Jump to a specific date this week
Monday November 29
Tuesday November 30
Wednesday December 01
Thursday December 02
Friday December 03
Saturday December 04
Sunday December 05 -
About this Diary
This diary is a continuation of the
public diary I began as part of the Seattle
Guitar Circle 1999 At-A-Distance
course in October of 1999. In general,
I prefer to avoid any intentional
self-censorship in painting a picture of the real details, interactions,
and events that I have experienced with the extended circle of musicians
with whom I interact. Part of this process may involve the use of
the real names of some of the people with whom I work and play with.
Part of this process may also involve dangling prepositions. I am
flexible about the former. The latter is simply a reflection of my
ultra-tasteless-white-trash grammar disguised as flimsy poetic license.
If you find your name mentioned in
these pages and you would prefer to remain anonymous (for whatever reason),
please email me and ask me to refrain from using your name
here. Or, I will also gladly change your name to initials if
you prefer, or I will even completely refrain from speaking about you in
this public forum, as you wish.
Monday November 29
It's 1:45am, and I just finished
laying down a cheesy fender rhodes track on the current R. Chris Murphy
project. Chris and I were both complaining about our lack of
roadies - we had to haul the heavy-mother full size Rhodes piano into the
living room from Chris's whale-size van before the tracking could
begin. This process began at 11:45pm this evening.
Did I mention it was raining outside
while we did this?
After lugging this tonnage into the
studio, setting up, getting levels, and hearing the tune a few times,
Chris's instruction to me was to "play like you are playing in a bad
high school prom dance band, and you are the keyboard player who thinks
seventh chords are cool, and you think that everyone at the dance will
think you're cool for playing fancy chords, but in reality, no one will
notice or care."
* * *
SGC rehearsal tonight was fun and
lively. Christian borrowed Bill Van Buren's Ovation and he will be
joining us as a guest for our shows this week at the Phinney Winter
festival and at Mr. Spot's on Saturday evening.
He showed us some corrections, fine
tuning, and pointers on his piece "Where it Goes, We go" which
we have been working on for the past couple of months. Given
that I introduced all of the component parts to Bob, Dean, Jax, and Curt
from memory a few months ago, (including parts I never even learned or
played,) I'm surprised there were not more corrections... Anyway,
the piece is really a great addition to our repertoire.
The tempo has also jumped up a
couple of notches. Gaucho energy is flying high in Seattle.
* * *
We also ran "Cultivating the
Beat" twice, once at the beginning of the evening, and once towards
the end, reinforcing our observation that the second time through,
we usually deliver a better performance.
It's such a great piece -- in many
ways, we are still just beginning to sink our teeth into it as a
group. I need to play this every time we rehearse to keep it growing
in my hands... In terms of length, complexity, fingerings, speed,
and non-linearity, it may be the toughest piece I've ever taken
We need this piece. It's one
of the pieces that is really pushing our limits right
* * *
I have a 9am meeting in building 31
with the WinCE team. What a product name: Windows CE (WinCE.)
But a more important question:
What am I doing awake?
* * *
Tuesday November 30
Many re-orgs are occurring
simultaneously here, both microscopically and macroscopically. My MS
work is shifting once again -- this time fairly dramatically -- the sixth
time in three years. The dust is not settled on this yet and
probably won't be for another few weeks.
Does this stress me out? On
some level, yes. But on the other hand, what has my life been if not
a long series of major changes. My real talent may be that I am a
living Adaptive Network.
My fingers are also in a bit of a
re-org thanks to an intense workout this afternoon and evening with
We spent the late afternoon and
evening working downtown on two of his new pieces:
"Ramona" and "Peep Show" -- both are asymmetrical
heavy metal finger twisters, designed to be played just above the pain
threshold in both volume and tempo.
