Altared Aftermath

It's been a couple of weeks now that the "Altared" show is over and I want to put down into words some of the thoughts I have about the experience.

Overall, it was great. This year was for certain the best of them all; the right musicians, the right rehearsal schedule, wonderful volunteers...everything was just fine.

Where to start? Well, perhaps from the beginning of the show, though my thoughts will most certainly wander back and forth.

Sven Davis did a wonderful job of starting the show with a bit of cell phone humor. I had asked him to do some sort of a sketch about cell phone users. Some of my suggestions were somewhere along the lines of pulling a patron using their phone out of the seat and taking them backstage and pummeling them (not really, but it would sound like that) and then allowing them to shamefully take their seat again. Another idea I had was to go up to the person and scold them, followed by another person who might slap them a little, then by another who would shake them around, and soon a line would form with people ready to deliver justice. (Yes, this is a scene stolen from "Airplane" where a nervous woman is worked over by the other passengers.) Sven came up with a much kinder approach - to single out a user (Gary Cunningham) in the audience, walk all the way to the back of the theatre and tell him to stand up (as if to fight). Upon realizing he was much bigger than Sven, he was asked to sit back down. Sven took his cellphone and wound up getting into a conversation with the other caller and forgetting he was doing a show. Brilliant, Sven. Thanks.

Then came my "ritual". Dressed like some sort of a priest, I chanted the sacred chant I wrote years ago while spinning a gadget that produces a drone sound. I modeled my chant after an orthodox type of chant and had Pete Coates, the soundman, add lots of stereo echoes. Though I certainly recognized the humor of what I was doing, I hope some realized the serious nature of what I was doing as well. Chanting is a mesmerizing experience. It brings everyone together to the same place and hopefully, to the same mindset. I had never chanted in public like this before and I felt the many, many years of appreciating this type of music take over my body to allow me to share that experience. Like much of the music of this show - it was absolutely serious and funny at the same time.

My partner Rick Zeek was backstage the whole time, clipboard in hand, running the whole show. He knew when everyone was to go on, to go off, to stand, sit, etc. I spent most of the evening looking at the set list trying to plan the next move from my end, while he studied his script and did his magic. This was most evident at one point of the show when The Great Morgani, accordionist and violinist Carole Mayedo were out performing a magnificent duet "It Came Upon a Midnight Clear." They had finished and were about to begin the next song when I tried to get them off stage. For some reason, I had it in my mind that something else was to happen. They resisted. I urged. Then, off to the side of the stage I could see Rick waving his hands frantically, telling me to leave them alone and to let them play. Slowly it dawned on me what was supposed to happen and I took a spot at the percussion set to join them in a fun version of "Feliz Navidad."

Now I must share with you all something very important about the preparation of this show: there was purposely little written in stone. Sure, we rehearsed most of the songs and we had a script for entrances and exits, but no one person knew all of what was to happen, even myself. You see, I wanted to audience to know that much of what they were witnessing was happening "in the moment". I wanted us all to be on edge and to say yes to whatever happened, good or bad. If we fell on our face (which we never really did) it would have been okay, but when something really magical happened (which I think did here and there) then the audience would know that that was special - just for them.

"How are we going to end this song?" Olaf asked me once in rehearsal, referring to "Jingo Bells".

"I don't know yet - just pay attention!", I answered.

I didn't want to know. I wanted to be surprised, just like everyone else, and for that matter - a good deal of the show was unfolding right before my very eyes, as all the pieces had never been put together until the last second.

Meanwhile, out in the lobby a memorial altar was being created. I had asked Mariana Sophia Santiago to help facilitate the effort. I explained that I wanted a place where we all could honor and remember those we love and miss who have passed away. Audience members brought mementos and wrote down names and messages and placed them on the altar. Lights and material were draped over and around all of it - a truly wonderful addition to the show. Thank you all for participating in whatever way you did.

Celina Gutierrez did a great job (again) of transforming herself into various characters - first, a "Lenin" sister for "Melee Kaliski Vodka", and then a precocious little girl singing, or should I say murdering "Away In A Manger". Do you all realize that we weren't making fun of religion, but rather in this song, the way that some parents force their kids into dressing up and singing songs they know nothing about? Stage moms living their dreams through their kids. Funny, not disrespectful.

