Jump to a specific date this week
Monday December 13
Tuesday November 14
Wednesday December 15
Thursday December 16
Friday December 17
Saturday December 18
Sunday December 19
second week of December 1999
week of December 1999
fourth week of November 1999
at-a distance diary, Oct-Nov 1999
Monday December 13
A remarkable day. Except
that my unremarkable remarks are being made on Tuesday evening, well after
the 10,000 events of Monday. In web-time, this is one year after the
One of the great challenges of diary
keeping: doing it in real time, especially while on the road.
Dealing with a laptop on the road is still a major pain in the
ass. Plugging-in, finding local numbers, dialing correctly (9
or 8 first?) local or long distance, and connecting from strange
hotels - there are great barriers which only the most nimble and patient
road-Olympians manage to leap over with the currently available software
Why must it be so difficult?
When will those jerks at MS make this easier?
Uh,... wait a minute...
* * *
The day began at 8:15 with a
breakfast meeting with David Singleton in our hotel lobby.
Then we whisked ourselves off to the offices of one of the largest VC
firms in the world for a no-nonsense presentation that we put together in
a Kinko's the night before.
The work of the night before,
preparation for this meeting, was a somewhat stressful process.
Working in a strange environment, with out the tools or comforts of home
or familiar office was really difficult. Curt was emailing us
spreadsheets at 10pm for inclusion in the package we were
preparing. In one sense, we were preparing our escape vehicle
for launch into uncharted territory. Blue-prints for analysis
by world-class builders and blue-print reviewers.
The classic performer/audience
questions apply here: How much to include? What to leave
out? Who is our audience? How long is the set
list? Would they prefer 'bloed spoed' or
'circulations?' Okay, lame and esoteric analogies aside: we
were going in to pitch to the major league.
And, as seems to be our common state
lately, we were both quite exhausted from the previous day's stresses in
However, the presentation really
could not have gone better. A home
run. We were also able to spend and hour with our prime
host, the very well-known and respected George, a man who is able
to really get stuff done. By the end of the afternoon,
we had some handshakes and plans to wrap up the paperwork by the end of
Agreement. And empowerment to
take the next step.
I caught the last plane home, and
flew straight into bed. The race has begun. In Mark
Long's start-up analogy which I wrote about last week, the golden
handcuffs were polished, measured, and gently placed around our
wrists. We have now stepped onto the machine.
In January, the real running
* * *
Tuesday December 14
So, now that I'm back in Seattle,
and I was back to MS work today, what was it that happened over the
Let's review the past 96 hours:
- A Friday evening SGC show on
- A Saturday morning Seattle Beginner's Circle
- A Saturday evening SGC and SBRS show at the Rainbow
- An early Sunday morning flight to LA.
- A late Sunday morning meeting in LA.
- A Sunday late afternoon flight to San Jose.
- A Sunday evening powerpoint session at Kinkos in San Jose.
- A Monday Morning meeting in Palo Alto.
- Continued Monday afternoon meetings.
- A Monday evening flight home.
- A busy Tuesday back in MS mode.
-297 unread emails. Delete.
- A Tuesday evening logistics meeting with Diane and Curt before Diane
blasts off for England at 6am tomorrow.
A relatively early evening at home,
clean up a few of the urgent emails, type some diary nonsense, then... to
bed before Midnight.
One quick thought before bed:
I don't give a crap about watching television. Right now, I want to
shut my eyes, and allow my cells to intelligently reorg my body into
something which will remain awake during the day tomorrow.
Many new challenges just over the
* * *
Wednesday December 15
Diane Aldahl was on a plane back to England this morning at 6am after 10 days in Seattle laying BTV groundwork for next year. Fortunately, I was fast asleep as she flew away. I slept in until 8:00am. Then, an hour of personal practice at home before walking out the door or checking email. Practicing first thing in the morning is one of the ways I stay sane in my otherwise insane daily schedule.
The practice investment this morning paid off during SGC rehearsal this evening. We rehearsed downtown, loud and electric, for our show tomorrow evening at Third Place Books. We have signed up to play two fifty minute sets tomorrow evening from 6 to 8pm. Dean will fill in some of the spaces with 'ambient guitar.'
Earlier today, I invited Peter Dervin to come down and see the show
tomorrow and then talk about promotion for our KSER benefit show in
February on Whidbey Island.
