IAAD VII: EYE OF THE NEEDLE NOTES

Work daily

Remain open to the appearance of refinements and adjustments to the specifics,
including abandoning some of them, as the process unfolds

TO DO:

• Set up and keep up Eye of the Needle IAAD-specific diary.
  1/14: Done. Click here to link

AIMS:

Technical/Mechanical

• Reestablish accented picking
  o Ensure timing is consistent and reliable
  o Minimize overemphasis
  
• Identify and formalize pivot choices
  
• Work available tempo up to 72-74bpm reliably

Musical

• Restore competence and ease with all parts
  o Articulate musical intentions for each part

Bass: projection and singing quality, without overplaying 

Leads: flow and continuity, attention to position shifts

Okay, for the high lead simply achieving minimal competence in the upper octave Intro/Midtro sections will be a satisfying and major accomplishment 

Guitarist Inside

Not exactly sure how to go about this. Some ideas…

• Strengthen the connection between the form and the limb circulation
• Gain some understanding of what it is to hold good will in my breast and send good wishes to the other players and audience
  
• 1/16. Pay attention to the EoCaaD in the morning sitting
• 1/20. Practice it, no matter how inept you are
• What is contained in Lord Have Mercy? And how is an old reprobate supposed to understand it, let alone put it into practice in a meaningful way?

_________________________________________________________________________________

PRACTICE NOTES

1/20 – focus on intro

Accented picking: 3-3-3-2-2  (see 1/27)

Pivots:                 2nd inversion 2nd finger between strings 2&3

                                Root position first finger between strings 1&2

Attention to transition notes, especially doubled A between A and F#

Remember to practice the first 6½ tacit beats

1/21 – focus on G1 main body – A-D-A’-F#-F#

Accented picking: 3-3-3-3-4

Pivots:                  A: 2nd finger on G&C on strings 2&3

                                D: same for C&F

                                A’: 1st finger between A&C on 1&2
                                F#: same

Attention to attack on open string transition notes: match timbre and volume to the rest of the melody

Final G of D pattern:  abandoned the 3rd finger stretch because I simply can’t play it musically. Two alternatives: 1) open G string, 2) 4th finger pivot. TBD. 1/22: the 4th finger pivot wins. 

1/27 – focus on Guitar 3

Play more on fingertips to avoid accidental muting of transition notes

Care for transition notes – blend attack, timber, duration – flow

Accented picking adjustment: when playing main figures in 4/4, back to alternate picking on final 7 notes of each phrase. Basically, the second “3” will be the only place the picking is reversed. 3-3-3-7

2/3 – focus on Guitar 2

Accented picking: Same as Guitar 1

Pivots:       Same as Guitar 1 when unison/unison octave

                                Alternate A of Intro (bar 3): no 4th finger pivot between strings 1-2; use fingers 4-3

                                Harmony A and F#: 2nd finger between strings 2-3, 4th finger between strings 1-2

                                2/4 update: taking out all pivots above 12th fret except the 1st finger pivot on F#

Open string transitions: Review and formalize, incorporate into practice. If playing the high octave in the Coda, ignore the open G transition from final D – this l connects more musically/melodically to the first F# of Coda

Find warmup calisthenics to strengthen and smooth out arpeggios above the 12th fret

How the hell do I keep the open D string from sounding when I remove my first finger? 

 

 

What They're Saying About the Chamber Orchestra of Crafty Guitarists Performances in the Midwest

Chamber Orchestra of Crafty Guitarists
2016 Midwest Tour
Minneapolis MN, Madison WI, Chicago IL

Audience Feedback

Re Madison, from a friend

Hello league pals - just a quick note to say, WOW. The concert you put on in Madison completely exceeded my and my local friends’ expectations. The use of the guitars in that room, the exciting improv, the sound of the instruments approaching & leaving the space re-defined for me what a concert experience can be. Playing parts of pieces bunched together then fanning out - incredible. The 30-D soundscape you all created was unique and marvelous, and brought me to tears several times. Thank you so much for that gift - the sounds and sonics you made in that space will remain unforgettable in my music mind. Bravo, and hope the rest of the shows are awesome for you. Safe travels, and thanks again! It was great seeing you all.