Curt and I played tag team with
Christian today -- Curt had students in the early evening, so he went home
while Christian and I stayed downtown. Every so often, Curt would
call us to report on Seattle riot proceedings via cell phone. We
finally finished the day when Christian broke a D-string while revisiting
"alpha dogs," an Electric Gauchos piece that has not yet seen
the light of day (except at one secret cafe, many moons ago...)
Tomorrow afternoon, the PRS trio
meets with Bill for some major bashing on these new tunes.
Rock on, Wayne.
* * *
I spent the later part of this
evening debugging some SGC website file size limitation bugs.
Mindless web maintenance occasionally eats chunks of my life. After
about an hour, I gave up and went back to my unplugged PRS to review the
work of the day, and to get these 15 patterns into my body.
Still have some personal work to do on these. In fact,
that is a gross understatement.
What I have covered with Christian
in the past three days could keep me busy for the next few months.
Did I say months? Perhaps I meant years.
* * *
I have observed that, after 14 years
of intense work in Guitar Circles, I can learn and memorize complex GC
standard tuning parts (by rote) rather quickly. My short and
long term memory of these parts is also pretty good.
But my main weakness as a player is
in reliable execution of that which is just at or beyond my center of
gravity. For example, my upper comfortable right hand speed
limit is really sixteenth notes at 112 bpm. And it has been stuck in
this range for about 4 years.
And, on average, I am completely
unreliable with "Cultivating the Beat."
So, the question lurking like a
stick poking in my side is this: what will it take to ascend to the next
The state of my hands seems to vary
from moment to moment -- sometimes, this seems almost arbitrary. At
times, I feel like I have an excellent connection with each finger, and
there is strength, speed, and flexibility, ready to fly with little
necessary warm up.
At other times, my fingers might as
well be meatballs flailing away at the end of my elbows, and I have to
warm up and work to achieve even a basic level of competence.
Harmonically, I do pretty well with
diatonic spontaneous melodic composition and soloing. But I am not
really a 'soloist.' In fact, the truth is, that I am not really a
"guitarist." I play guitar, I study guitar, I work
with the guitar, but there are guitar players (like myself) and then there
are guitarists. Christian is a guitarist. His
instrument is an extension of his body, and he speaks in the native tongue
of this instrument.
For me, guitar is a second language.
Within the SGC quintet, Bob is
probably a guitarist. Curt is probably a guitarist.
That is, these are native speakers. I suspect Jax, Dean, and
poor pelota are guitar players -- we visit the sacred island of the
guitar, but we don't really live there, or speak the language
Will I get in trouble for thinking
these thoughts in public ascii?
But so what. What value will
this writing hold if I do not report what I see as I see it.
My view is subjective. My opinions are biased by egotism, greed,
self-interest, laziness, and a partial view. End of story. But
there's a moral: I also love my friends deeply and work my ass off to
enable them to succeed with their own aims.
Right now, it feels better to tell
the truth and suffer the consequences than to pussy foot around and try to
avoid stepping on toes.
The good news in all of this:
playing with Christian is pushing my limits again -- this is both
extremely humbling and necessary.
I am a competent and thriving guitar
player only because I have been fortunate enough to spend time with the
generous guitarists who have been patient enough to work with
* * *
So, on a lighter note before bed,
some more phunny fotos from the VTV show:
Wednesday December 01
A transitional day today - not just
the middle of the week, but the middle of the pending ms reorg. I
had some good meetings today to clear up past loose ends.
Tomorrow will be all about clearing up future loose ends.
* * *
Another afternoon of loud electric
work with Christian and Curt, this time, with Bill R bashing away like a
maniac on drums. Everyone was in ear plugs today except
Christian. He was only wearing a smile.
"Ramona" and "Peep
Show" are shaping up nicely. Curt has lessons all day tomorrow,
so Bill, Christian and I will continue making progress in the late
afternoon, and we will hook up with Curt later in the evening.
* * *
I am exhausted. I was in the
downtown rehearsal space from 3:30 - 11:30 today with an hour break for
dinner... My fingers are also feeling tired. My whole body
aches from extreme use.