We ran our Mr. Spots set with a few minor changes - Cultivating the Beat sounded
the best I've ever heard from us. This was the main payoff from my work of the morning. And the rest of the set was honorable. Dean spent a little while struggling with his gear, but after the struggle ended, we spent some time working with circulation over his ambient guitar pads. Jaxie had a couple of
appropriate quotes about our endless struggle with gear, neither of which I can remember right now.
Vulcanization is also ready to fly.
Bob's solos on Sigh and a Kiss were
killing me again tonight. We are inching toward a new level of
* * *
It is just after midnight as I type this into my laptop as I sit in Triad Studios in Redmond listening to Brock Pytel sing the lead vocal of "My time is Flying" over the tracks we recorded in Vancouver a few weeks ago. Curt is 'producing' his vocal performances - Brock's voice is 'on' tonight, and the only necessary producing involves saying, 'that was great' and the occasional 'do that again, but this time sing that one note on pitch.'
Brock is an excellent singer with a distinct and appealing vocal personality. When he is 'on' he is really ON. When he is not 'on', there is an occasional pitch problem here or there. But over the past eight
years that I have know him, his strength, confidence, and maturity as a singer has blossomed nicely.
On the way to the studio this evening, I listened to the
tape Curt gave me of rough mixes of the instrumental tracks we recorded in Vancouver. Great stuff. The drumming is inspired. Guitars and bass also do a great job supporting these songs. With three fifths of the SGC as his rhythm section, Brock has a pretty
tight backing band. I may be biased. Scratch that. I am definitely biased. But the music I hear on this tape confirms this fact, bias or not.
Wonder when this configuration will play live?
* * *
Windows 2000 shipped today. As a result, MS stock took off into uncharted territory. I can't say this makes me unhappy. One baby step closer to an SGC facility.
* * *
Met with Steve Enstad before SGC rehearsal this evening. Three high-fives began our meeting, a friendly alpha-male ritual to celebrate successful and substantial BTV seed funding. Besides logistics and details of my past weekend meetings, we had some interesting discussions about how to creatively cram two fifty-hour work weeks into one over the next six months. Efficient systems are the key to staying healthy and sane. I expect the year 2000 to be the most difficult, challenging, and rewarding of any of my past 37 years. 1999 is the end of a 7 year cycle, and 2000 begins the next. Later this weekend, I'll go into more detail about these cycles and the diary entry from 1993 which initiated this soon to be completed 7 year process.
I've also decided to hire an assistant to help me keep my home in order. Meeting with a potential candidate Friday morning at 8:30am.
* * *
Inventory of phone calls today:
Tobin, Steven Rhodes, Dewey Reid, BE, MH, of VLG, David Singleton
(asleep), my sister Katie, and Mom.
I'm going to visit my parents for Christmas from December 20-27th. The pages of this diary will also be on vacation during that period. That does not mean I won't be writing. I just won't be publishing.
Curt just asked me if I keep a private diary in addition to this public version.
He says that's the one he wants to read. Ever heard of the fifth amendment?
* * *
It's 3:15am now. I've just finished singing backing vocals on six brocksongs. Eric, the engineer at Triad, is doing a quick rough mix to DAT of "Alright" for Brock to take to Toronto. Oops. One more time. Levels to DAT too hot. My eyes are barely open as I type this into my laptop.
Curt's electric guitar sounds great.
Brock's songs deserve to be hits. They have it all: simplicity and
hooks backed up by convincing performances and an instantly recognizable
Nice way to end a long, long day.
* * *
Thursday December 16
Up relatively early this morning despite the late evening last night. I did not get up and practice this morning like yesterday, however. Post shower, I was checking email and into my day straight away. The BTV momentum from the weekend seems to have slowed down now that David and Diane are back on
Broad Chalke time. And MS post-Win2K RTM is beginning to look like a ghost town as everyone begins to wind down for the holidays.
Around midday (Seattle time,) I phoned David at home - he was out at the DGM Christmas party. No return phone call - presumably, he was relaxing and having some fun. I did manage to reach Diane at home, post-party for a brief update. No real news or movement since she and David landed back in England.
Steve Enstad continued to fill my email box with news of competition closing in on many sides. We are running in a race, and the pace is relentless. The internet space is moving fast not because the speed at which people are able to work has gotten any faster. It has accelerated because there are now millions and millions of people competing for the same resources using their 'personal' computers.
