What is that guitar?

That guitar is one that was built specifically for this tour.  One of the themes of this tour is “moire” which is that weird thing that happens when you look through two screen and you see all sorts of weird 3D shapes.  Moire is everywhere in our production, including in our guitars!

Mike and I worked very closely with the builder, Ben Lewry of visionaryinstruments.com, who specializes in creating very funky electronic guitars that usually feature all kinds of touch controllers and accelerometers that can be used for controlling audio effects in software like Ableton Live and whatnot.  These guitars have no such controllers, but instead feature full RGB lighting behind the moire screens that make up the face of the body.

Ben and I had lots of conversations about my Ibanez because he wanted to create the instrument so that it would sound and play simlilarly.  The body shape and neck and headstock are all designed based on my favorite guitar.

As part of the design, he put all the controls along the top of the instrument, so there are no controls on the face of the body itself, to leave the moire screen as emtpy as possible.  There are four preset light designs built in that I can choose with a selector swith.  Most of these presets react to the sound of the strings, so that when I play something, the guitar lights up.  It’s very fast and when I play choppy rhythms or staccato leads, the lights really accentuate the sound!

But, even cooler than all that, the guitar has a DMX input, which means that it can receive color commands from the light board and be totally controlled by our lighting guy!  It took a few shows to get that working, but now it’s in full effect.  So cool!

I’m also using in-ear monitors for the first time.  And everything is wireless, so for each show I’m wearing a transmitter for the guitar audio, a receiver for the in-ear monitors, a receiver for the DMX data, and a battery pack for the guitar’s lights.


Three Shows In…

I have to say that we’re finally getting our “tour-legs” under us. Last night’s show at the Crystal Bay Casino felt like that magical thing was happening that was happening last tour. And we totally nailed “Mound.”

Tom Cleary has his own blog where he talks about learning Mound: http://www.tomclearymusic.com/#/events/learning-new-tunes-for-the-march-11-tour/

It’s interesting to get everyone’s take on learning this beast. I thought I’d write about my own process.

I was given a studio recording of the song, and later a live recording, and four pages of hand written sheet music that is the score for the middle section. The score includes the guitar, piano and bass parts as well as, minimally, the drum parts.

While I was pretty adept at reading for the trumpet and piano when I was a kid, I’ve never read music for guitar and so for me there’s a missing piece that is the eye-to-hand thing that happens when you read music all the time. So I have to look at every note and figure out where it is on the guitar. And beyond that, since there are various places to play the same notes on the guitar, I also have to figure out where on the neck to play things.

This is a very slow process but in a way it has the advantage of forcing me to memorize the part rather than be dependent on the sheet music.

So the first thing I did was to modify the media I was given to make it more “friendly.” I took the PDF files of the sheet music and edited them in Photoshop to create a “guitar-only” version of the score. This reduced the number of pages from four to one and made it a lot easier to follow.

I then took the corresponding section of the recording and using some digital recording software first applied some filtering to isolate the guitar parts as much as possible, and then forced it to fit on “the grid.” This accomplished a few things: I could slow that part of the recording down (very helpful!). I could also overlay a metronome onto it to clarify some of the rhythmic stuff. It also allowed the measures of the recording to be numbered in a way that corresponded to the sheet music, so that if I was working on measure 37 I could loop that measure in the recording and play along while reading the sheet music for the same measure.

Also, because I’m not a reader for guitar music, I notated all of the chords on the sheet music. The entire part is mostly three note chords and so I notated them with interpretations of the structures that recalled certain positions in my brain.

For example, one such chord has an A on the bottom, a C more than an octave up from that, and an Eb above that. You could interpret those notes as an A diminished chord, but the form that I’m using is more like an inverted F7 without the root, so that’s how I notated it.

Once everything was notated I started the task of committing everything to muscle memory. This is a very tedious process of taking two chords at a time and repeating them ad nauseum until the movement between them becomes second nature. Then I tie the whole thing together by starting with the first two chords, repeating them over and over, then adding one chord at a time until I have a whole “section” under my fingers. Then onto the next section.

