"As for rehearsals not being needed due to our history: we certainly needed to brush things up, but we found we could do it pretty quickly by "sketching" bare-bones outlines of songs, sometimes right before going on or at soundcheck. I think we wanted to let the actual shape of things take place in the moment, so all we really needed was a rough framework, like how to kick things off. Endings were left much more to chance, as you can sometimes hear! There were a few things I barely knew, like the James Booker version of "Goodnight Irene," in which I was barely hanging on, not to mention playing an instrument (dobro) I'd played very little. The JGAB didn't exist for very long, but it seems like quite a bit was packed into those performances. Dunno about "polished"—wasn't it more like ragged, and sometimes right?—but it was great fun, especially with the energetic East Coast audience propelling us. Not to disparage bass players we'd worked with in the '60s, but this was the first time our core trio had ever played with an accomplished bassist, as well as a great fiddler at some of the shows. There were a few newspaper reviews during the Broadway run; one writer (not the NYT guy) sounded to me like he'd listened really well to the show, the way he described some of the interplay. I don't recall which paper his review was in, but I kept it because it was interesting. I still have it in a file folder buried somewhere." (Sandy Rothman)