All manner of solutions pour from the sky when one million people are working independently on the solving same problems.
* * *
At the end of my last meeting at 5pm, I was off to Lake Forrest (30 miles north of Seattle) for an SGC show at "Third Place Books." Traffic was steady but slow, so I arrived at 5:45 for our 6pm show. My magic red bag of universal connectors came in handy again.
By 6:00 we were off and running.
Our two hour show in this bookstore/mall food court was honorable, but somewhat unsettling. There were pockets of
'presence' within this diverse and unintentional audience who were really really into what we were doing on stage.
At least one audience member (Ron) came up afterwards and expressed his
surprise that members of the League of Crafty Guitarists were here in his
mall, playing this music in this space. Perhaps this show was
worth it for just this one audient.
And there were pockets of 'absence' in the crowd - for some of these people, it felt like we were playing into a complete vacuum -- every thing we did was ignored and irrelevant.
Like the evening before, "Cultivating the Beat" was really cooking. This piece is finally coming to life under our fingers. The hard work is over. Now it is all about dynamics, phrasing, attention to detail, and simply letting the piece play itself.
Tonight, it played itself. And I sat back amazed again at the wealth
contained within this piece.
Our circulating on top of Dean's ambient guitar delivered mixed results. No major bummers, but nothing really took off or soared.
To quote Dean, "we fulfilled
An old friend, Max Imholte, was in the audience. Max's wife, Teri, booked our show
for us at this venue, although she could not stay to see the show due to her own commitment to a theatre production in Issaquah.
Six years ago, I commissioned Max create a painting for the Prometheus album cover.
I paid Max in advance with the money I made from the design of the Possible Productions
My thinking at the time was that I wished to re-invest this money I had 'earned' by designing that knotwork into the creation of another piece of art. I suppose I was after some sort of cosmic recycling. Max's 'Prometheus' painting was never used for the Prometheus cover (Sanford found a piece he liked better on the beach in Santa
Monica, an apocalyptic painting by Steve Wahl) so, without a deadline or a 'ship vehicle,' as we say in the software world, Max held onto this painting and continued to tweak and 'improve' this work. He even did a second version based upon an earlier sketch he had done.
Around 1994, I fell out of contact with Max as my center of gravity moved into Rockslide and Gauchos
mode. It's actually much more complicated than this, but that's all
I have energy to explain right now.
Five years later, this evening, Max delivered both of these paintings. I
am very happy to see these again. Apparently, he had used this SGC show in his backyard as a deadline to complete his work, and get these paintings out of his house.
It is very difficult to work in a vacuum. Why practice if there is apparently no audience for the fruits of our practice? Even in exceptional people, practice for the sake of practice is only sustainable for so long.
* * *
Peter Dervin arrived late to the SGC show - he was involved in a multi-car accident on I-5 on his way to the show. A car in front of him had done a 180 degree spin and Peter was caught in the middle of a multi-car bang up. Fortunately, Peter was unharmed, and his car was still usable. The person responsible for the accident fled the scene... Peter, the hero, came to our show despite his accident, and we had a post show
logistics meeting about our upcoming KSER benefit show on Feb 4th on Whidbey Island.
After the show, I gave Max a ride home, and then I came home to a quiet, empty house, scrawled out these dutiful words, and called it a day.
* * *
Friday December 17
The day began with an interview of a
cleaning service that I am considering hiring to clean my house on a
bi-weekly basis. Since I spend almost no time at home, this may seem
absurd. However, since I am completely anal and I can barely stand
clutter or dirty counters, floors, tiles, or tubs, this is a very exciting
Christmas gift to myself.
* * *
I had a 10am meeting at MS this
morning -- building 9 was a ghost town, but a few idiot ghosts were
wandering the halls, myself included. The developers across
the hall were engaged in an all day 'play day' -- there were sounds of
cars (midtown madness) and guns (unreal) and civilization building (age of
empires II) spewing throughout the corridors near my
I chose to hibernate inside and do
some email house cleaning for most of the afternoon. At 4:00, I left
work, and went to see "The Green Mile" -- a surprisingly
engaging film based upon a Stephen King story.
I recommend it -- great date
film. As if.
* * *
After the film, I stopped at the
store to pick up some groceries, and then went home early for a quiet
evening at home. No commitments, shows, rehearsals, start-up
meetings, or deadlines. Yippeee!
