Counter Culture Fusion: The Story of Jerry’s Briefcase
In the vast and evolving world of music, some bands carve a path that spans genres, decades, and cultural influences, weaving their own distinct narrative. For us, that journey has been one of evolution, exploration, and ultimately, a return to our roots. From starting out as a jam band in the 90s, to becoming key contributors to the rise of Cali reggae in the early 2000s, and finally finding our way back to the jam band scene we love, our story is a celebration of creativity, cultural connection, and a dedication to spreading positive vibes.
The Fall of Fiddler’s Green and the Birth of a New Sound
In 1994, Fiddler’s Green disbanded, marking the end of an era for Chris and Tina. Shortly after, Chris joined The Well, a group of 90s jam pioneers who found regional success in the wake of Jerry Garcia’s passing. While The Well gained momentum, Chris, Tina, and their longtime collaborator Jeff Wagner began laying the groundwork for a new project, searching for players who could bring their vision to life.
After Fiddler’s Green, Chris and Jeff attempted to form a new project called Crop Circles with Tina and a fretless bass player. However, the bass player proved unreliable, and the project ended. What followed was an open mic band consisting of Chris on guitar and vocals, Ted Nunes on bass, and Jeff on drums (The Chris Avila Band). Soon, Wayne and Tina joined, cycling through various names, including 4/23 (after Jerry Garcia’s time of death), before finally settling on The Green Machine, a jam band that would soon evolve into something much more.
Jam Band Beginnings: The Seeds of Improvisation
The first few years of The Green Machine were rooted in straight-up jam music. In 1997, Ted Nunes switched to guitar, and Tina picked up the bass. At her first rehearsal, she played and sang three original songs, marking the beginning of her deep role in the band’s songwriting. While still a jam band, they began experimenting with reggae grooves, but Ted’s more complex changes kept the music unpredictable.
One of the earliest recorded performances from this time was Live at the Starline (1997). (Watch here)
The Reggae Shift: Fusing American Jam Culture with Jamaican Roots
Chris always had a reggae feel to many of his original songs, naturally dropping into one-drop riddims during jams. His idea of fusing American Deadhead hippie culture with reggae started taking shape.
In 1999, The Well was asked to back up reggae legend Isaac Haile Selassie, who stayed at Chris and Tina’s house, teaching them the Ethiopian style of reggae along with the true meaning of Rastafari. As the adopted son of His Imperial Majesty Haile Selassie himself, Isaac’s lyrics were often in Aramaic—Tina took on the challenge of learning and performing them.
By the early 2000s, reggae began playing a larger role in their music. In 2001, Craig Manges joined The Green Machine on trumpet and keyboard. Craig was a key figure in Fresno’s late-90s reggae scene and a seasoned player who was even invited to join Miami Sound Machine. His addition led to a major jazz influence in the band’s sound, which lasted until 2006.
In 2002, Clark Vitale joined the band on sound and samples, becoming The Green Machine’s unofficial sixth member. There were even a few shows as a four-piece where Clark dropped in samples of Horace’s vocals when he couldn’t attend. Around this time, Craig left the band, and Justin Goodrich took over keys, solidifying their reggae sound.
That same year, Wayne left the band to woodshed, and reggae promoter Whendy Russell introduced them to Ras Horace, a local Rasta. Whendy also connected them with a manager, giving them the opportunity to fill the void of reggae bands in the area. This opened doors for them to share the stage with reggae legends like Eek-A-Mouse and The Ethiopians.
In 2006, Jeff Wagner left, and longtime friend Andy Beutcher joined as the band continued leaning into reggae. With Justin Goodrich on keys, they played some of their biggest shows, culminating in their main stage performance at Reggae In The Hills in historic Calaveras County.
The Lion Eyes Era and Musical Conflicts
Also in 2006, Ras Horace officially joined the band, leading to some of The Green Machine’s most successful recordings, including their album Lion Eyes.
Whendy Russell secured a road manager for the band, allowing them to tour the state, bringing reggae to new audiences. However, as their music grew in popularity, conflicts arose. Some members of the Rastafarian community took issue with the artwork for Lion Eyes, which depicted the queen equal in size to the king. There were also concerns over the mushroom featured on the cover art.
Despite the controversy, Lion Eyes received critical praise, including a positive review in The Beat Magazine, where the band was featured alongside groups like Jah Roots. The most notable line from the article stated that the band “lacks the posturing of most local reggae acts.”
2010s: A New Lineup and a Cali Reggae Sound
In 2014, Travis Grober, nephew of members of 70s easy-listening band Ambrosia, joined on bass, along with Lionel Paul, former drummer for The Commodores.
In 2015, The Green Machine underwent several lineup changes, bringing in Chris “Crisco” Roscom on drums and Martin Meja on keyboards. Chris Avila returned to vocals as the band opened for California reggae greats like Hirie and J Boog.
This era produced some of the band’s most distinct Cali reggae material. Sadly, in 2017, Chris Roscom passed away—a kidney transplant survivor, he left a hole in the band’s heart.
In December 2024, Craig Manges passed away from a heart condition, signaling The Green Machine’s departure from the reggae scene he helped inspire.
A New Chapter: The Birth of Jerry’s Briefcase
In 2022, the band officially changed its name to The Green Machine Collective, as former and present members went on to form some of the Central Valley’s top reggae bands. Mahop and High Praise were both led by former key members, while John Glaspie took roots reggae to another level with No Voodoo Here. Feeling that the torch had been passed to their extended musical family, The Green Machine was put to rest, and a new band emerged—Jerry’s Briefcase.
Unlike their past projects, Jerry’s Briefcase had the freedom to play anything—original material, songs from former members, friends’ originals, and covers spanning Marley, Tosh, the Dead, Phish, classic rock, and new wave mashups. Many of the songs they wrote in the 90s were reimagined with audience participation in mind.
Starting fresh, Tina and Chris rebuilt their song list from scratch, playing local shows with a new drummer, Dom Harris, a high-caliber musician who brought renewed energy. Mario and Wayne returned, adding that classic feel that had defined the band’s early days.
Full Circle: Bridging Generations and Cultures
Through all of these changes, one thing remained the same—the music was never about capital gains. Chris and Tina, who married in 2000 after a decade of friendship, always prioritized pure artistic expression over profit. They played any venue that would have them, carving out an original sound while getting paid almost like a cover band.
Their journey—from 90s jam band pioneers to reggae innovators, and finally, back to their improvisational roots—reflects a deep love for music, community, and cultural fusion. Jerry’s Briefcase represents a full-circle moment, uniting the past with the future, blending the best of jam, reggae, folk, blues, and jazz, and proving that music, at its core, is about freedom, connection, and evolution.