Few have had a greater influence on modern acoustic music
than David Grisman. "The Dawg," as he is affectionately called, has played with
everyone from Bill Monroe, the father of bluegrass, to Jerry Garcia. Since the
Dawg is coming to town as part of the Adams Avenue Roots and Folk Festival,
let's take a closer look at the man and his music.
While
perhaps best known for his brilliant mandolin work and his playing in Old and
in the Way with Jerry Garcia, Peter Rowan, and Vassar Clements in the 1970s,
Grisman's musical background actually began with jazz. As a teenager in New
York, Grisman was already playing the piano, saxophone, and mandolin. While at
New York University in 1963 he began playing with the Even Dozen Jug Band,
which included, among others, Maria Muldaur and John Sebastian. Then in 1966
bluegrass standout Red Allen invited Grisman to join his Kentuckians. In this
standout group the still young Grisman honed his already considerable mandolin
chops and bluegrass style. He reports what a thrill it was to play with some of
his bluegrass heroes and reminisces about the hours he spent listening to old
LPs of the bluegrass pioneers and the effort he put in learning their licks. To
this day, at the drop of a hat, he can rip out, note for note, any of the Bill
Monroe mandolin licks one might like to hear.
In 1967
Grisman joined Peter Rowan in the progressive bluegrass band called Earth
Opera. With Rowan, Grisman created an avant garde sound that was a blend of jazz,
country, folk, rock, and pop music. Grisman then met Jerry Garcia of the
Grateful Dead and played on the Dead's classic American Beauty album. It was
through this connection with Jerry Garcia, an avid banjo player and bluegrass
fan himself, that Grisman and Garcia, along with Peter Rowan, put together the
now legendary Old and in the Way band.
Word has it
that Jerry Garcia was a great admirer of Florida-based fiddle player Vassar
Clements, and the chance to play with Vassar was a driving force in Garcia's
pulling Old and in the Way together. As Grisman told it in one of his workshops
called "An Hour with the Dawg," as they were driving Vassar in to town from the
airport, Vassar noticed a billboard with Jerry Garcia's picture on it
advertising a Grateful Dead concert, to which Vassar commented in genuine
surprise, "Hey, Jerry, that guy looks a lot like you."
Ever moving
forward, after Old and in the Way, Grisman went on to form the Great American
String Band with Muleskinner fiddle player Richard Greene. This group produced
innovative music that, for the first time, was characterized by the lengthy and
intricate solos that would become a Grisman trademark.
In 1976
Grisman assembled a new group comprised of Tony Rice on guitar, Todd Philips on
mandolin/bass, Joe Carrol on bass, and Darol Anger on fiddle. The David Grisman
Quintet released its self-titled Quintet album on Kaleidoscope Records in 1977,
soon becoming one of the seminal influences in the "newgrass" movement of the
times, in large part due to its jazz influenced and intricate solos and
harmonies. The Quintet's follow up album in 1978, Hot Dawg, was in many ways
Grisman's break-through recording. It was released on A&M's jazz imprint,
Horizon, and featured jazz violin legend Stéphane Grappelli (of Hot Club de
France fame).
Inevitable
turnover occurred in the makeup of the Quintet, and by the time Mondo Mando was
recorded in 1981, the group included Rob Wasserman on bass, Mark O'Connor on
fiddle, Tony Rice on guitar, Darol Anger on fiddle, and Grisman on mandolin. In
all, Grisman recorded four albums for Warner from 1980-83, with 1982's Dawg
Jazz/Dawg Grass notable as the second release featuring Grappelli and
presenting a creative blend of half swing and half bluegrass music.
As the
Quintet years ended, Grisman moved on to play with banjo player Béla Fleck, who
to this day credits Grisman as one of his major influences. In 1985 Grisman
formed yet another new group called Svinging with Svend, featuring seasoned
jazz musicians Svend Asmussen on violin, Jim Kerwin on bass, Dimitrie Vandellos
on guitar, and George Marsh on drums. This group produced music that was
solidly jazz oriented, and was followed by the more traditional bluegrass
recording Home Is Where the Heart Is, released in 1988.
Grisman
then went on to found his own label, Acoustic Disc, producing a steady stream
of recordings, including his highly acclaimed releases in 1991 with Jerry
Garcia of Tone Poems. A series of duets and tours were wedged into this time
period as well, including Grisman's duets with Tony Rice and with Doc Watson –
the Doc and Dawg Tour and release. The Doc and Dawg Tour played San Diego at
the El Cajon Performing Arts Center. Ever eclectic and ever on the move,
Grisman then released his Latin influenced Dawganova in 1995, presenting yet
another creative side to his multi-faceted musical persona.
Now,
Grisman is coming full circle. He brings to San Diego his Bluegrass Experience,
which is a solidly traditional bluegrass band. Featuring the Dawg on mandolin
and vocals; the Dawg's son, Samson Grisman on bass; Jim Nunnally on guitar (of
John Reischman and the Jaybirds), Keith Little on five-string banjo (of Dolly
Parton and the Country Gentleman); and Chad Manning on fiddle, this new group
plays rockin' good traditional bluegrass, featuring the music of Bill Monroe
and other bluegrass stalwarts. Started in the Dawg's home territory of San
Francisco, performances of this new Grisman group regularly generate a line
around the block.
Through it
all David Grisman has remained a down-to-earth "regular guy." The following
story tells a lot about the man and his attitude toward musicians and music. In
2001 the Wintergrass Festival in Tacoma, Washington booked as its head liner a
25-year reunion performance by the David Grisman Quintet featuring its original
members. The huge auditorium was a quick sellout, with many people begging,
pleading, and bargaining trying to get tickets. As I returned to my hotel room
for the night, at about one in the morning the night before the concert,
feeling sorry for the folks who couldn't get tickets to see the Dawg, I noticed
a cluster of folks jamming in the hotel lobby. I looked closer and saw David
"the Dawg" Grisman himself at the center of the circle, jamming away with
whomever wanted to join in. To me that said it all: you couldn't get a ticket
for love or money to see this famous man on stage, but hey, if you wanted to
jam until the wee hours bumping shoulders with him in the lobby, come on down!
The David
Grisman Bluegrass Experience will be appearing in a special concert on Saturday
May 3, 2pm, as part of the Adams Avenue Roots Festival. Visit
www.AdamsAveOnline.com or call (619) 282-7329 for tickets and information.