Robben Ford Discussion

[Daved]

OK, pull up a chair, kick back, and settle in. This is a long read, but I think there is a little something here for everyone.

OK, so now it's 2006 and vacation is pretty much over.
Yeah, "vacation'. A word which can often be quite foriegn to my vocabulary.

Let me start this off by responding to a few posts I've delayed getting around to. I know that sometimes I may seem a little remiss in responding to posts or subjects brought up and discussed on this board.

There is actually a couple of reasons for this.
1) The obvious "I just don't have the time to immediately respond" reason. Often questions will come up that I DO want to answer but I just can't get to it right away. This has, in the past, led to my actually losing the posts message board location when I can finally get to it and thus losing the full gist of the question.
So, I have taken to copying any questions or comments that I feel deserve (not only for the posts author, but for general community education) to be addressed when I can find the time to a desktop document for future attention.
Please be aware everyone, that just because I don't answer your questions or comments right away, it doesn't necessarily mean I am ignoring your question. Hopefully I WILL find the time to get to it somewhere down the road.
Today, as you will see below, is one of those days. I can't get to all, but I will answer a few.
2) Sometimes however, I deliberately let some posts ride for awhile beacause either:

..."A"... it is a question I have already addressed in the past and I get tired of repeating myself (I understand that new board members have old questions and, though I do want them to get their questions answered, I also realize this is a friendly and knowledgeable community, eager to accept and inform the newcomers) so I let the "old-timers" help the newcomers get up to speed.
...or "B"... I actually want to see what information and ideas the community may have to offer before I respond with my own biases and experiences.

So, let's answer some questions, shall we?
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Johnny Z:
"Now that the ABB tour is over, what are you up to? Well deserved vacation, perhaps?"

Exactly, John!
When ABB finished up last year I looked at the fact that i really hadn't had any lengthy time to myself in several years and, since I had a few $$$ saved up, I decided to take the next 5 or 6 months off, turn down some job offers, and have a real personal life here at home.

I've spent quality time hanging with my family, moved my 80 year old mother down from central California to an apartment here in town where she can be closer the rest of the family, worked on projects around home that I have been putting off, in some cases, for years till I could find the time to accomplish them, lazed around playing video games (Currently finishing up "Shadow Of The Colossus" and prepping for the upcoming next installment of the Tomb Raider series.
I am not a shoot-'em-up or bash-'em dead kinda guy. I prefer to excercise my mind more than my muscle, so my favorite games are the adventure/emersive exploration/puzzle/stealth style games such as, "Tomb Raider", "Myst", "Hitman", etc.) and cultivating my relationship with my girlfriend (yeah, roadies need love too!).

"Will you be involved with the 2006 version of GA&F?"
If there is a GA&F tour this year, I would love to do it if my schedule permits, especially if Robben is involved.
As for ABB, yes it looks like their scheduling this year works for me, so I will be flying to NYC next Tuesday to begin rehearsals for the Beacon shows (13 of them this year, I believe) which will keep me in Manhatten pretty much all of March.
Bert, their manager, tells me they will only be doing 2 legs of formal touring this year as Derek Trucks will have to leave at the end of August to join up with the Eric Clapton tour.
This works out well as it frees me to jump over to Robben's upcoming projects this summer and fall.

"...Not to stray from the subject, but you mentioned several artists/bands you worked with. Some have been mentioned before, and some were new info. Someday, I'd really be interested to see, as I'm sure others would too, a comprehensive list of all artists and bands, with respective time periods, who you've worked for/with... "
I think this could be accomodated at some point in the hopefully near future. In fact, I've got a specific project in mind that will address exactly that (Can you say, "Please update your All-Access Pass Site!"? I have some cool changes and renovations I am developing there for just that kind of thing. Patience, Blue Lobster. It's coming. Really!)
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Cal in Toronto:
"...I'm having a lot of trouble with clicking (static perhaps?) when my hand brushes the pickguard on my tele .... ever come across something like this?"

