By John Wesley Karson
Jerry Jeff Walker, though not originally from Texas, embraced the Lone Star State’s outlaw country scene and the legendary singer/songwriter community with an unparalleled embodiment. While he never experienced personal chart-topping success, his song “Mr. Bojangles” transcended boundaries, becoming a timeless classic covered by numerous artists. Throughout his recording career, spanning from the 1960s to the 2000s, Walker garnered a devoted cult following that unwaveringly supported him. His music resonated with a rare combination of literary depth and rowdy exuberance, where the untamed energy of his performances harmonized with his perceptive and poignant lyrics, despite his raw and straightforward vocal style. Walker’s penchant for clever wit and his creative heyday, marked by a fondness for alcohol, added an intriguing layer to his artistry. Beyond country, he explored the realms of jazz, demonstrating his skill as an insightful interpreter of other musicians’ compositions. Contrary to his “gonzo” image, Walker revealed himself as a more intellectual and mature artist. His 1969 folk-oriented release, “Driftin’ Way of Life,” played a significant role in establishing his reputation as a songwriter. The eponymous 1972 album, “Jerry Jeff Walker,” witnessed his evolution into a Texas artist, while the classic live recording, “Viva Terlingua,” released in 1973, brilliantly captured the essence of his sound and spirit.
Jerry Jeff Walker, originally named Ronald Clyde Crosby, entered the world on March 16, 1942, in Oneonta, New York. His parents, who had a passion for square dancing, and his maternal grandparents, both enthusiastic amateur musicians, instilled a musical foundation within him. At the age of 12, Crosby received his first guitar, and during his high school years, he played in a band called the Tones. While he joined the National Guard, his tendency to go AWOL led to his dismissal, prompting him to embark on a journey across the country, performing on the streets and taking on random gigs wherever he could. Adopting the stage name Jeff Farris, he eventually settled in New York City in the mid-1960s, where he became known as Jerry Walker. Initially immersed in the folk circuit of New York, he later joined a rock band called “Circus Maximus,” which blended folk-rock, jazz, and psychedelia. He appeared as Jerry Walker on their self-titled debut album, released by Vanguard Records in 1967. By the time their second and final LP, “Neverland Revisited,” came out in 1968, he had solidified his stage name as Jerry Jeff Walker.
Upon the release of Circus Maximus’ second album, Jerry Jeff Walker had already departed from the band, embarking on a solo career that would soon flourish. In 1968, he introduced his solo endeavors with the LP “Mr. Bojangles,” released by Atco Records. The album featured an impressive backing band, including notable musicians like David Bromberg and Ron Carter. The following year, Walker unveiled two albums: the rock-oriented “Five Years Gone” on Atco and the folk-infused “Driftin’ Way of Life” on Vanguard. He returned to Atco in 1970 for “Bein’ Free,” coinciding with the Nitty Gritty Dirt Band’s chart-topping rendition of “Mr. Bojangles.” In 1971, Walker made his inaugural visit to Austin, Texas, since the mid-1960s, and swiftly developed an affinity for the city, finding a warm embrace within the local singer/songwriter community. His music and persona seamlessly aligned with the collective of artists whose music blended rootsy country with a sprinkle of hippie sensibility, often referred to as “Cosmic Cowboys.”
What was a “Cosmic Cowboy”? In 1973, Michael Murphey bestowed a name upon it through his album “Cosmic Cowboy Souvenir” on A&M, but it was Jerry Jeff Walker who truly embodied its spirit and essence with his release later that year, “Viva Terlingua!” With a band comprising Bob Livingston on bass, Gary P. Nunn on keyboards, Craig Hillis on guitar, Mike McGeary on drums, and Herb Steiner on pedal steel, both albums captured the vibrant sound and carefree attitude that defined this musical movement. Together, they brought to life the frisky and spirited nature of the cosmic cowboy ethos.
The Armadillo World Headquarters, a renowned concert venue in Austin, served as the “Cosmic Cowboy” spiritual home, hosting performances by both rock and country musicians. In 1972, Walker released the eponymous album “Jerry Jeff Walker,” capturing the essence of his newly cultivated Austin-born sound. Recorded in Texas, Louisiana, and New York, the record stands among his most revered and celebrated works.
Walker embarked on tours alongside a collective of Austin musicians known as the Lost Gonzo Band, a collaboration that would prove pivotal in his career. In August 1973, one of their performances was recorded live, resulting in that seminal album “Viva Terlingua.” This record would become a defining testament to the Texas Outlaw scene, capturing the hearts of Walker’s devoted cult following, particularly in the Southwest. Notably, the track “London Homesick Blues,” Walker began touring with a group of Austin musicians known as the Lost Gonzo Band. Their remarkable live show in August 1973 was recorded and released as the iconic album “Viva Terlingua,” which became a cornerstone of the Texas Outlaw movement. One of the album’s tracks, “London Homesick Blues,” written by pianist Gary P. Nunn, not only showcased his lead vocal but also went on to become the beloved theme song for the long-standing PBS series, Austin City Limits. While Walker didn’t achieve mainstream stardom, “Viva Terlingua” marked the pinnacle of his cult following, particularly in the Southwest region. He continued to collaborate with the Lost Gonzo Band, delivering a string of solid albums for MCA Records throughout the 1970s, including notable releases such as “Ridin’ High” (1975) and “A Man Must Carry On” (1977). However, he transitioned to Elektra Records for his 1978 album, aptly titled “Jerry Jeff.” Walker took on production duties for his second Elektra release, “Too Old to Change” (1979). Unfortunately, the album failed to resonate with both fans and critics alike. Subsequently, he aligned with MCA’s Southcoast subsidiary, releasing “Reunion” in 1981 and “Cowjazz” in 1982.
“Cowjazz” marked Walker’s final album under a major label. During the latter part of the 1970s, years of excessive drinking and drug abuse began to take a toll on his life. He gained a reputation for missing shows or being too intoxicated to perform, which significantly impacted his touring earnings. Additionally, he found himself burdened by a substantial debt resulting from unpaid taxes owed to the IRS. However, with the support of his wife, Walker embarked on a journey to sobriety, resolved his financial matters, and established his independent record label called Tried & True Music. He struck a distribution deal with Rykodisc, and in 1987, he released “Gypsy Songman: A Life in Song,” a collection of reinterpreted versions of his most beloved and cherished tunes. The album served as a testament to Walker’s resilience and enduring artistry. In 1991, “Navajo Rug” reignited his presence on the country charts, marking his return since “Jerry Jeff” in 1978. Critics praised his 1992 release, “Hill Country Rain,” as a triumphant comeback. Throughout the 1990s and 2000s, Walker maintained a steady but relaxed pace of recording, while actively performing in the Southwest. His birthday became an annual celebration in Austin, featuring beloved concerts that became a treasured local tradition. Following his 2009 album, “Moon Child,” Walker shifted his focus to live performances, temporarily putting recording on hold. However, in 2017, he received a diagnosis of throat cancer, prompting a remarkable comeback with the self-released “It’s About Time” in 2018. Walker continued receiving cancer treatment until his passing on October 23, 2020, at the age of 78, at a hospital in Austin. His legacy as a resilient and influential singer-songwriter endures.