Rehearsal with the SGC plus guest
Christian was the final 2 hours of this extremely musical day. We
ran the SGC set that we will be playing on Saturday (first at the Phinney
winter festival in the afternoon, then at Mr. Spots Chai house in the
The tempos were on the speedy side
tonight, perhaps momentum leftover from the electric sessions?
Everyone was tired, but the music
and energy was lively none-the-less. Jaxie was smirking wildly
a few times, and I could not figure out what was amusing her so
I guess she was engaged in her own
Today was Dean's second day of work
at the Experience
Music Project. He seemed very focused on doing the job and going
home. Patty is out of town, so not only is he beginning a new job,
he is also taking care of Louis by himself this week. Yikes.
* * *
David Singleton and Diane Aldahl are
coming back to Seattle on Saturday for week of BTV work. This will
be a major turning point for BTV. Next monday night, they're going
down to be part of Mark Long's demo
club -- a place to search for potential investors, employees, and
* * *
A few other major communications
today -- Trey left a message about the potential KSER benefit shows in
February. I played telephone tag with Peter Dervin again
today. Emails from both Martin and Herni today. No time to
even really read them, let alone respond. Many conversations
to continue tomorrow.
For now, time to rest..
* * *
Thursday December 02
Major life changing decisions will
be made in the next four days. The reorg will be public as of 6am
Friday morning and I have do decide which ship to ride on for the next
phase of my MS ride. Stress? Nope, just another day in
the high stakes high tech worlds which I frequent.
The real stress I feel right now is
coming from working with Christian -- he continues to push Curt and myself
beyond our current musical comfort zones. We both need this
badly. We are not on a formal Guitar Craft course right now,
but it is clear -- there is Guitar Craft at work here.
One of my tasks for next year will
be to convert some of my old GC diaries into html for eventual archiving
here and on the newly designed Guitar
Craft site. For now, this largely secretarial task will have to
wait -- my days are simply too full with present moment tasks to spend
time re-visiting these snapshots of a struggling/developing musician.
* * *
I met Christian for dinner downtown
-- he spent the afternoon with Bill, working out the drum arrangements for
'Ramona' and 'Peep Show.' Our dinner conversation mostly
revolved around logistics in two areas:
1. How to create a CD 'calling
card' which Christian can use to begin to show the world what he is able
to do as a guitarist.
2. Laying the groundwork for plans
for next year.
After dinner, we drove to Curt's for
a short group unplugged PRS practice of the 15 patterns which have been
There is some speculation that these
15 note patterns that we have been working with are the same (or similar)
15 note patterns which RF is working with in Nashville. No way
to be sure until we hear what "Larks V" becomes.
* * *
Speaking of Larks, I had a
conference call with Tobin Buttram, Todor Fay, Chanel Summers, and Brian
Schmidt today regarding Tobin's progress on a major DirectMusic project
which is underway. Wish I could say more. Patience.
* * *
Another SGC on VTV photo featuring
the prominent buttocks of our sound man, reaching down to EQ our BBE-less
system for maximum sonic playability.
I play best when:
a) I can hear what I am playing
(there is sufficient volume so that I can respond to what is sounding)
b) when the sound actually sounds
good (the sound is pleasing to listen to, and there is sufficient
clarity in the sound that is being created by the group.)
This desire to play well translates
into a slight obsession with getting the sound "right" in
This especially true when I am
singing while playing. I sing best when I can hear the crisp
and clear high end parts of my voice -- without this, my pitch goes out
the window, and I am largely guessing with tone, dynamics, and presence of
When I can hear myself well, it's
almost like I have an extra degree of freedom in my singing. When I
can't hear myself well, most of my energy goes into worrying about my
pitch, tone, and timbre. When I can hear myself well, pitch,
tone and timbre take care of themselves, and I can focus on my
performance, phrasing, and interpretation.