Which brings me to this thought: nothing about this show is disrespectful to religion. On the contrary, I have a fuller understanding of religion and ritual because of this show, yet I have heard many tell me that some folks didn't want to attend because they thought I was trashing something sacred. How would they get that idea? I doubt they thought that while shopping for their pre-lit, pre decorated, artificial tree at the Capitola Mall, while listening to cookie-cutter XMAS music and running up their charge cards. Not that there is anything wrong with that - it's just that I find it funny how some don't think twice about the commercialism of the holiday, but to put on a show that will make people laugh, cry, and think about what they are doing... no, that is being disrespectful. Oh well... they missed out.

David Wallis played the part of Santa. Over the years we have been figuring out his back story - why he is the way he is. It's still in development, but so far he seems to be a complex fellow. For years he has been responsible for delivering everything everyone wants. He is supposed to embrace every little obnoxious child who wants to "sit on his lap" and tell him what they want for Christmas. He is certainly a bit nasty and slightly perverted, but also naive. Perhaps he hasn't had the chance to explore all that life has to offer due to the constant demands the holidays place on him. It isn't until the end of the show, when the protester (more about that later) asks him, "What happened to you, Santa?" that we realize that it is the greed and lack of creativity that has finally taken its toll.

David's performance of "Santa Baby" was pure heaven to watch unfold. We weren't sure if it was going to work, but once the music started and he came out tossing letters to the air, it was clear that it was. For me, hearing the audience laugh out loud when they realized what song it was, was the most wonderful sound in the world. (I just knew it was a good idea to have Santa sing the song to himself!)

I had asked Dale Ockerman and Michael Horne to join the band years ago, but they both were too busy at that time and therefore could not. Yet, the desire to have them both never lessened and this year, by chance, I ran into them and asked them if they might want to be a part of this year's show. Surprisingly, they were both available.

Friends, I can't tell you all how much they added to the show. Of course, you could hear what they added: Michael on percussion and Dale on keyboards, but they brought me one stop closer to having the band of my dreams - a full rocking, rhythmic ensemble! I could finally turn up my guitar and play the way I have been wanting to since I was young. As Matt (bass player for the second set) said to me later, "Playing in between the percussion and the drums... I was in a state of bliss." Tell me about it! There were times I didn't want to play - I just wanted to be "in" the music that was all around me. I hope some of you in the audience can understand what I mean. It is beyond words, but it is something like feeling that you are right where you are supposed to be in the universe at the very moment. You have no body, to sense of passing time, and all your emotions are on display. I have always wanted others to experience that sensation, but it is so fleeting. You can't capture it - you just hope that you can allow it to be. That is my religious experience!

I could hear the sounds bouncing off the walls in stereo. Pete Coates at the sound board and Dave Egan at the monitor board were doing a fantastic job. Pete knows what I want to sound like, as he has engineered my CDs in the studio. Dave knows that theatre inside and out and works regularly with Greg Rolie, the original "voice" of Santana.

And did you notice the visuals on the screen? How could you not? The psychedelic light show video was created and produced by my old friend Damon Meyer. He took the initiative to create this when I had told him I didn't think I would have time to do it myself. I didn't know what it looked like until after the show when I saw it at home on my DVD player. Great job! And the video short of the protesters outside the Rio - that was his work, as well. We worked on the basic idea together but he did all the real work. Did you know that was me playing the part of the Rio security officer? Some didn't know that. Damon and his crew also shot the whole show in High Def video - 4 cameras! That, plus the 24 track audio recording will make a killer DVD of the show, if I can muster the funds and time to produce it the way I see it in my head.

And then there were lights! Rob, the lighting guy for the evening did a stupendous job, I am sure, though I can't tell what is happening while on stage. I do know that we had a great connection and I truly felt he understood what I wanted. I hope I have him enough space to do his thing, as that is his art and that is what it's all about!