Email from Westwood Lutheran Church, Minneapolis

Dev – 

Thank you for the kind note. Of all of the ensembles we have hosted recently at Westwood, none has been more thoughtful and considerate of our space than yours. We are grateful! And I am so glad to hear the concert went well. I heard amazing reviews from some of the Westwood folks who were there. 

If the recording made last night become public, please do let me know as I would enjoy listening. 

All my best,

Email, re Minneapolis

Wow, I really loved the show last night in St. Louis Park, MN! I got to wondering if it was the audience that controlled the lengths of the songs and wondered if we should not clap until the guitarists removed their hands from the necks of their guitars. Very memorable performance!

Email to Curt Golden, re Chicago

hi, Curt - I wanted to send a note of thanks for the performance last night by you and the rest of the Chamber Orchestra of Crafty Guitarists (and if you could pass it along - you’re the only one who’s email I have!)   It was incredibly powerful and a testament to artistic commitment and excellence,, joy, and a truly generous offering to all of us in the audience.  I was pretty much moved to tears during the opener and the sense of amazement didn’t cease the entire time.  I know a program like that takes time and effort and I appreciate all that went into it. 

I actually took a New Standard Tuning weekend course you taught in 2005 in Atlanta. I loved it and it made me realize the kind of dedication the guitar needs and I’d probably have to give up my other instrument to do it. So, I put more effort into harmonica, my 1st axe (we also exchanged emails a couple of years ago because I’d heard & liked your blues band featuring your harmonica work). I also wanted to mention that I showed up to that course in 2005 very dissonant and ignorant, not just about guitar but other things. I see it now that I’m studying to be a Zen Buddhist teacher. People show up to beginning courses that I assist with sometimes with that same twitchiness. They don’t know better but we’re taught to harmonize with them without judgement and you did the same for me during the course, which I didn’t realize til now but really appreciate.

Overheard at the Merch Table:

“You guys should go to the White House to play.”

Email from First Unitarian Society, Madison

Hi Dev, 

I hope you travels are going well. I just wanted to thank you for choosing FUS as your Madison venue. I was really impressed and fascinated by the organization of all your members and your ease of communication. I caught part of the concert – so refreshing, and interesting – a real audio experience. 

FUS Facility Coordinator

Email to Curt from a (skype) student (OST) in the Chicago vicinity:

re. Robert Fripp & The Chamber Orchestra of Crafty Guitarists - you were right. My mind is blown. Bravo to you and all your cohorts! 

One interesting thing - after the multi-lingual introduction/announcement and before the start of the concert the whole room became quite still. I felt like the stillness was an actual physical thing and then two guys sitting behind me started commenting on the silence and somehow broke it. I felt a disappointment at that point. 

With respect to the performance: 

Pretty amazing. I didn’t expect it to be more than music but it was movement (is that stuff choreographed?) and the space itself. It occurred to me that the only way to experience the performance was to be there, in the middle of it. No recording, even video, could do it justice. Still, I did procure a copy of the DVD on sale at the merch table (but haven’t watched it yet). 

Where does that music come from? I mean, I know where Red comes from, but all the other stuff? Is it improvised? I guess the classical piece that you played up in the balcony is written out. 

Also, I noticed that you all appear to “pass” a note from one to another with a gesture to the “recipient” but sometimes there was just the gesture and no note - what’s that about? 

All in all, a great show from my point of view. I really appreciated the opportunity to be there.

Minneapolis Star Tribune

Robert Fripp and the Chamber Orchestra of Crafty Guitarists, Westwood Lutheran Church. It was a surreal combo of performance art and sonic immersion. The 30 guitarists made sounds similar to piano, harpsichord, whales and bees.

Facebook Comments

• “Thank you for blessing us with your music this week! It was wonderful to have some behind the scenes rehearsal performances :)” – Westwood Lutheran Church, Minneapolis
  
• “The performance was so full of joy -- thank you for bringing your wonderful music to Minneapolis!”
  
• “Incredible web of mystery bliss” – Madison
  
• “What an amazing concert this was! I am still thinking about it and can hear the incredible sounds. Thank you for coming to Madison!” – Madison
  
• “My favorite shows are always the ones that might me want to go right out and play music.
  