The same is true for my guitar
In fact, I think of my guitar
playing more as a vocalist than a guitar player. Especially
On a related note, my BBE 'sonic
maximizer' has been on the blink lately. This is one of the tools I
use to provide clarity in the monitor mix, so that I can better hear and
respond to the subtle pitch and timbre details of my guitar or
voice. Without this, the sound becomes a mushy, blurry mess to my
ears, and my ability to respond becomes diminished.
If I am playing a piece which is
really 'in my body' I can generally still deliver a convincing
performance, sans BBE and sans subtlety, but with only a prayer and a
glimmer of hope that it sounds okay to those listening.
* * *
Last night, the SB Roadshow team,
with special guest, Christian, rehearsed our electric version of
The final section of the piece is a
duet (a dialogue) between two guitar soloists.
I realized last night that this
section works well when the soloists literally "sing" their
parts - that is, when the solos have a visceral 'vocal' quality in their
phrasing and execution.
Spewing trails of 16th notes does
not work here -- why?
One reason: these solos are an
extension of the vocal work which was established earlier in the
song. These two dueting soloists represent the characters of the
master and the apprentice in the song. Ideally, as in the song,
these characters are working together, in conversation, responding to each
other in harmony, even pushing each other to a harmonic climax.
The version of this on the 'Greenthumb'
CD works for me on this level. Horacio Pozzo and I are the Master
and Apprentice, respectively. Horacio begins the 'solos'
section just after the vocal line "turn on your light and get
started" -- he begins with his clear, authoritative picked-note-tone. I follow with my buzzy-thumb solo, and we trade
sentences in conversation, learning from each other as we go. By the
end of the piece we are "singing" together at the top of our
steel stringed lungs while Christian and the rest of the group provide the
gorgeous sonic scaffolding from which we leap.
* * *
Singers sing words which form
phrases. These words have meaning and intention. And singers
breath between phrases. Solos which are just a spew of finger
patterns or notes are meaningless and distracting.
One thing I often say to the
aspiring musicians I work with in guitar circles: tell a story with
your phrases. Each note is a word. Each phrase is a
sentence. Did that sentence make sense? Do your stories make
sense? Do your stories make you laugh, or
We tell stories, even with our
* * *
Bob Williams is a great story
teller. His solos have been killing me lately, full of richness,
emotion, and detail. His solos tell stories -- and plays his
solos like a singer sings -- they breath, they flow. The
pulsate with dynamic fluidity. And they respond to the
conversation which is already underway in the room around him.
* * *
This is the difference between music
which is 'alive' and that which is simply being mechanically
The first has meaning and responds
to present context.
The second is a spew of random
notes, the result of simultaneous monologues.
* * *
What a great privilege to be playing
with a group of excellent, eloquent, and articulate story tellers.
Did I mention that we
are playing at Mr. Spots Chai house on Saturday
* * *
Friday December 03
I almost took the day off
today. After a relatively sleepless night last night, and a fairly
traumatic day of debating and persuasion, I had some excellent resolution
in my (formerly) pending ms work decisions.
Tonight I will sleep well knowing I
stand on solid ground.
* * *
In the late afternoon, I joined Curt
and Christian for another downtown, loud electric run through of our
current working set. This was followed by an excellent dinner
at my new favorite downtown Chinese restaurant. I miss living
in Belltown. Perhaps I will live there again some day.
Perhaps next year?
* * *
David Singleton and Diane Aldahl
arrive tomorrow afternoon. The SGC has two gigs tomorrow, one in the
afternoon, and one in the evening.
Given my current state of
exhaustion, and the busy day tomorrow, I'm going to cut this diary entry
short for tonight, change my strings, practice briefly, and go to be
* * *
Saturday December 04
Bill Rieflin called this morning to
make plans for rehearsing tomorrow and to ask for Paul Richards email
address. I heard about Paul's mother from Curt yesterday, and
sent Paul a short email this morning too.
