ABSTRACT
Chapter 4 studies the influence of New Orleans on the Grateful Dead, showing Garcia as a conduit of catharsis through rhythmic communication of tragic folk tales while inheriting jazz-age artistry, beginning with the jugband blues of Gus Cannon. Garcia’s embrace of the carnival spirit in the 1980s is shown in his adoption of “Iko Iko,” his composition of “Reuben and Cherise” using a Robert Hunter lyric inspired by the myth of Orpheus, and the group’s association with the Neville Brothers. Garcia’s adaptation of the folk-ballad “Fennario” and his early mixed-mode song “Dire Wolf” set in the mythical Fennario in Louisiana are examined together. Garcia’s musical syncretism is analyzed in the context of New Orleans-based musical styles, and his unique guitar style and melodic approach are shown to derive from early banjo training. The influence of Joe Garcia, a jazz saxophonist and bandleader, is discussed in tandem with his son’s artistic resemblance to his namesake Broadway composer Jerome Kern. The chapter concludes with analysis of Garcia and Hunter’s adaptations of fateful folk tales “Dupree’s Diamond Blues,” “Stagger Lee” and “Casey Jones,” along with the 12/8 lament “Sugaree.”