  Tonight’s show was something else entirely though. Changed the way I see approaching performances, the use of the space and interplay of all the performers was just mind blowing. I think it’s going to take a few days for this one to sink in. Thanks to all the crafty guitarists tonight for a truly incredible show and feeding me a ton of inspiration.” – Chicago
  
• “Thank you for the memorable show! It was amazing!!” – Minneapolis
  
• “Still trying to recover from last night's experience. I experienced synesthesia for the first time and I wasn't even looking for it. Add to that the fact that Robert Fripp played his guitar on my ear. And when I mean on my ear, I mean I could rest my head on the guitar. Jaanus had to pinch me afterwards just to assure me it actually happened.
  
  Music coming from everywhere, communicating from one end of the venue to the other. Players upstairs and downstairs. Conversations in music triggered by non verbal language, plus a couple of classics thrown our way. Painting the room with musical colors.
  
  I can go on, but I think you get the point that I can't really put the experience into words.”
  
• “Midway into the show, seven crafty guitarists appeared in those seven arches and stayed there for a good 10 or 15 minutes in a musical volley with the group across on the other balcony by the organ. The whole evening was visually stunning, but that was the moment I would've most like to document with a quick picture.” – Chicago

Chicago show review from Facebook

Robert Fripp and his Orchestra of Crafty Guitarists were absolutely incredible, one of the most unique and interesting performances I can recall in many years: Twenty nine acoustic guitar players, I believe, including their fearless leader, all dressed in black and completely unplugged (more shiny black Ovation acoustics with a cutaway than I've ever seen in one place, and some very nice Taylor's and otherwise, too), fully mobile, moving in circles through the chapel in groups and subgroups, suddenly appearing in balconies for extended hymnal jaunts, or six inches behind your head with a tiny chromatic lick just for you before moving on down the row. There was literally no barrier between the band and the audience, it was all one space throughout. They traded riffs across the room and ran rhythms and chords around the building in bidirectional circular waves. It sounded at times like a gigantic modular harp which could divide and subdivide itself on a whim. It was the quietest and most observant audience situation you could possibly imagine. King Crimson popped up a couple few times to great effect among extended segments of angelic twinkling, mathical headbanging, and lots of other moving musical motifs and blends for which I have no proper terms. R. Fripp himself was far from the spotlight for most of the night, entering and exiting the group quietly throughout the performance, and slowly taking more direct control as they neared the encore, which he conducted in real time after mostly observing large portions of the set from a close vantage in the shadows. The humor, humanity and openly joyful nature of the production only complemented the stupendously disciplined musicianship and perfectly executed group dynamics on display for the entire 100 or so minutes.

The OCG Meets Frank Ocean, or Not - Part 13

Sunday August 23, 2015 – Part II

Seattle, WA

9:48pm – the home office

I had a 10:15am lobby call. Having done most of my packing yesterday and before I went to bed last night, I took it easy in the morning. Breakfast, a long shower, writing, final packing, and checking out of the room. The van, courtesy of Frank Ocean, arrived on time, and we loaded the first LAX-bound wave of OCGers – the Seattle Six, plus Leo, Tom, Marian, Jon, and Jacopo – heading home. For the Seattleites, a couple of hours to kill at the airport, so we piled into a restaurant at the airport to pass the time. Flight on time. I slept most of the way. Everyone home safe and sound.

Mostly packed, and ready to say goodbye to this carpet

Melvin says "welcome home you bastard."

<--- Previous Post

The OCG Meets Frank Ocean, or Not - Part 12

Sunday August 23, 2015 – Part I

The Hotel, Burbank, CA

1:54am – my inside office

Home from the gig, and a lovely end of project dinner with the entire team. Packing as much as possible before I fall into bed. Out the door at 10:30am.

It was really a splendid gig. The stuff that that was shaky going in, was shaky in performance, but it was a lot of fun, and the audience was completely with us. The two When Ready, Begin’s were the real deal; played with authentic gusto and good humor. In the second one, out of seemingly nowhere I felt the impulse to get the team into motion, and they went for it. Wonderful. No one was expecting it. We had done nothing with this practice in rehearsals. But it was totally great. I pulled us out into the room for the middle section of Asturias as well.