This question was one I put off for a bit as I was sure there would be good discussion and informative ideas addressing this subject.... and there was.
As mentioned by other members, yes, static is one of those ethereal elements whose symptoms can plague with mysterious, perplexing, and annoying symptoms. The causes and solutions are varied and several great ideas were put forth in this thread.
So, here is my favorite experience/story on this subject:

It was around 1990 and I was teching/stage managing for Eddie Money's band in those days. For most of the summer our support band was a group called "Stevie Salas's Color Code".
One day I was approached by their band and crew about a recurring problem they were having concerning a mysterious & annoying 'pop' that happened thru their bass rig every 10 - 15 minutes throughout their show.
So, I waited with their tech during the show till it happened and I saw what they were talking about. Once it happened, I told their tech to give their bass player a backup axe so I could check out the one he was using. When I got my hands on it, I removed the access plate on the back and checked the electronics inside for a variety of things (failing capacitors, high resistance shorts, etc.). I found nothing blatantly obvious, made a few minor changes to see if I could isolate the problem, then gave the bass back to the tech, who swapped it back out to the player, and the rest of the show went pop-free.
I didn't feel confident that I had figured out what the problem was, but obviously I had done something to stop the problem. So, I told the band & tech that I would be available if the problem came back.
Next day at their sound check.... no problem.
But, come showtime, the pop was back.
Their tech and I went thru the same dance and routine as the night before and, once again, after examining and tweaking a few potential possibilities, the pop was again gone for the remainder of the show.
But I still was not sure why.
Was it something I had done, or was it something temporary going on in the bass rig?
The next day I went thru the rig, the cabling, and the basses themselves but could not find anything obvious.
Soundcheck passed without problems, but the show was highlighted again with this loud presistant 'POP'!
This routine continued for a few days as I got increasingly aggravated and perplexed.

In the classic words of Mr. Charlie Brown: "Arrrrrggghhhh!!!!!!!!!!"

So, now I started watching for and evaluating the patterns.
Why was it that there was never a problem at sound check, but it always returned from the very start of the show itself, until I examined the basses, and then it would go away?!?!
After a few days of observation, it came to me right in the middle of a show like a hard fist in the face! I didn't say anything at first till I had tested my theory and was sure I had indeed found the cause & solution, but the next day, after a very minor tweak at Color Code's sound check, I assured them I was certain the problem was solved.
Lo and behold, come showtime, the bass was clear and fully pop-free, at last!
As the band came off stage they gathered around, congratulated me on solving their dilemma and, of course, asked how I had cured their problem.
My answer was simple, I told them that the easiest way to get rid of the 'pop' was for the bass player to quit wearing the fake leather (plastic) pants he wore nightly as a stage costume. This was a suggestion that the band loved, but the bassist hated (He loved those pants, while the rest of the band hated them).
I had realized that the access covers on the back of his basses were plastic plates that built up a static charge as they rubbed against those pants, till it would discharge thru the electronics every so often. At sound checks, he never wore those pants and, during the show, after removing the plate to examine the axes innards, I usually returned it to the performer without the plate on so I could easily access the electronics for further examination if the problem continued, which of course it didn't till the cover was replaced after the show was over and it was used again, along with those plastic fake-leather pants, the next night.
I told their tech that if the bass player continued to insist on wearing those pants, that another way he could quickly remedy the problem was to simply cover the basses back plate with a none conducting material(like gaffer tape or something) to keep the two plastic materials from rubbing together.
They never had the problem again. Case solved!
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An example of thread discussions I have lost (leading me to start the document in which I store topics till I can address them) that I would liked to have gone over was one asking something about tour preperations, sound persons, and the front-of-house personnel. Unfortunately, I've lost it, can't find it on the board, and don't remember clearly what the actual question was.
So, instead, let me answer this similar question from Ian Hurtt:
"I was wondering just how much prior to a tour gear decisions are made? ....Does Robben get with you, say, a couple weeks before leaving and say, "Let's take the black Baker and the Tele" or does it change all the time? I guess I'm looking for some type of insight on how these types of decisions are made. "

Yes, Ian, that is actually pretty much what takes place, especially in Robben's style of touring.
When prepping a band or artist's tour whose presentation, personnel, and style of performance (such as Satriani, Santana, Eddie Money, etc.) is fairly consistant, basic backline (equipment) decisions do not usually fluctuate much.
Also, these tours usually have a team of people handling the different aspects and considerations of the tour, so individual crew members have a minimal amount of change to deal with.