What a complete luxury.
What do I do when I have a wonderful
free evening like this one? Listen to
music!!! Tonight, I listened to some of my favorite CDs
and generally puttered around the house tidying this, and organizing
that. In concert at my house tonight:
Jonatha Brooke - 10 cent
Jennifer Kimball - Veering from the Wave
Steve Reich - Music for 18 Musicians
Ravi Shankar and Philip Glass - Passages
Josh White - Coming Undone
Robert Fripp - 'Pie Jesu' arranged by Bert Lams for the Opus 20
This last one is a CD-R that will
hopefully make it's way onto BootlegTV early next year. It's pretty
amazing stuff. David suggested this idea to Robert awhile ago, but
it was not until Bert volunteered to do these amazing soundscapes
transcriptions that this became possible.
* * *
Between anal cleaning tasks, I also
submitted the "Greenthumb" and SGC's "Twilight" to
Amazon so that we can lose even more money on CD sales via the Amazon Affiliate
program. But at least we will be found on Amazon as of late
If you search for SB on amazon
today, you will find 'Ballistic' and 'the Breathing Field.'
Someone even bought a copy of 'the Breathing Field' from Amazon
recently. Could be because Peter Dervin has hypnotized his
friends at KSER to play it once in awhile? Or perhaps someone made a
mistake? If you search really hard, you might even find Sid
Smith's favorite Electric Gauchos CD on the Amazon site.
The only thing that will really
drive SGC or SB cd sales in the near term will be live shows.
I have no illusions about the function of the various CDs I have created
over the past three years: in the short term, these are promotional tools
designed primarily to entice people to come see live shows.
And the calendar
for next year is already beginning to fill up.
* * *
Tomorrow evening, the SGC has our
last show of 1999. I'm looking forward to a break.
I am looking forward to a week of parents, sisters, nieces, nephews,
sleeping in, TV, movies, and Nintendo.
I am tempted to leave my guitar at
home too, but the opportunity to practice (rather than sit impatiently) in
airports is too much to pass up. But as soon as I get home, the
guitar goes in the closet.
* * *
I hope to hook up with Tobin and
Sara on the east coast if they pass near my parents house. Tobin
emailed me a list of his recent horoscopes last week. His future
would seem to be rather bright you believe the horror-scopes in his
email... I do.
* * *
Dean emailed me this morning,
denying that he said "we fulfilled
our obligation" after the SGC show as I reported in my entry
One of us is obviously on
Hmmm... I wonder if
anyone else heard these words last night? From whose mouth did
they flow? Perhaps my box will be littered with mail tomorrow as
volunteers step forward to solve this great mystery? Or perhaps it
does not matter.
* * *
Earlier in this diary (I don't
remember where,) I mentioned that this year marks the completion of a
seven year cycle which began back in 1992. Rather than explain
this and get all clairvoyant on your ass, I decided to simply scan the
pages from my 1992 diary which kicked off this cycle.
This was written in September of
1992, while I was staying at Sanford Ponder's loft in LA while we were
recording the Prometheus CD. It was clear
to me that the seven year period from 92-99 would be about establishing a
musical self-sufficiency that was not directly dependant upon my
connection or previous work with the Robert Fripp and the League of Crafty
The anniversary of this writing has
past, but the cycle really completes for me tomorrow night at what will be
my last public performance of 1999.
Saturday December 18
Another eventful day in the life of
Ran into (yes drummer) Alan
White in a camera repair shop this afternoon in Bellevue. I was
trying to salvage a roll of film which was stuck in my 10 year old camera
I bought in Hong Kong a long, long time ago (the roll was saved -- photos
of Christian recording in my living room on the way tomorrow... )
I have not seen Alan for at least a
year. We caught up briefly (yes just completed a tour) and I
gave him some CDs (SGC "twilight" and "greenthumb")
and I set the stage for a BTV discussion in January. Alan was a Rifff
artist about three years ago, and he was even brave enough to come to a Prometheus
show at Sit-n-Spin back in 1996. For those wondering what Rifff
was, it was an interactive music web "show" which was
'broadcast' on MSN for 18 months during what I think of as the golden age
of MSN. Over the course of 18 months, I was music producer for
a series of interactive music videos - a concept way ahead of it's
time. But a concept which will find it's way back onto the web
sooner that we might think.