Once everything is in the muscles then the challenge is… not over. Now I focus on the sound of each string of chords and how to express through them. That’s always a challenge. It’s one thing to learn and memorize a set of notes, but the extra thing is to take that pre-written piece of music and make it mine; express through it; play it as though I had written it.

Of course that’s just the middle section of Mound. At the same time I had to memorize the lyrics and learn the harmony parts for the verses, AND I had to learn to sing the backup harmonies in 5/4 while playing a guitar part in 4/4! (Still messing that up occasionally…)

Okay, enough about that. I’m in Santa Cruz now. I’m on the bus with the windows open and it’s just lovely.


Well last night was the first night of tour and I have to say that it was… ok. I’m my own worst critic of course. We encored with Mound and it was not as good as I had hoped. We were sailing through the middle section and near the end I got lost and couldn’t keep up. It’s like there’s a threshold of how fast I can make each of those chords sound and last night’s tempo was just beyond that threshold. So I have some work to do to get it under my fingers so that the tempo should be irrelevant.

Everything else was pretty good with a few stand out moments. Tom was on fire last night! The crowd was very receptive and responsive to everything we were doing. We got some good feedback on our vocals.

The town was nice even though it was a drizzly day. I recommend The Sustainable Table. Great food all locally grown with vegan or gluten free options for most of the menu items.

Tonight we’re in Acadia, CA at the Van Duzer Theater right on the Humboldt State University campus. I’m blogging from Couple Cups, a nice coffee shop with good breakfast sandwiches and great coffee.

I can’t wait to play Mound again though it probably won’t be tonight. But let me at that b!#@%!!!!

Fallon Friday!

It was an early day. A car was picking us up at the hotel and taking us to NBC at 10 am but the gear was loaded in early in the morning. We were checking out of the hotel so I had to take everything with me. Of course I had four pairs of pants and a bunch of shirts on hangers plus my knapsack, travel bag and guitar to bring as well. Lots of stuff.

We got to NBC and had to get photographed into their system and we got temporary passes and then got escorted to the Band Room on the sixth floor. This is where we spent most of the day.

Things were happening just behind schedule according to the itinerary so we first got onto the set around 11:30 to do sound and camera checks. They were doing line checks when I got out there (testing the mics for each instrument) and had already finished the drums. Once the line checks were complete we ran the tune twice to get sound levels correct including the levels in the mixing room and the levels of our on stage monitors. Once that was all set we ran the tune two or three more times so they could get “camera blocking” together.

Then we were done. They told us to “take off” until 4:30 so we had about four hours to kill. So we did what you’re supposed to do to kill time in New York: ate and shopped.

Apparently they strike (remove from the set) a bunch of our gear since that’s where the curtain is that Fallon appears from. After we got back we were in the Band Room watching the taping on the big monitor they have back there. The show is shot pretty much in realtime with the commercial breaks taking up what a normal commercial break would take, with a couple of exceptions.

The first exception was the break during Adam Sandler’s interview. During that break they film the little spots that they show during Leno when Fallon says, “Tonight my guests are Adam Sandler, Aziz Ansari, and Mike Gordon. Please watch!” They do about six versions of this.

The second exception is right before the band plays. They have to put all of our gear back out on the set and they have to file in the fans that are in the “Band Bench,” those stands behind the band where people watch. I was anxious to get onto the set and get my hands on the guitar because the set is kept very cold, like 50 degrees or so, and I wanted my hands on the guitar to acclimate it to the warmth of my hands so it would stay in tune.

But when I got to the set I couldn’t get onto the stage because they were filling up the Band Bench with people and I couldn’t get by. Finally I got by and started warming up the guitar. When I fired everything up, though, it seemed WAY louder than it was during the check and I realized that one of the volume knobs on my looper box had been turned way up, so I turned it back down to where I thought it was during rehearsal.