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The OCG Meets Frank Ocean, or Not - Part 11

Saturday August 22, 2015

The Hotel, Burbank, CA

9:50am – my inside office

We have a long free morning to go with yesterday’s afternoon and evening off, so I stayed in bed a bit before heading down to breakfast. Met with Hernan and Mika at 9am to work through the set list for the show this evening. Our schedule for the day:

1:30 – Lobby Call

2:00 – Uber to Venice

3:00 – Arrive, move in to assess the space, sound check and set-up

6:00 – Quiet time

6:30 – Doors open

7:00 – Showtime

8:30 – Final meeting

9:00 – tbd

____________________________________________________________________________

Orchestra of Crafty Guitarists

August 22, 2015

Full Circle, Venice, CA

Entrance – Procession Chords in Bb Major

Bb Major Cascades

When Ready, Begin

Circulation – A Minor

Eye of the Needle

Lunlunta in C Hexatonic

Razor Whip

Blockhead

When Ready, Begin (with the Orchestra in motion, led by Curt in the moment)

Circulation – Dotted-Fret Magic Chord Notes ending with Quiet Chord

Thrak

Circulation – C Harmonic Minor

Voices of Ancient Children

Bells

Driving Force

Versus

Asturias (Orchestra in motion for middle section, led by Curt in the moment)

Exit – Procession Chords in D Minor

Encore – Free Circulation into Vrooom Coda

Encore – Whizz Until The World Is A Better Place

Second Encore - Calliope

With Erin, greeting the Orchestra as they arrive at Full Circle

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The OCG Meets Frank Ocean, or Not - Part 10

Friday August 21, 2015

The Hotel, Burbank, CA

5:00pm – my inside office

Scheduled half day.

We began as usual, with breakfast and a 9:45am lobby call to walk down to the dance studio we would be using for today’s rehearsal. The Logistics Team met at breakfast, primarily to look at tomorrow’s gig transportation, but it became instantly clear that there was some kind of mixup in our reservation for the rehearsal space. I excused myself to go work on the repertoire list, confident it would all work out, which evidently it did.

The rehearsal was 10am-2pm. Mostly we ran composed repertoire for final assessment and timing. “When Ready, Please Begin” called from time to time, to keep us on our toes. Discussion kept to a minimum. At the end, a quick meeting to discuss the Gig Day schedule, and then most of us were off for the afternoon and evening. I had a short meeting with Mika, Hernan, and Dev, to talk what would happen after the gig tomorrow night – the final meeting and dinner.

Many headed out to get out of Burbank and explore the more interesting side of LA. I opted for a long nap, supper by myself, a bit of reading in the hotel bar, passing the time with members of the team as they returned from their adventures.

Twinkling In Motion (courtesy of the owner of the dance studio)

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The OCG Meets Frank Ocean, or Not - Part 9

Thursday August 20, 2015

The Hotel, Burbank, CA

8:00pm – my inside office

A day utterly devoid of drama. I barely know what to do with myself.

Like yesterday we Ubered over to the rehearsal space. I opened the rehearsal with a review of the Guitarist Inside collected state exercise, and then ran the team through a 30-minute warm up designed to settle into the hands as well as working with very directed listening within the circle. We spent the rest of the morning reviewing the work we’ve been doing, with an eye to what might be useful for the performance. After the lunch break, I talked a little about what “When Ready, Begin” requires of us, and some strategies:

1. If you feel you have something to contribute, do so with conviction, without fear, and without asking for permission. Go for it without hesitation.
2. If you don’t have anything at the moment, trust your neighbors and teammates in the circle – join them in what they are doing, or respond with something that compliments it. Watch for circulations, conducted chords.
3. If you have nothing to contribute, contribute nothing, but with active and responsive intent.

For this session I asked people to call out any piece of repertoire that they felt might have a place in the performance. We played them with very little comment, simply to hear them, and to get a sense of what stage of performability they were. From time to time throughout this session I would without preamble simply call out, “Orchestra, when ready please begin”, and then we would go for it. Once established I generally cut them off. It was the “begin” part of the challenge that I wanted to address and revisit. I also occasionally checked in to see if my neighbors (a Pozzo to the left and another to the right) were paying attention, and initiated circulations out of the blue.

At this point, it was getting to be a long day. The next session was some much needed AT work with Erin.

For our final hour, we looked at “processing” (as in, engaging in a procession – Crafty-speak), and then talked through the pieces we had played after lunch, offering observations and comments, without delving too deeply into analysis. Hernan and I will sit down and have a look at which pieces we feel are both appropriate for the gig, and ready to be performed.