There are many start-ups right now
which are getting millions in VC funding based upon ideas which were
pioneered at MSN in those early days. MSN in 1996 is to the
web today as Xerox-Parc in the early seventies was to the mouse and
GUI in the eighties. For some (perhaps visionary, perhaps misguided)
reason, MS invested millions of dollars experimenting with interactive
entertainment. What an education for those who graduated from that
Anyway, in 1996 the Rifff
team at MSN produced an Alan White 'interactive music video' using Roger
Dean artwork and some familiar yes iconography. I am
probably the last person on the planet who still has a machine that will
run this show. For now.
* * *
For the record, here are some links
to some recent web rumblings:
1. There is an R.
Chris Murphy Interview in Sounds of Seattle a
local Seattle webzine. Chris tells the story of how we met and how
he came to work with various semi-famous GC related musicians.
2. SGC CD
"Twilight" was recently played on John Schaefer's New
Sounds show on WNYC
while the Europa String Choir were on their recent east coast
tour. This afternoon, I sent John a thank you note and a
copy of both 'twilight' and 'greenthumb.' John has been a
long-time Fripp and League of Crafty Guitarists promoter and fan.
His 'new sounds' show has always been a great place to learn about new
and interesting music.
Also sent some CDs to Leslie
Stevens, Horacio Pozzo, the Rocket, and Valentina Fusari this
afternoon. Busy beaver today.
* * *
As I type this, the best living
singer/songwriter on the planet, Jonatha
Brooke, is belting out "secrets and lies" from the
stereo behind me:
"once a year the
holidays come swinging at your head
feast until you're full of pain again
it tightens in your chest and now it's written on your face
you're staring at your lover or your friend
get it on the table, pass
the gravy pass the buck
get it on the table, secrets and lies
silence, faith, and luck"
Flying 'home' for Christmas on
Monday morning. Now what would be reminding me of that little fact
right now...? Could it be this song?
Every once in a while I see or read
some article about the proliferation of 'dysfunctional
families,' and holidays are usually publicized as the time of
maximum dysfunction. Perhaps the true-but-under-publicized
miracle of Christmas is this: at holiday gatherings, a bizarre and
unstoppable form of time travel becomes possible; all of your most
terrible memories, habits, and attitudes of junior high come flooding back
as you transform mysteriously to sub-super hero: look, over near the
sofa; it's a bird, it's just arrived on a plane; no -- it's self-absorbed-pimply-adolescent-surrounded-by-
-of-prolonged-forced-proximity -- MAN.
Normally, he is mild mannered diary
reporter, Clark Pelota. But put him in a house for three days
with his family, and he turns into sapasbpaasbapwhyidclbopfp-man.
Even hardened criminals can't stand being around this guy.
Then, another miracle occurs as soon
as the tension of proximity is released: a bizarre desire to get
together again at the next holiday magically returns as the
mysterious spell of family proximity wears off.
Just kidding. Can't wait
to go home.
* * *
Speaking of dysfunctional families,
there is an interesting and controversial issue which I have almost
commented on before in these pages, but good sense has kept me from it
before. Fortunately for you, tonight, good sense has left me
home alone. The
following spew may only barely interest esoteric instrumental Crafty music
But here goes anyway.
For some reason, for at least the
past year, my name has mysteriously and completely vanished from both the Gauchos
web site (which I still pay for... but not for much longer) and from the DGM
bio page about Los Gauchos Alemanes.
This is an interesting omission,
considering I devoted almost three years of my life and tens of thousands
of dollars to the development of this group, its name, its repertoire, its products, and reputation. Do I sound bitter?
Actually, I'm not.
Bitter, no. But it is just one
more simple reason that I'm very happy to be here in Seattle, local and
immobile, working with these musicians: my extended family and best
friends within the Seattle Guitar Circle.
* * *
Speaking of Los Gauchos Alemanes, in
the DGM guestbook
this week, there were a few comments and questions about an Argentinian
guitarist supposedly named "Maria Gabriela Epuber" (sic) -- Robert
apparently mentioned in his diary that he recorded some soundscapes for
her next CD. Yeah MG!!!
Her name is
actually "Maria Gabriela Epumer" and she is one of Argentina's
premier rock and pop guitarists. She was also a guest of
"Los Gauchos Alemanes" on our "Little
Beast" CD and we did many live shows together during my three
years of playing and working in Argentina. Her nickname within
the Gauchos was "Machine Gun." That's because her playing
is so good that it kills you.