I only met Paul's mother once, at
Thanksgiving at the Richard's house 10 years ago. She was very sweet
and accommodating to the 9 turkeys that Paul brought home with him during
the (in)famous League of Crafty Guitarist's 'bogo tour' of
That tour featured myself, Curt
Golden, Paul Richards, Hideyo Moriya, Ralph Gorga, Tobin Buttram, and
Hernan Nunez traveling across the US and back in two vans with amazing
support from John Sinks, Eduardo Galimany, and Betina Nunez. We
played gigs where ever and when ever we could including the Whiskey in LA,
the Peachtree Arts center in Atlanta 48 hours later, and a bunch of
unusual places in between. Who's dumb-ass idea was that
anyway? Uh,.... Well, that's a longer story for another
* * *
Load in for the "Phinney Winter
Festival" was at noon this morning -- we had hero Walter Harley on
sound and load-in assistance again today. And it looked like most of
the Seattle Repertoire Circle was in the audience today, lending their
During the high point of our set
(Cultivating the Beat),
two little boys began dancing in the front row. A new market
for SGC music appears: dance band for the grade school circuit.
During our acoustic encore (Tony
Geballe's classic, derailed) Isabel Williams also became part of
the show -- she started swinging
wildly in a series of Cirque du Soleil moves using Bob's legs as a
maypole while he continued playing on flawlessly.
Immediately after our set, hero #2,
Frank Sheldon was selling CDs and attending the mailing list at the front
of the stage. During load out, Curt and Frank seemed to engage in
conversation with a few friendly Phinney neighbors who wanted to know more
about our work.
This was our second year playing the
Phinney Winter Festival, and there was good karma in the air from our show
today. An octave up from last year's karate
demonstration. Ok, I'll try to refrain from more vague and
lame inside jokes....
* * *
I spent the middle part of the
afternoon fixing a headlight on my white anti-cool toyota gig mobile -- my
hands were covered in greasy dirt after this stupid DIY task which I
should not have DIM (done it myself.)
Wow, I saved about ten
bucks. That was a super intelligent move. And got greasy crud all over my hands, clothes, and
Did I mention I'm a total wimp about
my hands and fingers? I am. I would have gladly paid ten bucks
to keep my hands clean.
* * *
After completing my ultra-manly
project for the afternoon, I went home to prepare for a quick dinner with
David and Diane before the second SGC gig this evening.
Translation: I took a glorious nap.
plane must have been late, since they did not call or respond to my
messages until about 6:20. We have a meeting tomorrow
morning at 11, so we will begin our BTV meetings then instead.
Tomorrow evening, we have also been
invited to go over and visit the new home of Todor Fay and Melissa Jordan
Grey. Todor and Melissa were the founders of the Blue Ribbon
Soundworks -- a company that created one of the first interactive music toolsets ('Bars and
Pipes' was originally written for the Amiga, and to this day, it still has
a cult following of dedicated fans and users.) Their technology has
since evolved into the ultra-successful (and completely free!) DirectMusic
technology which I often rave about.
This technology is changing the way
musicians and composers work to render musical
'performances.' I've probably already said too much,
here -- most people will not hear anything about DirectMusic for some
time, but they will hear the power of DirectMusic over the next few years
as PC games begin to take advantage of it's power in rendering
high-quality, dyanmic musical scores on the fly. There may even be
some DirectMusic surprises in the next year or so...
I've been working closely with both
Todor and Melissa since in 1996 -- they are a complete joy to work
with. And I'm looking forward to seeing their new house.
is a giant blue neon eighth note in the front window of their house -- a
sign of the people and the passions that live within.
* * *
Random gratuitous plug of the
day: R. Chris Murphy is off to LA tomorrow to produce and record the
new Terry Bozio, Tony Levin, Stevens CD. Then he's off to
produce a Swedish band, then an English band.
Busy guy these days.
More importantly, some idiot
volunteered to take him to the airport early in the morning. At 1:45
in the morning, I have to ask: what is wrong with me?
