TDIH Whistler, BC 10/18/2002

This week’s #ThisDealInHistory is taken from our Oct 18, 2002 performance in Whistler, BC. Nobody in the band fancied themselves much as skiers but we always had a great time in Whistler primarily due to the fun vibe that permeates the town twelve months a year. This gig seems to be infused with some of that good-time energy. The clip begins with one of our “standing-start” jams - basically a familiar progression that we would pull from our grab-bag and use as a stepping-stone into less-familiar territory. This particular one usually started with electric piano and featured Dan letting loose with some low-end melodic lines. The interesting bass patterns continue when Darren kicks into the main groove at 0:43. I’m holding back for the most part and repeating some short shots while letting Dan lead the way both rhythmically and melodically. Subtle changes start occurring around 1:11 as I bring the piano chords down an octave and introduce a Moog line while Darren adds some bongo licks at 1:40. The bass shifts into a support role and the Moog starts driving the jam by upping the rhythmic intensity. It’s becoming clear around 1:53 that we’re straightening things out in order to begin transitioning into something else. Darren kicks it up a notch with his hi-hat work while Dan turns to his trusty filter to help change the personality of the jam. Things are now less bouncy/more driving and we’re moving into more of a 16th-note machine-gun groove. At 2:31 I trigger the cue for “Ravine” and we subsequently shift to the appropriate key at 2:47. However, note that it actually takes until 3:15 for the proper tonal centre to become evident. Until then Dan and I are buzzing around it, referencing the Ravine rhythm but never solidly landing on it. Even when we do get there at 3:15 I’m still jumping around, adding new chords that drift away from the “usual” Ravine harmonic structure (3:58 - 5:07) until we jump in to the main melody at 5:08. Things get slightly darker at 6:42 with a minor key change and Darren introduces another interesting hi-hat idea that features a neat little stutter. At 7:52 we start morphing into a new section that includes a new chord structure played on the Nord complemented by a blippy sequence on the Moog. We move along in this style until 9:14 when we drop into a unison 16th-note motif (somebody must have given a hand signal) that builds and develops using the same progression (but now on the organ and Juno). A long-note Moog melody floats above the busy pattern at 10:18 until we start breaking down the structure with a tension-filled development section at 10:51. I like the random computer-style vibe that’s going down here. It’s a bit uncomfortable but still driving. Darren triggers the “Glide” cue on the hi-hats at 12:23 and we take the trigger and run with it, culminating in the main section of “Glide” from 13:30 until the end of this week’s #TDIH. -Jamie