She was also my host and girlfriend
for part the time I was in Argentina, but that is a longer (and sad) story
which may be better told in lyrical form. For those who know the
song, MG was the source of the song "I am (not?) in love with
you." This song will appear on my next CD,
But that is more than enough
controversial diary crap for one session.
Now, I wonder what emotional
ass-chewing will await me in my email tomorrow morning in response to
today's less-than-politically-correct diary writing?
The photo above was taken at the
Hotel Bauen in Buenos Aires during the third week of November in
Gauchos shared the stage with
MG's new band (and the BigTime trio) that evening.
Yes, MG played, and still plays
with, Argentinean folk and rock legend, Charly Garcia. Electric
Gauchos drummer, Fernando Samalea is also a Charly-veteran as is Fito
Paez, and many pop stars on the eclectic Argentinean pop
scene. Career-wise, playing with Charly in Argentina is probably
somewhat like playing with Miles was in NYC in the sixties - a great
career boost, if you've got the chops (and patience) to keep up with
But perhaps I've said too
much? By telling the truth (granted, my subjective version) perhaps
I risk pissing off former girlfriends on multiple continents. Or,
perhaps I risk pissing off former band-mates on multiple
Hey, wait a minute -- there is a
connection here, n'est pas?
In many ways, being in a band is
like being in a relationship. Before, during, and after, both
relationships and bands tend to share one common negative trait: jealousy.
And when it's over, strange things
can sometimes happen between those who were, at one time,
"involved" with each other.
But enough about the distant
past. On to brighter matters.
* * *
Poetry from a Mall Flyer: Max
Imholte wrote the following blurb for the Third Place Books show which we
played last thursday evenng:
Well said, Max.
* * *
Ah, but what of the show this
evening at "Let's Drum and Dance" you might ask?
Perhaps all of the above distractions are some less-than-subliminal sign
that I'm avoiding writing about our show this evening.
Actually, yes, I am.
The 'show' this evening, although
very well-received by our large and friendly audience was a bit of a race
against time. I'll simply say that the BBE (signal processing
device) which helps make our plastic guitars actually sound clear,
distinct, and almost somewhat listenable) died about three minutes before
showtime. Curt and I were bent over trying to fix the problem
as they announced us and as the attention of 120 sensitive, caring,
drum-and-dancers turned in our general direction to see a prime view of my
bony buttocks sticking out of center stage as I quickly rewired our
rack. With no time for other options, and no consideration
about my potential Steve Ball Boneshow, I quickly pulled the BBE out of
the mix chain as Curt held a flashlight on the mess of wires within this
once-famous frippertronics rack built by Tony
Of course, with the BBE gone, our
Jaxie's quote of the evening:
"oh,... now I know what that black box was
So, immediately after our BBE-bypass
surgery, the tempos of our first three pieces began clocking in at new
world speed records.
At the end of "where it
goes" we were all wondering where it went.
But the good news, our audience did
not seem to care. We were probably shocking enough and just
unusually interesting enough that our BBE-less sonic assault was just
fine. It was only us on stage who could tell that we sounded like we
were playing while submerged in a thick, gooey, plasti-carbonite,
The tempos began to drift back into
human realm after our third piece, but after our fifth piece, we had
played our share, and our part of the "Let's Drum and Dance"
show was over. The show was obviously not titled the
"Let's Listen to an Acoustic Guitar Ensembe for more Than Fifteen
Minutes" show. Nonetheless, we received a very warm
and generous response from the audience, despite our lack of sonorous tone
and our adrenaline inspired tempos.
Our whopping five song set
Where it Goes
Sigh and a Kiss
The highlight of the evening for
me: Greg Meredith showed up with a huge, sincere smile on his face
during our final piece, "Bloed Spoed." Nice to see
at least this one familiar face out in this audience otherwise filled with
sundress happiness men and women noodle-dancing to their own wild internal
I hope we can do this gig again
* * *
Following the show, we loaded my
badly-needing-to-be-repaired gear back into the rehearsal
space. Then, we stood in the rehearsal space reflecting for a
few minutes on our work of 1999. It has been quite a year for
the Seattle Guitar Circle.
And still, only the
* * *
Sunday December 19
This will be my final diary entry
before my Christmas break. I'll be out of town and back in action in
these pages on Tuesday the 28th of December.
