Glass Harp Concert Review
Stambaugh Auditorium
Youngstown, OH
July 01, 2001

From:
Date: Monday, July 02, 2001 16:20

With "strings attached" and an incredible diversity of styles, the Glass Harp rocked Youngstown AGAIN Sunday night in a performance that continually provoked standing ovations from a sell-out Stambaugh Auditorium crowd of about 2,500.

Phil Keaggy, Daniel Pecchio and John Sferra performed with amazing energy and precision, and integrated strings, horns, a flute and a synthesizer at key moments to delight young and old fans alike. What a night.

Like many others, I had characterized the historic October 2000 Glass Harp Strings Attached concert as the finest live performance I'd ever seen. But Sunday's show equalled that and, in some respects, exceeded it.

The $25-$35 ticket price was an incredible bargain for the 22 songs, extended jams, numerous guitar solos, drum solos, impromptu innovation and outright jamming that characterized the evening. Phil used four different guitars, went nuts on the JamMan and the e-bow, and executed a wide variety of new and old sounds in both acoustic and electric formats, and at both mellow and lightning speeds. He is just awesome and, at age 50, may in fact be at his peak as a guitarist. I have listened to this band and individual members for many years, and yet still found myself constantly surprised at how well they sounded. All three of the guys stretched themselves to the limits. As Daniel remarked at one point, sparking laughter, "When you play out of your shoes like that, it can be dangerous."

Daniel, Phil and John applied their energy to a variety of styles, at times sounding like the classic rock band we all love and at others sounding like kingpins of blues, folk, Irish/Celtic or metal. They sounded like the Beatles on some tunes, and on others like a praise band you'd love to hear in church. All the while, I sensed a real holiness, a true presence of the Lord, that came to its crescendo in an emotional closing tune called, "Presence of the Lord."

The major difference between this show and the October extravaganza was that fewer Youngstown Symphony Orchestra members were involved. Legendary conductor Isaiah Jackson was not part of the show, but Jeff Bremer, a Symphony member, worked wonders with the baton. (Jeff is widely credited for helping translate Glass Harp's 1970s-era rock to orchestra scores, making the Symphony's participation in October and Sunday possible).

Still, there were a good dozen Symphony members attached, and the sound of their violins, violas, flute, trumpets and saxes was much better than in October. They were more audible and clearer. Also, because Stambaugh is more intimate than the richly ornate Powers hall, Sunday's fans got a better view of the symphony members and the Glass Harp. The enthusiasm of all involved was much more visible and contagious, and it significantly contributed to the show. From the front row, you could almost reach out and touch the performers. It was a night to enjoy, remember and be thankful for.

Here's a run-down of the songs, with some opinions and musings of each. Although the whole night was great and way beyond expectations, I've noted what I felt were the highlights.

* * * *
Intro: Celebrities from Y-103, a Youngstown radio station, made this short and sweet. The station promoted the concert nicely throughout May and June, and talked about it at length again this morning.

1) Never is a Long Time -- This is one of those songs where you want to cheer as soon as you notice the opening riff, and of course hundreds began shouting as soon as Phil's improv guitar solo evolved to that point. Daniel's vocals were loud, clear and stirring. The volume was very loud ... just perfect.

2) ???????? -- This blues-y song was from the late 1960s and included some great jams and interplay among Daniel, John and Phil.

3) From the Beginning - Absolutely one of the highlights. Lots of classic Glass Harp three-part harmony on the chorus line ("Be thou exalted O God, 'bove the heavens..."), including some a capella. This was a long, long tune with a synth, trumpet and sax all taking turns jamming with Phil. Phil would play something, then one of the horns would improvise it back, and back and forth. Just incredible. Daniel was moving all over the place, and this is the kind of tune that really benefits from his thumping bass. He looked like he had run a fumble back for a touchdown and was celebrating in the end zone. One reason this song is so much fun is that it's based on Isaiah 40, a sort of laundry list of God's creative accomplishments, and so appropriately brings this Scripture alive with a laundry list of musical instruments, sounds and jams. If God had any sound when he created the Earth, I imagine it was much like we heard Sunday night. One of the best moments of the show was when Phil belted, "Lift up your eyes," and Matt Corey went nuts on the sax, even before Phil's words were fully out.

4) Chalice - Good mellow song about suffering. Phil used the JamMan nicely here. Chris Queen, a multi-talented Symphony member, had one of his several Hammond organ solos on this one.

5) John the Revelator -- Another highlight. This was from Crimson & Blue, and John played drums on this track in 1992. John is even better now. He was "like a wild horse," which is how Phil described him in the jacket of the Carnegie Hall CD. Phil was very bluesy with his vocals, even gravelly at times (on purpose), and the three-part harmony was very catchy. Many near me just couldn't help singing along. This tune also had a very extended jam. Phil used the sunburst Les Paul on this tune, and used it more than any of the other boxes.

6) Child of the Universe -- This was an even better rendition of the New Orleans-style version the band worked up for the October show. Daniel wrote this song in the old GH days for his first son, Ted, now 30ish, and dedicated it Sunday to his younger son, Danny, who was there. Daniel's vocals were right on here. Lots of great horn action from the Symphony guys. Felt like Bourbon Street ... but better.

7) David & Goliath, Going Home, Do Lord medley -- This was another highlight. My favorite part is the upbeat bridge between D&G and Going Home, and the mystery-like part at the start of Do Lord. During the latter, the lights went very dark, with only a little white light shining on the three guys. It was an almost eerie effect ... just perfect. I'm talking about that part where it's 90-pct bass, and just a little cymbal tapping. That lasted a little longer than usual, before Phil began applying my favorite of his many guitar techniques -- manipulating the volume knob w/ his right pinky to achieve a flute-like sound.

