This geneology may not be correct. The tape came into circulation a while back when nearly everything was labeled MSR>DAT...The end of the Jam is cut... from Blair Jackson's Garcia: An American Life Page 228, middle; Garcia and Saunders at Keystone Corner: "After a certain point, there was never an empty seat in the club when those guys played," says Todd Barkan, who ran the Keystone Korner in San Francisco and went on to become a top jazz producer. "What was amazing to me is that even then there was an incredible network of fans who followed Garcia that transcended the usual entertainer-consumer relationship. It was so much deeper and broader than that. I remember the last time we booked Jerry and Merl, before we went to a full-time jazz situation [in the summer of '72], there was no ad in the newspaper, no press release, nothing. We put their names up on the marquee around 10 o'clock in the morning, and by 7 o'clock that night there was a line down to the end of the block. And that has to do with networking; that has to do with community. It was phenomenal." Barkan's recollections of Garcia are all favorable: "He was a teddy bear. He was always very accessible and very personable. Also, he knew that I was a jazz musician and that let us connect a little more maybe. With some of the rock guys there was kind of a distance, but not him. He was very respectful about jazz. He was a universalist musically. He didn't consider what he did to be confined to one genre or another. He didn't like being limited by labels and he didn't relate to other musicians and other music with any kind of remoteness at all. You got the feeling from him that everything is related. And he proved that by playing so many styles so well."