* * *
Another successful Mr. Spots SGC
Are you tired of hearing how good
the SGC is getting yet? Well, then come see a show,
and see for yourself. We just keep getting better and
better. One of the guy who asked us for autographs tonight was
foaming at the mouth about how the whole world was about to discover
us... he is even offering to book a tour of Montana for
Not exactly my idea of the
"whole world," but an interesting idea.
There were some very special
high-profile guests in the audience tonight (Peg
Whitaker, Bill Rieflin, Frankie Sundsten, Greg Sundberg and his
wonderful wife, Frank
Sheldon, Fred Chalenor, Peter Kardas, Janette Rosebrook, among others)
in addition to our special guest on stage: Christian.
Martin Schwutke, Christian de Santis, SB
1998 during Electric Gauchos rehearsals downtown Seattle
photo by Ingrid Pape-Sheldon
What to say about the addition of
Christian to our show this evening? I have nothing but super
sincere superlatives to launch in Christian's general
I wish he lived here,...
For those who know me, you must
already know that I'm working on that one.
Did I mention that my friend
Christian can really really really play the guitar? The world
will one day discover the art and craft of Christian de Santis.
* * *
Highlights of the set tonight:
- Where it goes, we go
- Sigh and a Kiss (hot, hot solos by Bob)
- Cloud of Unknowing into Trapiche
- Cultivating the Beat
- Bloed Spoed
- Bicycling to Afghanistan
- Ab Circulation (a jaw dropper,...)
This was a group worth seeing and
hearing this evening.
We sold a pile of CDs and made some
new friends this evening. Three of these new friends are worth
mentioning: a group of three of the most intensely attentive people in the
audience (Erynn, Silvia, and Travis) found out about the show on the web,
and came to check it out...
I guess we never really know who is
reading and responding to our public web work.
Unless they come to our shows.
* * *
After the show, Curt, Bob, Jax,
Christian and I went out for some food and drinks in the Mr. Spots
neighborhood. Some fun conversations about Bob's teenage theatre
career (I'm hoping to get some Phil Collins-esque pictures,) memories of
amazing Arden Party (Shakespeare) shows in NYC, warm memories of NY
guitarist, and our crafty pal, Renaldo Perez. And some normal
off color 'band' humor was flying around as the drinks began to sink
During the rainy walk back to our
cars, some distant Ralphorisms surfacing (aphorisms of lost Crafty
Guitarist, Ralph Gorga) surfaced from another era:
"It's cold. It's
damp. I hate it." *
* The insane and immor(t)al
words of Ralph Gorga, referring to the Claymont Court mansion and barn
where we lived for 2+ years from 1989-1991.
* * *
One closing thought to call up warm
fuzzies which may offset the above Ralphorism: It was really
great to have Peg Whitaker in the audience again tonight.
Something about her presence, her
energy, and her beaming smile brings us to life. We have a
connection to Peg which is vital and energizing.
Somehow, it feels like only the
beginning of our work with Peg. But for now, I am going to
take her good advice:
It's time to sleep.
* * *
Sunday December 05
SB taxi service was in gear early
this morning with a complementary ride to the airport for traveling music
producer, R. Chris Murphy. There was a time in my life (about
seven years) ago when I was traveling long distances by plane at least a
couple of times a month.
Any traveling musician knows the
The supposed glamour of world travel
wears off very quickly. For me, it is a complete treat to stay
in one place -- better yet, to stay home. Travel implies work.
Travel disrupts the rhythm of health. Travel assaults my
sanity. Travel makes me stupid.
Ask Diane Aldahl, now suffering
heavily with a bad cold over in the West Coast Bellevue Hotel after
stepping off of a plane from England 24 hours
For me, being driven to the airport
or retrieved from the airport by a friend (rather than via taxi or public
transportation) can be a very comforting factor in the totally humiliating
process of travel by plane. This is why I am always very happy to
offer myself as a taxi service when close friends come or go from
Seeing a friend at the end of a long
journey somehow softens the landing. And being sent off with
the gentle good wishes of a friend somehow smoothes out the ballistic
process of blasting off into the unknown.
