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Following the show, Dave Kelbie gave me his copy of the set list. The songs were as follows: AE
Set 1
I've Had My Moments
Folie a Amphion
J'attendrai
Ombre et Lumiere
Rosario Swing
Plachterida
China Boy
Tu Djajal
Time On My Hands
Turn
Cinzano
Set 2
Obilvion
I'll be Seeing You
Vette
Three Wishes
Swing 2012
I Leida
Mit Mur Geiga
Carnation
I Wonder Where My Baby Is Tonight
Encore:
Melodie au Crepescule
Hi, Eddy,
Shouldn't that be "Swing 20,012"?
Lorretta
:-)
www.denischang.com
www.dc-musicschool.com
Well, it's a lot safer for Michael to ship to Europe than to risk an extra take-on bag through a multi-connection international flight. It's not for certain though. He has several projects in the works and they are his priority. I really like him. He is so incredibly direct. Patrus introduced us, and I asked him for feedback on two guitars. He played them and said: "I do not go around smiling at luthiers and asking for guitars - if I don't like it, I will tell you why, if I do like it I will tell you why, if I want it I will buy it and it is better for both of us that way, do you agree?" I said: "Yes sir." and then he asked me to put the one based on 862 aside for him and follow up with him the coming week. Then we talked about Selmers he has owned, and the different characteristics of various Selmers. It was a private conversation so that's as much detail as I'll go into, but he's a really neat guy and he taught me a great deal in a very short period of time. Patrus was standing right there so he saw me geek out with Fapy - asking about various aspects of this & that, tone, power-response, balance, projection, playability & etc…
I've said it before and it is the God's truth. Without artists, there is no way I could improve. Guitars are work-tools to artists and they pin their name and reputation to every concert they do, so they are brutally pragmatic about guitars from a functional and performance perspective. An artist can tell me more about a guitar after playing it for five minutes than I can learn in a lifetime by myself. That's why I track you guys down and ask you for feedback and appreciate every word you say.
By the way, jamming with you this year was a huge highlight. I've been practicing the stuff you taught me last year and it's starting to anchor. A few times it felt like we had the "Schmitt Bounce(TM)" when Quinn was soloing. I couldn't turn it on as consistently as I'd like, but we locked-up-solid and made one hand several times and was a neat experience. I think I still need a lot of practice on speeds and transitions. I still remember an exercise Nousche taught several years ago. Start slow and speed up and then slow down over the course of a few minutes, and do it with such evenness that you can feel the inertia of the rhythm resisting you as you change speed - it should feel like turning a big heavy flywheel to change speed instead of just changing speed instantly. When he does it, the increase and decrease in speed is so slow and consistent that he sounds like a machine. Doing that exercise seems to develop a sense of inertia so that changes in speed become intentional instead of just "oops I just sped up" or "oops, now I'm dragging" ... it's like you know exactly what it feels like to slowly change speed so you become more conscious of when you're doing it.
Wow, that's fantastic, thank you Bob. Obvious thanks for sharing your experience with Fapy as well.
Paul
pas encore, j'erre toujours.