Practicalities, and then home. Some are going out to be treated to dinner by a local friend. I’m going to stick closer to home.

The Orchestra of Crafty Guitarists - Rehearsal at Center Staging

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The OCG Meets Frank Ocean, or Not - Part 8

Wednesday August 19, 2015

The Hotel, Burbank, CA

8:25pm – my inside office

Today and tomorrow we are in the rehearsal studio. This involves a 10am lobby call and an Uber caravan. Not totally dignified, but more or less functional. Dev and I, however Ubered in the opposite direction, heading down to the Shrine Auditorium to settle some final details with Ocean’s tour management team. During the ride, a call with the hotel, as we needed to transition from Ocean’s tab to our own beginning tomorrow. An inexplicably more complicated transaction than one would think. Arrived at Shrine and headed back to the offices. Saw the last of the stage set being loaded into road cases and stacked for an afternoon load out. Our contact, while always professionally cheerful and amiable, looked decidedly bummed and generally bedraggled. The Production Manager was on the phone trying to explain to someone why the gig had been canceled. I sensed this was a conversation he was having often. Concluded our business, although there remain several practical (code: money) matters to be completed before we can say this is all over.

Next on our agenda was another Uber ride, this one down to Venice to meet Erin and visit a potential venue for an Orchestra of Crafty Guitarists gig on Saturday night. The Full Circle. When I saw the name of the venue, I was pretty much sold right there. Met the owner and a number of his people. Totally the right place. Walked through all of the necessary questions.

At about 3:30 we headed north, this time with Erin chauffeuring, to meet with the team at the rehearsal studio, confident that we had found the right place. Arrived at the studio at 4:30. The team was on break. For the next period, Erin took the lead with some AT exercises while Hernan, Steve, Dev, and I, put our heads together on the gig. All agreed, it’s a “go”. Began making confirmation phone calls.

I was feeling a little toasted at this stage, and elected to sit outside the circle for the final rehearsal session from 6pm to a little after 7. The team sounded great, right from the beginning. No shortage of things to attend to, but a group I would love to hear, and even more love to be a part of. Oh yeah, I am. Took advantage of this rare opportunity to get inside the circle for several pieces, and it was wonderful.

Quick meeting to announce the gig as well as a few practicalities, and then back to the hotel. Dinner is desperately needed.

Checking out Full Circle.

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The OCG Meets Frank Ocean, or Not - Part 7

Tuesday August 18, 2015

The Hotel, Burbank, CA

7:25pm – my afternoon/evening office

Basically did not sleep last night.

The roller coaster continues. Morning rehearsals continuing with the Orchestral strategies and also moving on to testing the waters of available repertoire. All with an eye to performing this weekend. The domestic team is in and out of the rehearsal process as we look into work spaces, performance spaces, transportation options, and possible hotel relocation.

As we headed out for a lunch break, Dev appeared. Word from FOM that we are back on for the festival show. A combination of elation, confusion, and general giddiness. The message even included instructions regarding stage attire. The tech folk wanted Dev and one guitarist to come by the rehearsal space to test and check all the wireless rigs. I volunteered to be the guitarist, and we added Dani to the list since he is our sound liaison. Walked back to the hotel. Dev and I went to our rooms to change into more suitable attire, and for me to get my guitar and gear together. I was moving a little slowly, so the following text exchange occurred:

Me:    I’ll be down in five minutes.

Dev:    It looks like it’s off again. For good.

Me:    I’m waiting for the smiley face.

Dev:    No smiley.

Down to another group meeting, and back to an afternoon of re-re-tooling the plan.

At one point, the tech guy thought that Dev, Dani, and I, should come down anyway to do the tech work, just in case there was another change in plans, but FOM ultimately nixed that one.

I skipped the first afternoon rehearsal in favor of a shower and nap. It was clear as we approached the final rehearsal of the day that our energy was spent. An evening off is declared. For the domestic team, not so much, at least not right away. Steve booked the rehearsal/recording space 4 miles from here for tomorrow. We needed to figure out how we are going to get to and from.

I won’t hazard a guess what might come down the pike between one moment and the next. Every time my text alert rings, I wince.

