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9 Interview With Betty Cantor-Jackson

Sergio Pisfil

Betty Cantor-Jackson became part of the music industry in the late 1960s, working in paradigmatic San Francisco venues like the Avalon Ballroom and The Carousel Ballroom (that would later become The Fillmore West), and subsequently working for concert promoter Chet Helm to create an outpost of the Family Dog in Denver.¹ She soon became part of Alembic, a company conceived to develop sound technology, and worked with one of the most inventive crews in the field of live audio production. Betty first got involved with the Grateful Dead on different studio productions, including the band’s third album Aoxomoxoa in 1968, pioneering the use of 16-track technology. According to my own research ...

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