A couple of years ago, I had this idea of taking Patti Maxine out of her element and giving her a challenge. I had been used to seeing here with her hair pulled back standing behind her lap steel, playing Hawaiian music. I wondered: what if you let your hair out, step away from the steel and sing "I Saw Mommy Kissing Santa Claus" as if you were old and insane, having a repressed memory flashback? I have spent a lot time developing this part of the story as well - imagine seeing something as a child and never being able to process it. Slowly it devours your mind and leaves you institutionalized, unable to speak or connect with anyone. Unable, that is, until it all comes flooding back to you. That performance is perhaps my favorite of them all - such emotion. Some have said it was disturbing - that's what I wanted! Yes, it's disturbing. That's life sometimes.

You want to talk about heaven?

Then let's talk about Tammi Brown. I first met her a few years ago when I needed a little gospel vocal on a track of me second Altared CD. I got Tammi's number from Sista Monica and had set up a time to meet her in Aptos. It was dark when we met at the parking lot at Safeway. I asked her to follow me, a guy she never met, to this recording studio which was miles and miles into the hills, up windy roads, through the redwoods, and finally, to this ridgetop property. I cue'd up the song and let her have at it. I will never forget that feeling I experienced when she nailed it first time - exactly what I had been hearing in my head for so long.

So forward a few years and I run into her downtown and ask her if she would be in my show and she said yes, without even hesitating. I am going to brag a little here, but I think that arranging "Angels We Have Heard on High" the way I did, and having her sing it, is one of the best things I have ever done. It leaves me speechless, and by the way the audience responds, I am guessing they are enjoying it as well.

I want to make sure that I don't leave anyone out of these accolades. Rich Schmidt on keys was also a new addition. I met him a few weeks earlier while rehearsing for another gig. He was so easy to work with and was more than competent on the keys, despite his insistence that he was really a bass player. Speaking of which, Kyle Gorath played bass on the first part of the show. He and I played together for years in an improv jazz group that got together every Tuesday night at the Cayuga Vault with Pete Coates and Max Drake. Excellent music we made.

I met violinist Carole Mayedo at Patti Maxine's birthday party last year. I was so impressed with her playing that one time, that I asked her to be a part of this. Preparation and rehearsals were conducted over the phone, basically - me describing what I was hearing and her singing back to me what she thought. It couldn't have been more perfect. Did you all catch the "Young Frankenstein" reference when she lured Santa to the stage at the end of the show with her violin playing?

Ukulele Dick was the one who got me started on all of this - encouraging me to perform this music after hearing the first CD I have him years ago. Did you know that he was one of my first guitar teachers back when I was eight or nine years old?

Finally, there is the head protester. The guy who leads the angry mob down the aisle, picking up supporters along the way, all of whom I thank from the bottom of my heart. (One, Aly Kahn, was in the lobby on the way to the bathroom when he was swept up and became part of the show.) Jumping onstage and taking over the show to sing "Rudolph" a la "Roxanne" is none other than my old bandmate, Mark Edwards, from SF. We used to be in a funk band called "Instant Bro" and together with Dave Bell (Dan Hick's guitarist) used to crank out old WAR tunes among others.

We don't even rehearse that last part of the show. He knows what to do and he NAILS IT! "Rudolph! You don't have to put on the red nose! Those foggy nights are over - you don't have to guide the sleight tonight." So many have asked me who he is. He is an old friend - a friend who has remained a friend despite band breakups and the physical distance between us. And the sucka' can sing!

And the idea of merging this sweet little song "Rudolph" with Reindeer Rights advocates cracks me up. "Roxanne" is a song about a prostitute and the man who wants her to stop that lifestyle. It made sense to mix these two songs together to tell a story of a man who wants Rudolph to stop working for Santa, who is clearly taking advantage of her/him.

Finally, there is the finale, where the protesters that we picked up on the way down the aisles turn into an instant gospel choir, joining us onstage for a wild and spontaneous tribute to joy.

This part is the most fun, as none of it is rehearsed at all. We simply know that the key will be "G" and that somehow we will end it. Tammi takes over, Mark joins her, everyone gets introduced... well, most everyone. I had to be reminded to introduce Celina, as I simply forgot in all the hoopla. Of all people....

My hope was to have everyone leave the theatre with a renewed sense of joy and strength for the upcoming days until Christmas. I think it worked.

There are so many other moments I will think of and want to share, but I will leave this lengthy tale for now and let some of you share your thoughts and observations. I hope I have not left anyone out, because it took everyone to make this show happen.

So, what do you have to say for yourselves?

Rhan Wilson