empire'' – Paul Kantner and Jefferson Starship – 1970

*''Marrying Maiden'' – It's a Beautiful Day – 1970

*''Stephen Stills 2'' – Stephen Stills – 1971

*''Hooteroll?'' – Howard Wales and Jerry Garcia – 1971

*''If I Could Only Remember My Name'' – David Crosby – 1971

*''Sunfighter'' – Paul Kantner and Grace Slick – 1971

*''Powerglide'' – New Riders of the Purple Sage – 1972

*''Songs for Beginners'' – Graham Nash – 1972

*''Graham Nash David Crosby'' – Graham Nash and David Crosby – 1972

*''Excalibur'' – Tom Fogerty – 1972

*''Ace'' – Bob Weir – 1972

*''Wanted Dead or Alive'' – David Bromberg – 1973

*''Keith & Donna'' – Keith Godchaux and Donna Jean Godchaux – 1975

*''Virgin Beauty'' – Ornette Coleman – 1988

*''Devout Catalyst'' – Ken Nordine – 1992

*''Astronauts & Heretics'' – Thomas Dolby – 1992

*''Blue Incantation'' – Sanjay Mishra and Jerry Garcia – 1994

*''Trios'' – Rob Wasserman – 1994

*''Side Trips, Volume One'' – Howard Wales and Jerry Garcia – 1998

*''Mother McCree's Uptown Jug Champions'' – Mother McCree's Uptown Jug Champions – 1999

Notes and references

External links

The Jerry Site

Official Grateful Dead Website

Jerry Garcia discography at deaddisc.com

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