Between now and then, if you miss
this writing, why not spend the time you would have otherwise spent
reading this either:
a) writing in your own diary,
b) playing music
I will be writing while I am gone,
but I won't be publishing anything here until I return on the 28th.
* * *
Spoke with Steve Enstad this
afternoon to arrange final BTV logistics before our holiday break.
We both agreed that this may be the last time we have to chill before the
BTV fit really hits the shan in about two weeks.
* * *
Met with Frank and Ingrid for tea
and cookies this afternoon. Frank told me about his latest efforts
to get his novel out the door. I totally resonate and
empathize with his struggle to complete his work.
Even writing this diary for the past
few months has been a daily exercise in knowing when to stop, hit the
'publish' button, and say that it is good enough. There is a
constant temptation to review, revise, and rewrite the ascii spew that
flies from my fingers so that it will either offend less people, or sound
less stupid than it does upon first review. Or
The same is true in completing CD
recording projects: it is always possible to make it better. It is
never perfect. It is never really 'completed.' This is
why setting a deadline (and sticking to it) is so important in most
Otherwise, in the quest for
perfection, nothing would ever be finished.
* * *
The reason I was over at Frank and
Ingrid's place was to review the proofs from the photo session I did with
Ingrid a couple of months ago. Of the 120+ shots to review, we
selected about 8 for printing. Next week we will meet again to
select the one that will be used for SB Roadshow promotion over the next
Ingrid's photos are priceless and
precious works of art. She has been visually documenting the Guitar
Craft process for quite some time now. Someday, there will be
some amazing coffee table books of her work.
For now, regarding the eight unique
and compelling photos we have selected, I look forward to sharing
these in this diary early next year.
* * *
Following the photo review, I had
dinner with Curt Golden at Carmalita -- this meal was my Christmas gift to
him. There were way too many interesting (translated: private)
topics of conversation to list here and now.
I'll just say that Curt is a great
The overall gist of our
conversations: if you thought that 1999 was an active year, we have
a surprise for you in 2000.
* * *
Chris came home this evening with
many stories of his sessions with the Bozzio/Levin/Stevens project in
LA. He pointed me to Tony's web
site to check out the photos from his sessions. Overall,
he seems very happy with the music and the process of working with these
three consummate professionals.
* * *
Email from Peter Dervin this evening
- it's too late to call him at home now. Looks like the 695
initiative, which the voters of Washington recently approved, has caused
the State Ferry system to reduce the frequency of Whidbey Island ferry
trips -- Peter is concerned that this will affect our Feb 4th concert on
Whidbey if our audience cannot get home after the show.
I'm not so worried about this as I
anticipate that most of our audience for this show will come from Whidbey
Island. I will call Peter tomorrow to discuss the
This reminds me of a vivid
conversation from 11 years ago. In 1988, while driving from
Red Lion House to Reddish Cottage, Robert Fripp told me about an
interesting definition of politics he had either stumbled on or
come up with himself (I don't remember which):
"Politics is the process by
which force is used to obtain the opposite of that which was originally
* * *
Another hilarious email from Travis
Hartnett today in response to my recent comparisons between being in a
monogamous relationship and being in a band. Travis' insights are
perhaps a bit too crude to repeat here. Oh, but I'm so
tempted... but no. My 'Gauchos censorship' rant
yesterday will probably get me into enough trouble for one week.
Patience: Travis' own diary
will be available on the official Guitar
Craft web site very, very soon.
* * *
1999 Phinal Photo Phlashback
Bob and Jax in Vancouver
Curt in Cle Elem, and Curt at
Western and Vine Rehearsal
Dean tunes the room backstage
at the Northwest Actor's Studio
Curt 'hasta change' his
strings in Cle Elem
Christian tears it up in the
Kelly Bradlee session
Christian tracking on the
Kelly Bradlee session
Christian gets electric in the
Kelly Bradlee session
Kelly, R. Chris Murphy, and
Christian de Santis
* * *
Idiot check: yes I am
It's well after midnight, and I have
not started packing yet for my trip tomorrow. I also have a stack of
bills to pay, and a washer full of laundry to
Looks like another 'rockslide'
evening the night before a road trip.
When will I learn?
* * *
Thanks for tuning into this ascii
soap opera that is my so called life. Wishing my extended family,
friends, and fans a warm, relaxing, and utterly musical Holiday season.