Avant Media: Artistic Collaboration Through Parallel Collaboration

Part II: The Performer’s Perspective

I don’t think I need to say “Crimson Grail is an ambitious piece of music.” I knew going into the recently failed attempt of performing Rhys Chatham’s magnum opus at Damrosch Park at Lincoln Center that the sheer practicalities of it were going to be something to witness. And that they most certainly were. The whole production crew was not only skilled, but adept at handling the needs of 200 guitar players and their heaps of gear. By my calculations they were responsible for the care, feeding and shelter of half a million dollars in gear, probably more; I saw some Marshall Stacks and a vintage SG.

Rehearsals were an enjoyable process considering how mind numbingly boring they were. The first two days went by with little to report. Turns out some folks didn’t know how to read music. Those who did were surprised. Each camp half snickered about the other – one was taking it way too seriously, the other was shocked the organizers invited non-professional guitar players, but it was all in good fun. The rehearsals served mostly to give everyone a chance to meet their section and buddy buddy with some guys (and here I will pause to mention: 10 ladies were a part of 200 performers) who share similar interests if not hair-dos, weight classes and taste in vintage wrestling t-shirts. There were some good ones, trust me.

The caliber of people involved in all aspects of this piece was stellar. Crimson Grail NYC was cast with the friendliest group of 190 dudes and 10 ladies with guitars I have ever met. This fact made the rehearsals worth going to, because no matter how long we practiced extended tremolos or talked about the Soprano transition to Section G in part 2A, we were never, ever going to play that piece the way it is written.

There. I said it.
And here is why. (more…)