Between Chris and myself, the night
before a major trip is affectionately known as a "rockslide"
night -- this is the time when, no matter how much you plan ahead, no
matter how much you work to prepare in the weeks before the trip,... you
always end up staying up half the night paying bills, cleaning, doing
laundry, organizing papers, packing, double checking details, sending off
final emails, and doing one bazillion last minute tasks ordering your
affairs before being on the road and away from home.
The "rockslide" reference
refers to the insane days when I was running an internet startup called
"rockslide" where 20 hour work days were the norm, and frequent
international travel for extended periods led to these inevitable
In my current phase, this is
partially why my work is intentionally "local" and
"immobile." I can not currently afford the stress
and strain that this insane process of a week of preparation followed by a
few weeks of suitcase living followed by a week of recovery at home
This is also one of the primary
motivations behind a vision which Frank Sheldon expressed almost five
years ago: Frank described a vision of a "location based
performance team." A LBPT is a group which stays
and plays within a local region to avoid the extreme physical, emotional,
relational, and financial costs associated with traveling the world to
The Seattle Guitar Circle is in fact
an empirical expression of Frank's LBPT vision.
Although, lately, within the
extended Seattle Guitar Circle, we rarely use these words "LBPT"
any more -- perhaps this is because we don't have to use these words to
describe how we work -- it is a given -- this is what we have become, so
there is no need to differentiate our work from the former modus
operandi of the Wilsons, Los Gauchos Alemanes, the California Guitar Trio,
and the League of Crafty Guitarists.
World travel is no longer viable or
necessary for a this diverse group of musicians who have elected to come
to Seattle to work together locally.
One by one, the team has arrived
here, and a center of gravity has been established. And this gravity
is beginning to have a significant effect in the local musical eco-system
This way of working is actually a
fundamental shift in the processes I followed earlier stages of Guitar
In 1986, I began commuting regularly
to NYC, West Virginia, and England to work with Guitar Craft groups.
In 1993 I began commuting to Germany and South America to continue working
with Guitar Craft groups. In 1996, I personally decided that enough
is enough: this model is broken -- and my world-wide pilgrimage has
From the travel
SB and guitarist Steve Jolemore celebrate the
wedding of Margaret Jane Birsky and
Private Music manager Jeff Klein in 1995.
Hey Joley - when are you coming to Seattle?
Now it is time to say home and
continue my pilgrimage in one place.
* * *
Following my trip to the airport, I
met David Singleton, Diane Aldahl, and Steve Enstad at the WC Bellevue
Hotel for a long afternoon of intense BTV planning meetings.
The bad news: I sacrificed an
electric rehearsal with Curt, Christian, and Bill this afternoon in order
to get BTV numbers and plans in order for two important meetings
The good news: The highlight of our
afternoon was a visit to the home of Todor Fay and Melissa Jordan Grey
which I mentioned in yesterday's diary
Their new home is
inspiring. The house itself is a work of art. Even in
the dark Seattle rain, the view out their living room window is
And they have agreed to join the
BootlegTV board of advisors. Another significant feather in
the growing BTV hat.
* * *
Home fairly early by normal Pelota
standards gave me time for a solid hour of practice and time to reflect on
my day in ascii.
I even had time to notice a certain
unnamed Seattle wise-guy is getting quoted in another unnamed
musician's higher visibility diary. 8 ^ )
Enough semi-anonymous excitement for
* * *
Quiet prayers and warm wishes go out
across the globe to Pauly, Bert, Bridget, Marti, Valentina, Ferni, Bill,
Robert, Debra, Hugh, Frank, Ingrid, and Herni out there fighting ongoing
battles at a not-so-distant distance.