The second of my two live events this summer was on July 6 at Chicago’s Daley Plaza, as part of the Under the Picasso lunch-hour concert series.
Technically, the stage isn’t under Picasso’s giant nameless steelwork – it’s some yards away. Too bad – I would’ve been grateful for the shade, as the stage baked in a hot and humid high noon. Always grateful for my trusty and good-looking Tilley hat! Some brave souls sat in the hot sun to listen attentively – muchas gracias! Others listened in the shelter of umbrella-shaded tables around the plaza. Cheers to them all, to everyone at Daley Plaza for making it happen, and to Ello comrade Dennis for his support and for lending a hand.
For practical reasons, I went with the minimal rig this time: just two guitars, pedals and the computer. The second guitar was originally just for backup, but since that turned out to be the 12-string, I got some new mileage from it by using it on Sirens of Maya for the first time, which went very well. This piece continues to evolve, as these two concerts have taught me a handful of ways to improve it – after I thought it was done!
The opening “farewell suite” of First Day Apart, Intervening Ages and Fading Angel continues to inspire. “Hello, I must be going…”
Rebuild From Memory continues to be a platform for layering parts and technical evolution, with no end in sight. I’m getting better at using the EBow as an airbrush, to add lighter textures (OK, at least some of the time!). It’s too easy to use the EBow like a sledgehammer, to lay the power on thick, so I’m glad to have hit upon this way of using it.
Dasi says I should release a live album, and as always she makes a good case. Thanks to the intense rendition of Rebuild From Memory on June 20, this project is underway. But I think that’s going to be a year or two in the making.
Guitar improvising is also going really well these days, so imagine my surprise at finding that an album of that is suddenly developing, too. (Steve Roach’s Streams and Currents remains an absolute high-water mark in this field.) Four pieces from these two shows and their rehearsals – almost half an album’s worth – are in there.
I’m also looking forward to compiling a live demo CD for purposes of Prospective Gig Solicitation. These two events alone have yielded almost the full CD’s worth.
Here are some highlights. That Christmas-y bit in Rebuild From Memory (starting at the 7.54 mark) is the 7/8 riff from the Rush classic Xanadu. It’s practically unrecognizable, because my attempt to turn off the Illudium Q-36 Perfect-Storm Multi-Echo Propagator was cruelly rejected by the computer. When listening, don’t max out your volume. because the whole thing peaks with a roar about a minute before the end.
This was the end of my live apprenticeship, so … I’m done with playing free concerts. It’s time to challenge the popular myth that artists should give away their work in exchange for “exposure”.
So the energy’s at a peak, and I’m taking it into the studio! That will be our next subject, in about two weeks…
First Day Apart
Sirens of Maya
Rebuild From Memory