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The OCG Meets Frank Ocean, or Not - Part 6

Monday August 17, 2015 – Part II

The Hotel, Burbank, CA

11:00am – my poolside office

So we’re up to date. Except… not.

Slept in as much as I ever do, which means I was out of bed around 7:30. Took my time. Showered. Wandered downstairs for breakfast. Many of the team in the dining room. Saw Jon sitting alone at a table, and joined him. Grabbed some breakfast and coffee, and chatted.

Just to my right, I sense the appearance of Dev, smiling with his phone in hand. “News?” “Yes, and it’s not good news. Today is cancelled, completely. Ocean is still in London, and won’t arrive until tonight. They are ceasing set construction, because there are elements Ocean needs to approve. They sound very stressed.”

Yeah, I imagine they are. I can’t imagine what this is costing them.

So, what for us. Day off? No, we need to work. A meeting quickly set up for the Management Team. Out on the deck by the pool. Not too shabby. Victor is already out scouting a close-by community center and church as possible rehearsal spaces. The conference room in the hotel is available, for a price, but it kind of sucks size-wise. But we will have a place to work. Dev sends out an email update, that the original plan is scrapped, but we will meet at the time we planned and move to whatever rehearsal space we can arrange on the fly, and take it from there.

If any of these delays were of our making, I’d be a stressed-out mess. But it is not in our control. So, we do what we do. I come out to my morning office space by the pool and type this journal. By this afternoon, everything may have changed again.

4:30pm – my afternoon office (aka, my hotel room)

An afternoon of very useful rehearsal. Three sessions, the first about an hour and the next two more in the 40-minute range. Hernan and Mika presented a number of circulation and improv techniques familiar to the European and South American teams. Nothing completely new to me, although the “razor” was a bit of a new twist I had not heard before. Mostly very fun stuff. One test run through of Thrak as a potential bit of repertoire to pin their ears back in the tech rehearsal (whenever that actually happens). No clue or sense what parts of what we examined, if any, will be of use in our work with Ocean, but in terms of building cohesion within the team… an absolutely irreplaceable investment of time and attention. We rehearsed entirely on our feet. Partly necessitated by the size of the hotel conference room, but also because we reason that we will be performing on our feet.

By the end of the afternoon it had begun to take its toll. So as I type this, Luciano is presenting Tai Chi. We have one more rehearsal session at 6pm, either out in the parking lot or on the terrace. Our opportunity to make a bit of noise, and give Tom M his first experience of The Whizz.

Not sure at this moment what tomorrow’s schedule will involve. Hopefully it will be what we had originally intended for today, but no guarantees.

7:20pm - my afternoon office

Well there you go. The text from Dev at 5:28pm reading “Need to see you ASAP.” Immediately knew this was not going to be good news. Headed up to Hernan’s room, where Dev informed me, Herni, and Mika, that the gig is cancelled. Not us… the gig. The whole gig. Ocean is still in England, he is still not happy with the record, and he is pulling the plug on playing the gig at all.

So, we will be on our way home as soon as flights can be arranged.

What a world. Probably lots to say about what all this means to Ocean financially at the very least. But that for later, if ever.

We talked about how to tell the team. Agreed that we needed to play some music, and so we kept the 6pm call with guitars, meeting in the lobby. We moved out to the parking garage where we had planned to rehearse anyway. I assigned magic chords chromatically from C# at the 1st fret up to D at the 14th fret, and back down again. And then we whizzed until the world is a better place. Afterward, I announced that we would all meet in Hernan’s room without guitars immediately.

Crowded into Herni’s room, where Dev delivered the news.

Having spent most of the past month seriously conflicted about this whole thing, I have to say I am genuinely disappointed.

8:28pm – my afternoon (now evening) office

8pm meeting in the lobby becomes the 8pm meeting in an unoccupied hallway outside of the conference room. The European and South American team, in their meeting, saw that trying to change their return tickets was going to be a nightmare and very likely impossible. Therefore, they will stay in LA and do something. For the North Americans, stay or go is a much easier process. If we go, a ticket will appear. If we stay, nothing changes. So, we are staying. It is not going to be free. There are logistics that need to be dealt with, and Ocean is not covering things like our hotels and our transportation and our meals. One or two will probably need to leave – for reasons of the personal capital they had expended to get here. But the rest are on, and when a voice rises up like that, who can say no?