They got everyone into position while I warmed up silently and tuned up the guitar, probably six times, and then I heard, “20 seconds!”

Then The Roots started playing “back from commercial” music. They stopped and Fallon introduced us and off we went!

My first reaction was, Oh no, my guitar’s not loud enough. I had overcompensated the volume control. But it was all being mixed anyway, I just couldn’t hear it as well from where I stood.

When we got to the first chorus there were no harmonies but I was listening to Mike’s voice. The whole stage seemed much louder than rehearsal so I did a quick Valsalva maneuver to reduce the volume to my ears, which worked (the pinch my nose technique to equalize sound pressure). When the second chorus came around and I had to sing I could hear pitch just fine.

I tried to look around and tried to smile. When I looked at Tom during his keyboard solo I could see Fallon watching us and tapping his foot. Instant shot of nerves! When we got to the bridge I tried to look at the studio audience and not focus on the guitar neck because there’s a lot of hand movement during that part and I could have easily stayed focused on the neck.

The third verse has me just strumming open chords behind Mike’s vocal and if my guitar had gone out of tune this is where it’d be noticeable but it was fine. Down the home stretch now! Nothing to worry about except shredding at the end!! 🙂

The shredding went fine! How do you fit everything you want to do in eight bars? Very carefully! I tried to be melodic, rhythmic, dynamic, and shreddy, all at the same time. I think it worked.

When we finished it seemed to me that it was good. Mike was smiling. Fallon ran over and shook all our hands. Aziz did too! Then The Roots played for about five minutes. Then they got all of the audience out of there and we were done.

I was home in time to watch. As I was watching the show waiting for our slot I think I got even more nervous than I did waiting to play the show. I had no idea how it was going to be. I felt like I had been really nervous and was worried that it would show. I was worried that the guitar volume was going to be too low. I was worried that what I thought was singing ok was going to be horribly out of tune! But it came on and it was fine. I was psyched that the cameras had missed my Valsalva Maneuver and I was psyched that they had cranked up the guitar in the mix.

All in all it was a very rewarding experience. It’s unbelievable how fast it goes by once you’re on the set ready to go!

I can’t wait until next time! 🙂


So it was a pretty long night; a long ride to New York. I had to run some errands (had to buy new pants among other things) so I got on the road late and got to the city late. I was so late that the hotel had canceled my reservation but they were nice and gave me a room.

After I worked all day, the band had rehearsal. It was great. It’s so cool to practice one song for that long. Mike’s been listening to some mixes of our live shows from last tour so his ear is in hyper mode right now so he was paying extra attention to the smallest of details. It’s cool because we dial in the stuff that’s supposed to be tight like vocal harmonies and pitch and phrasing and inflection and it all comes together and gets very polished but then during the jams we just rage! And of course with four minutes to play the jams are very short so it’s like we’ve got eight bars to rage here and another eight bars here. Ready? Go.

Once all that stuff was figured out then we played it and played it and then listened back to the tape and played it again. It’s the way every song should be rehearsed really, if there were enough time.

So then we took a break and got some dinner. And a couple hours later we went back and played it one more time. Okay maybe two. And that’s it. We’ve got it down. And at the end of each time we did the song, or most of the times, there was something to tweak; something to add or change to make it perfect. And it still raged!

I’m not as nervous. In fact I would say that yesterday I was more excited than nervous. Just that little thing that happens in the pit of my stomach. You know that thing… when you’re about to do something you don’t normally do. Something sick. Something big.

Fallon Part 1

It’s Wednesday, two days before our TV appearance on the Jimmy Fallon show. I am already nervous! Of course the experience wouldn’t be complete without some sort of drama. I lost a filling last week in this stump of a tooth that was already X’d on my dental chart, meaning that it was going to be extracted anyway. So this morning I got my tooth pulled. There is something intense about the pain that happens after an extraction when the novocaine wears off. It’s like a burning pain or something. Anyway, I’m sure it will be fine by tomorrow.

