Allen is very humble and appreciative of the many different ways that people approach him about his “role” as Jerry in the band. “People put it in different ways, which is just kind of a clue to the way they think of it. And sometimes, it’s really great and you take it to heart and you feel like, ‘Great! I’m doing a good job. I’m making something happen for them.’ He continues to admit it can be a “weird” thing for some people. “It’s not for everybody and everyone is on their own timetable with how comfortable they are with it and how they think about it. But, if people can get that I believe it and I am doing it and I am not trying to do it in a hokey kind of way, then they can feel free to feel good about it and get off…and not feel alienated or cheapened by the fact that it’s us doing it and not the original guys.”
A true gentlemen in all aspects, Allen is refreshing in the fact that he is a step slower than my New York personality, and takes his time in crafting genuine answers to any topic posed to him – between savoring each sip of his neat, Kentucky Bourbon – a true journalist’s dream, for sure. Our conversation really continues to get deeper into the main topics, and Allen becomes more passioante about what it is he does and why the JGB are truly the “Keepers of the Flame.” “It’s a dance that way. So you’re going to say, ‘Let’s do what these guys did.’ Well, what did those guys do? They played these songs. They played these riffs, they sang these lyrics, they played these notes, but wen they went to jam, they created something new. So, there’s choices you’ve got to make.”
Allen has been playing with Seals and the JGB since 2004 and has seen many members come and go, eventually settling down with the current lineup (since late ’09 anyway) of Pete Lavezzoli on drums, Jimmy Tebeau on bass and Cheryl Rucker and Shirley Starks as the backup singers (who were in the JGB earlier for a stint, as well), who truly help to add a gospel and soulful flavor to the band. This past weekend saw the JGB’s first bunch of shows together (save a quick New Year’s run) in over three months, and got off to a blasting start with a tune that Allen gushes he loves playing as of late, I Want to Tell You.
A song that features soaring riffs during a fierce jam segment, it was clear the JGB was out to make a statement, and that they did over Friday and Saturday, led by the standard setlist staples, such as That’s What Love Will Make You Do, Tore Up Over You, Don’t Let Go and an especially vicious After Midnight -> Eleanor Rigby Jam -> After Midnight. But, the true meat of this band can be seen in songs like Ain’t No Bread in the Breadbox, where they seemingly fire on all cylinders and lock into a weaving, feisty, collective jam. (In fact, Breadbox and Struggling Man are two tunes that I would recommend anyone unfamiliar with Allen and company’s playing start with on www.archive.org).
A huge part of what makes the masses flock to the JGB is how they sound. Often this weekend, I had multiple friends remark how Allen’s “tone” was spot on for how Garcia sounded. When I asked Allen about just how intentional it was, he has a surprisingly candid and honest answer. He admits he wasn’t always as much of a gear junkie as some other artists, but rather “stuck to what he knew” (mainly his SG guitar) when he joined the JGB in ’04. “I then found a good, Fender amp, which you kind of need for that sound, which had a 15-inch speaker. It was the only one that could hold that low register and not start to break up.”
But things really took a turn for the better when Allen was living in St. Louis, home of Dark Star Orchestra drummer, Dino English. English introduced Allen to Garcia-gear-guru, Brad Sarno. “Sarno has been into the Jerry tone and researching it and really knowing what all of the components are for years. He’s my go-to-guy everytime I have a question.” It was the “push” Allen needed and the “connection,” as he says where he began really taking the gear aspect of things to the next level. Lucky for all of his listeners and fans over the past, few years, as his playing has really taken on a whole new level of power, still combined with that exuberant grace.
Allen also comments how in 2009 the big shakeup happened with Furthur hiring John Kadelick, and the “dominoes start to fall from there” as he was tapped to try-out and spend a tour with Dark Star Orchestra, a gig he did not land as Jeff Mattson was eventually chosen. However, he does not seem bitter or upset to not have landed the job, but instead is thankful for it leading to his current path. Allen is very upbeat when it comes to other music outside of his JGB role, and our conversation turns to one of constantly evolving as an artist. “For example, second set Dead material, at the end of a song, it really can go anywhere, so there’s that. Playing with Front Street as an example, I feel that and my head goes to an original band and the anywhere that that can go to. But that takes a lot of time and dedication to making that come around. But hopefully in the future.”
But, he quickly returns to talk about the JGB and his mindset there to give some contrast. “We [the JGB] are shooting for the style and the vibe. There’s certain things I wouldn’t do in that band, that I might do in another band. Music has a lot to do with expectaions and surprise and that fine line there. We want to give a certain amount of what people expect. I’ve always thought that band posters were a contract. The title of the band is a contract. We call ourselves the JGB – we should not be doing originals, because people are going to come in and think, ‘Oh, we’ve been fooled, we’ve been tricked.’ We try to be honest and conscious of that…We want to acknowledge that we are not those people, but we were there.”
He then ties both of his last thoughts about cover and original material but simply stating that “My whole philosophy is let’s start with the JGB repetoire and go from there.” Allen feels that not only keeps things true to the JGB name and legacy, but allows him fresh outlets as an artist to continue to thrive and stay fresh in what he’s playing, something I can tell throughout our hour-plus chat that he is set upon finding a balance with.
In his simplistic, non-hurried way, he sums things up very easily. “You play what’s in your head and hopefully different things are in your head from night to night.”
4 Responses
I love Stu, and no offense to him, but don’t ya think people feel like they’re being fooled when a band called JGB (as in JERRY GARCIA BAND) is missing Jerry Garcia? I mean Stu plays the part well, but if you’re gonna talk about honesty, just rename the band the JGB Orchestra already. Or change the name to something new and stop capitalizing on Jerry’s name, aka JGB, and start playing something original.
Stu is crazy talented, but he could be so much better than this schtick and I’d much rather see him branch out instead of playing it safe and going the “tribute” route. Your reality may vary ~
Really Nancyinthesky? It’s been 16 years I don’t think anyone is being fooled. Just a chance to listen to really good music.
Sorry, I didn’t literally mean being “fooled” – of course we all know Garcia is dead and gone. I was thinking more along the lines of exploiting the the name, but it really doesn’t matter anyway. I agree, it’s really good music and if it helps the band sell tickets, more power to them.
nice review, that dude has a stellar beard.