For the evening meal we headed out to a burger and pasta kind of restaurant, and put together a table of some of the North American team along with Angelinos Erin and Nora (Carl’s sister) to brainstorm all of the possibilities, what we could do, where we could do it, what connections we have in LA and what kinds of favors we could pull in. Lists are made, to-do lists compiled. Not a relaxing evening meal. Went back to the hotel pretty wired and not particularly happy.

The view from my poolside office.

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The OCG Meets Frank Ocean, or Not - Part 5

Monday August 17, 2015 – Part I

The Hotel, Burbank, CA

Of course, after that August 12 entry, things went into whirlwind mode, and I stopped writing. The last thing I typed had to do with “a different kind of pressure” kicking in. Little did I know.

From Wednesday morning we were indeed “on”. For the folks coming in from Europe and South America there was a lot of pressure and pervasive uncertainty. Necessary visas and last minute airline tickets. I was stressed mostly by proxy. All I needed to do was get on a plane. But it was all sorted out. The international players were all flying a day early in order to arrive in LA on Saturday so that they could have a day to get their feet on the ground. The North Americans all scheduled to arrive Sunday afternoon.

From my perspective, the success of this project revolves around how quickly and completely we can transform this diverse group of players into a single and unified team of players. We all have the grounding in a common practice, but there are differences in approach that need to be reconciled. I’m turning into a bit of a nag on this topic, but that’s me.

Miraculously, everyone arrives without incident. Guitars and luggage intact.

On Sunday afternoon, the 10 North Americans meet at LAX, find the van and driver hired to take us to the hotel in Burbank, and are whisked off to our LA headquarters; a very new, and by the standards of your typical semi-pro touring musician, downright luxurious hotel.

I don’t actually have any time to appreciate those aspects. I have a couple of minutes to drop my gear off and then get down to the lobby to meet the “management team” – Tour Manager Dev, Director Hernan, Music Director Mika, Sound Tech Dani, and Director Horacio, to head into town to have a look at the rehearsal space and meet with some of Ocean’s team. A 30-minute (on a Sunday afternoon) drive through LA to the Shrine Auditorium. An incredibly beautiful theatre. Here they are assembling the stage that will be used for the appearance at the FYF Fest. Lighting, sound, all just as it will be on Saturday at the sports arena.

The moment we walk in, it is clear that this process is a long way from completion. The original plan had been for us to rehearse there Sunday night. Clearly that ain’t going to happen, but we kind of already knew that. Since Dani is going to be our technical liaison, and Dev of course is the man in charge, we let them go talk to the people they need to get to know, and the rest of us stepped back into the shadows to kind of take it in and begin to visualize this show; that and staying the hell out of the way of union stage, tech, and teamsters.

Back to the hotel for 6pm inaugural meeting with the full team. We are in the conference room, which is really a bit small for us, but it is our only option for group work in the hotel. Around the room making brief introductions. A couple of people I don’t know, personally. A few I’m only acquainted with. And a whole lot that I’ve worked with for 10, 20, even 30 years. Very good discussion of what this gig requires of us. The plan is for us to head out for dinner afterward, but Ferni wisely suggests that getting together with guitars if only for 15 or 20 minutes. We take a short break to get our guitars, and meet again in the conference room, standing. Music Director Mika takes us through a couple of circulation strategies that they work with in BGE, involving full chords in whatever key is called. For me, very good to have to think fast like that. And it is really quite lovely. Maybe we can just do that for 25 minutes while Ocean sings over top? That would be something to see. Gets me quickly back in the groove. Steve proposes a couple of improv strategies. We can feel the group coming together very quickly. As we are quiet, and already over the time we set aside for “checking in with guitars”, but something is poking at me, so I initiate a simple circulation. Half a dozen times around the circle, and three chords at the end. What comes to my mind, and the immediately to my lips… “Ah. There we are.”

A walk into Burbank, a Thai restaurant located as a good option. Good food. A beer or two. Simple socializing for the team. Back to the hotel, a nightcap in the bar. While there, Ocean’s team contacts Dev with the schedule for Monday: to the Shrine in the afternoon, a couple hours for us to rehearse on our own, work with tech, dinner, and then a rehearsal with Ocean at 8pm. Wonderful. Up to bed and a good night’s sleep.

Shrine Auditorium - not quite ready for us

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