We’ve got four minutes to work with. It’s unbelievable how nervous I can get over something that lasts four minutes! Of course this is being broadcast all over the WORLD for four minutes. No big deal, right?

But it’s such a different situation than getting ready for tour. We’ve selected the song and worked out a 3.5 minute arrangement already. Now it’s just polish work. We’ve discussed adding some guitar shredding at the end as well as some vocal improvisations by Mike. We’re rehearsing tomorrow night to really get it tight. And I guess we’ll be running the tune repeatedly on Friday before the taping so we should have it all under our belts by the time that four minutes actually happens.

But then there’s wardrobe. What do I wear? Obviously the very best of what I have. I have a black shirt that I got from Cheryl that is the nicest in my closet but I’m also bringing a maroon shirt as well, just in case they say, no black, or something stupid.

I’ve got a pair of jeans that I’m bringing, actually a couple pairs, but I think I’m shopping for new jeans tonight. The pair I like the best has rips in the knees.

I think I need all new strings on the guitar too. Just to make everything perfect. I should also look into which of my pedalboard cables was acting up on me last weekend. The last thing I need is technical issues.

I head to New York tonight. I’ll work during the day tomorrow and then rehearse tomorrow night. I also want to watch the show tonight and tomorrow night just so I’m current. I did some research on Fallon already and now I want to research his guests that night, Adam Sandler and Aziz Ansari.

Then Friday we go to NBC at 10 am. Ok, just typing that gets me more nervous!

Lebanon Opera House

It was another dreary day, pouring rain and cold and overcast. I woke up on the bus and I didn’t want to go anywhere. I didn’t go find a coffee shop to blog in, or go for lunch or anything. I decided I would do everything at the venue. It had a very nice back room with a shower and they had coffee on in there. I was all set.

More than all set really. This place was gorgeous. It was truly a theater with multiple dressing rooms, a lovely main hall with theater seats and all. For a room as large as it was, it had great sound. They had rented a sound system from Atomic in Burlington and Mark had the room sounding great.

Sound check was a whimsical thing mostly spent playing with the lights for Mike’s family, or swapping instruments and jamming. It was the last night of tour and the band was greased and ready to go. We were all both happy and sad to be here.

Tom’s cousin, Joe Cleary came during dinner as he was going to sit in with us on fiddle for a few tunes and we worked them out while we ate (and skyped). We taught him my song, Willow Tree with the idea that we would quadruple the beat during the solos and switch to a traditional bluegrass tune. This is exactly what we did and it worked great. We then jammed into Mike’s “Weekly Time” which is another favorite of mine and Joe picked up on it right away.

Again the lights were amazing and the band was at its best, nailing all the tunes with ease (except the endings maybe) and taking the jams to the deepest of places. The Suskind jam was VERY deep, kind of modeled after a GRAB version Julia played me on the bus the night before.

Surprisingly, we encored with one of my tunes, Jones and then Country Boy, the fastest picking song I’ve ever done. Jones was deep, thick and groovy and Country Boy was like 1000 mph and no brakes. Joe Cleary came up for Country Boy again and nailed it.

So ends another MGB tour. Again I had the opportunity to make music with some of the best players I know and I learned a lot and had a blast at the same time. Plus I got to visit some different parts of the county, meet new people, and see people I haven’t seen in a long time.

Back to reality!

Pearl Street

I’ve played the big room in Pearl Street a hundred times and it’s always sounded cavernous and thin in there but I’ve got to hand it to Mark Allspough, our soundman, who got the room sounding great.

Before sound check I walked to Haymarket and got some coffee and skyped with Cheryl from the basement. It was a gray and rainy day and the atmosphere inside Haymarket was warm and inviting.

I walked over to sound check and we did a few jamming exercises, this time concentrating on changing time signatures during jams, or ignoring time signatures altogether.

