Today marks the anniversary of the final show of one of the earliest Grateful Dead side projects. Lead guitarist Jerry Garcia along with Howard Wales delivered one last live interpretation of their jazz-rock fusion album Hooteroll to an audience at the University of Buffalo on this day in 1972. Wales, an avant-garde keyboard player, helped compose all songs on the album which was released the previous year.
The Buffalo gig ended a string of shows played at smaller venues in the Northeast, including one at Syracuse University the week before. While Jerry Garcia may have been the main draw, this tour is also renowned for introducing many to The Mahavishnu Orchestra for the first time, a burgeoning live act with the great Jon McLaughlin on guitar who opened the shows and, according to some bystanders, blew the main act off the stage sometimes.
But Garcia and Wales would get the final word each night with extended takes on Hooteroll, playing alongside Jerry Love on drums, Jimmy Vincent on guitar, and Roger Troy (aka Jellyroll) on bass and vocals, with the group announced as “Howard Wales and Friends.” Unfortunately, no known recordings of tonight’s performance exist, but this excellent one from the show three nights before in Boston paints a clear picture of what transpired at these shows, with the band immediately launching into the frenzied, organ-driven jam “Southside Strut,” the first track of the album, then going off from there.
The music never comes to a complete stop as the band weaves in and out of different tempos and arrangements, although mixing up the songs from the order in which they appear on the album. A section called “Outer Space Regions” completely lives up to its billing before a soul-heavy “Carry Me Back” with Jellyroll on vocals re-energizes everything. Another selection from the album, “DC 502” surrounds a verified “Drums” section as well later on. See Youtube for a full setlist. The entire show is essentially a long, enjoyable 90-minute jam that covers all of Hooteroll and then some.
Before being played in Buffalo and the Northeast, the seeds of Hooteroll were planted in San Francisco, as Garcia and Wales wound up performing at Monday night jam sessions at The Matrix. This would also be where Jerry met bassist John Kahn for the first time, marking the beginning of their long time partnership. For Jerry, the appeal of this outfit was the ability to play in a more relaxed context than Dead shows. Wales was a serious musician, and Jerry had to work hard to keep up with him, which he would say did more for his ear than anyone else he played with.
Howard didn’t have tunings or anything, he just played. Sometimes he would do these things that were so outside that you just couldn’t – unless you knew where it was going, you had no idea where to start. Sometimes they’d turn out to be just these things like four-bar blues turnarounds, relatively simple musical things, but they were so extended the way he’d play them – ‘God, what is this?’
~ Jerry Garcia, 1991 Interview
With the Hooteroll tour now concluded, Garcia would next turn his attention to a string of shows with another longtime collaborator, Merl Saunders, back home in the San Francisco area.
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