8) John S Drum Solo -- This was fantastic. The number of contacts he makes with cymbals and heads per second doesn't even seem achievable. So to watch him operate, and to hear how melodic and on-target it sounds at that breakneck speed, is just a delight. What a gift this guy has. At the end, Phil made some drum-like sounds on his Les Paul -- not by pounding it but by fingerpicking! Not sure how in the world it's done, but it sounded somewhat like a drum and also somewhat like a nuclear banjo. Never heard that sound before, even out of Phil.

9) Inseparable -- Phil sings with such passion. He momentarily lost his capo at the end of this tune, and made light of it with the audience ... his playful hunt around the JamMan, amps and other gear actually lasted over a minute. But he made it fun, and drew major applause when he found the capo on the floor and scooped it up.

10) Shades of Green -- This is a great instrumental tune on which Phil used two capos ... I believe the bottom one doesn't hold down all the strings. This was the first time he traded his Les Paul for the acoustic, and he used the Jam Man at length here -- first programming in a nice low-end run, then some tapping on the guitar, then using a bell, almost like a typewriter bell. With those three coming out of the Jam Man, he worked the high end to make a fourth part. Very cool. Several of Phil's relatives were in the audience, and he dedicated this song to the family's "Irish heritage."

11) True Believers -- More JamMan on this, and a lot of passion. Phil's guitar was so clear, and so were his vocals. The sound team did just an incredible job throughout the show, and particularly during this acoustic set. Phil sang into the guitar hole a few times to get the echo into the Jam Man.

12-16) Quiet set -- I loved this part. John came out from behind the drums and played an acoustic between Daniel and Phil for five songs. All five featured a lot of three-part harmony and a folk-like sound. Garden enjoyed fine strings and flute work by the Symphony folks and the flute-like guitar solo from Phil, just like on the first Glass Harp LP. For much of this set, Phil introduced songs and made comments w/an impression of Paul McCartney! Hilarious. Black Horse and Southbound featured nice vocals by John, and On Our Own, a very old Glass Harp tune, featured John and Phil sounding a lot like Lennon & McCartney. Chris Queen played congas on this one, along w/a shaker, at the same time. Everlasting Light, a newer song written by John, featured some excellent Glass Harp harmony. At the end of this set, they did a few fun, impromptu bars of Honey Don't, the 60s (50s?) rock song.

17) Nothing But the Blood of Jesus -- Another high moment for the show. Nothing at all like the hymn, and even quite different (and better) than Phil's recording. Phil used his Fender Strat on this one. It was loaded w/extended jams by all three guys, and had some great horn work by the Symphony musicians.

18) Can You See Me -- One of my favorite songs of anyone, including the Glass Harp. The Keaggy/Pecchio harmony on "Oh-oh-oh-etc." just before the chorus was almost angelic. Kathryn Thomas Umble of the Symphony had an excellent flute solo here. Actually, it was a near-replica of Daniel's flute on the original Can You See Me. She was into it, too. For a classical musician reading music on a stand and wearing obligatory black, she was rocking!

19) Changes -- Phil cranked on the opening guitar solo and on several nifty guitar parts throughout. John beat the drums so hard on one of the jams in this one that I thought they might burst. Kathryn had another excellent flute piece on this tune. John and Phil harmonize so well together.

20) Let the Bells Ring -- This is the best tune on John's Northbound CD from a few years back. Phil used the Parker Fly on this one. Another treat of Sferra-Keaggy harmony. There was a lot of good lights work on this. Whole stage turned near-dark at one point while the strings went at it. This song is characterized by strings riff that, combined w/thunderous drums, was one of the best parts of the show.

21) Presence of the Lord -- Another highlight of the show, and probably its crescendo if not for the encore. Daniel was cranking as he sang this Blind Faith tune from the late 1960s. In introducing the tune, Phil remarked that he went home on the February 1970 day that he dedicated his life to the Lord, and fished out the Blind Faith album to hear it. Pretty interesting that 31 years later, the Glass Harp was playing it in this setting! I have never heard the Blind Faith original, but I can't believe it was anything close to what Daniel, John and Phil put together Sunday. There was an extended jam in the middle, w/Phil using a wah-wah effect, back now on the Les Paul. It was supposed to be the last song, and would have been a fune conclusion, but everybody knew an encore was coming, in that there is no way they would do a show like this w/o Look in the Sky.

22) Look in the Sky -- This was the best part of the show, IMO. John started ripping on the drums from the get-go and never stopped. Daniel and Phil were bouncing all over the place. The jam in the middle was great, as on the Strings Attached CD, but Phil took it into a second jam just before the ending, working all sorts of guitar tricks. Among the many things that reflects this band's togetherness is the way they work from loud to quiet, to fast, to slow, and then back, so seamlessly. Lot of that on this tune. At one point, Phil evolved into "I Love You, Lord," that praise song, and sang it like an angel. He did some fine work w/harmonics, on this tune. At the end, the volume and movement built to a near breakpoint as Phil went up the scale to end this masterpiece.

It was such a fine night that I didn't want to leave the auditorium. Many fans lingered in the lobby, apparently hoping to run into somebody else to gain an excuse not to go home!!! It is hard to imagine music better than this. There was so much volume, so much talent, emotion and enthusiasm, and an undeniable presence of God, all concentrated in such a small place, right where the Glass Harp began. Let's do it again.

-Dan

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