We had asked Mark Mercier to sit in with us and he was there for soundcheck so after the jamming exercises we played the two tunes Mark was going to play on, his cover of Columbus Stockade Blues, and Mike’s Voices.

I must say, bringing Mark and Tom Cleary together was big, an event with the equivalent weight of Spock meeting Data. There are so many ways in which these two are cut from the same block. Just to hear them have a conversation could confuse as to who’s saying what, as even their speaking styles are similar.

So when they jammed together it was an amazing exchange. Each has such talent and depth on their instrument and you could see the mutual admiration as they traded riffs back and forth. It was exhilarating for me as these guys represent the cream of the keyboard crop to me.

Anyway, the chemistry of having Mark with us was obvious even in sound check. The rest of sound check was spent jamming to Liggy’s light show for the sake of Mike’s family who came for the afternoon.

After sound check I met up with Dave Wright and his son Ben. Dave was the drummer in one of the first bands I was ever in, in which I played keyboards. We met my niece Lenora and her friend from childhood, Diana, for dinner at the Spoleto Restaurant.

While I was at dinner I got a pleasant surprise: my son Jordan was coming to the gig with a couple of his friends, Sarah and Ken. Woo hoo!!

Pearl Street was sold out and so when I got back after dinner the room was packed, which is great for the sound in there. The crowd was very responsive. They seemed to react to every little nuance and when Mark came up to sit in he got a great response.

The whole night went really well for me and the second set included one of my favorites, Gillian Welch’s “Time (The Revelator).” I love this one because it’s a ballad with great vocal harmonies, a haunting lead vocal and a deep guitar solo in the middle.

The jams were off the hook all night as well. The time bending stuff we worked on at rehearsal was obviously helping us to shake it up and we took the music into unexplored territory yet again.

After the show, Jordan and his friends came and “partied” on the bus along with Dave Wright and his son before we left to do the drive to New Hampshire.

Of course we all felt the end of the tour rapidly approaching. Everyone was making comments about how the band is just hitting its stride and about how deep the jams are getting. It’s such a shame that it has to end after only ten days, but it’s even a bigger shame that it will be months before we play together again.


Last night was a great gig! We had some folks from The Chieftains sit-in with us during the first set, and that was cool but I thought that second set raged!

It was a rainy day in Philadelphia but I walked to a coffee shop anyway and skyped with Cheryl for a bit. South street is a pretty cool neighborhood.

Sound check was very minimal with most of the time spent doing jamming exercises. The jamming exercises are awesome. They really get the band playing like a band and they get everyone’s ears opened up.

Craig and I then went out to dinner with my friends Shawn and Erin and their friend Ron at a really great Thai restaurant, Tamarind. Craig and Ron got fish that still had eyes. Um… yum?

When I got back to the club the members of the Chieftains were there and we ran over the tunes they were sitting in on.

The fiddle player that sat in (I can’t remember any of their names except Jeff, the guitarist) was excellent. We did some bluegrass and we did Mike’s song Voices and she fit right in over all of it. They had three tap dancers that came out at various points. It was dangerous out there! They were high kicking and covering a lot of ground and I spent a lot of time trying to stay out of the way!

Then for Walls Of Time I let Jeff use my guitar while he sang with Mike and I went out front for a bit to check it out. A rare opportunity!

When I came back on my guitar cable was shot. Casualty of dancers maybe? Anyway Rachel replaced my cable and I was good to go.

After all the fun distractions of the first set the band came out for second set firing on all cylinders. The jams were excellent and somewhere in there we played Jones again and it raged.

The last song of the set was Suskind Hotel and the ending jam was so so so good that I convinced Mike that when we did the encore we should start the Suskind jam again from where we left off. Which we did. It was great fun!

Afterward Shawn, Erin and Ron came to the bus with me and Shawn brought some excellent wine, of course.

All in all it was a great night.

Oh, and thanks to Pete for bringing and arranging the sit-ins to happen!