However, in the case of someone like Robben, those elements continually evolve and fluctuate. So yes, Robben and I keep in touch as to what kind of gigs/tours are approaching and how Robben wants to handle them. Also, in a small organization like Robben's, I often wear multiple hats, sometimes being called upon to be not only Robben's tech, but also his tour manager, production manager, stage manager, sound co-ordinator, equipment manager, tech for the other band members, and transportation manager.

So, when Robben works, it can vary from just throwing a couple amp rigs and a few guitars into the back of my car and hauling them down to a studio where I set up and maintain the gear till Robben's accomplished his recording, and then hauling them back to storage.... to driving a cargo van or truck around town loading up a variety of gear at a variety of locations (from homes or storage buildings) for a variety of different musicians and then hitting the road.

Of course, what musicians and what equipment they will use depends upon the logistics and dynamics of each and every engagement. Will there be keyboards, or horns, or additional guitar players? Once that's decided, they each have their own preference of gear. Is it a big electric rock show, or an intimate club date, or a recording session, or a sit-in appearance, or an acoustic show? They all have their own individual parameters and requirements.

I talk this over with Robben, and then with whatever musicians he hires for the gig, then make arrangements for pickup and transportation, and then work out the monetary limits & requirements with his manager, Dal. I try to get this all sorted out as far in advance of the scheduled recording, performance, or tour as possible, thus allowing plenty of time and "elbow room" for any last minute changes, though I am not always allowed such luxury. LOL!

Robben, for general performances, has basic gear he usually prefers to use, and I have come to learn what those preferences usually are for each situation. But I always check with him in advance, to confirm any possible changes. Having worked with Robben for years now, I can often make suggestions or recomendations which Robben respects, approves, and appreciates.

Robben and I have honed his basic requirements down to some standard essentials which allows me to guestimate what we will be looking at in most situations. For example, one of the basic rule we've developed is that we always try to use his primary Dumble head and the tan 2-12 Dumble cabinet whenever possible.
Also, if I am transporting gear by ground vehicle, I often take a variety of guitars and a couple of amps (usually the backup Dumble head and black 2-12 Dumble cabinet).
But, if we are traveling by air, even if we are shipping gear, Robben and I still take one guitar each in gig bags over our shoulders (I usually carry the Tele and Robben brings a guitar from home... these days it's usually one of his Les Pauls). That way, if everything goes impossibly sour with the rest of the gear transport, we always have a couple of guitars with us. ("Just get us an amp, and we can play!")

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Diatonic Dude raised questions about gear setting markings which led to some extensive discussion:
"...It has a marker for every knob! Why is this?
In the picture, the knobs aren't actually set to these pointers, and I guess this is due to the fact that every venue needs a little fine tuning of the equipment. So, if this is the case, why are these marks there?"

Including observations by Aeolian:
"... I think this is common practice for touring guys.I had a bit of a chuckle at a clinic when Robben invited me to plug into his Dumble combo, there on the top of the cabinet, written on masking tape, were the locations of the power and standby switches. Great for me as I didn't have to feel around the back of the amp for them, not ever having played a Dumble before. But how long has Robben had this amp? And how long has Daved been working with it? You'd think they'd know where the switches were by feel...."
in an additional post Aeolian also mentions:
"...Same thing for live guys. They often use a different mixing board for the opening act so they can set it up at soundcheck and leave it alone while using the main board for the headliner. But in smaller circumstances, the soundperson has to write everything down so they can quickly reset it during the show. ....There's way more to this than the piece of masking tape showing who's in what channel."

AndyR in Baltimore commented that:
"After a "good" gig, I suggested to our sound guy that he write down everything, i.e., what the board settings were, who was using which mike, the monitor and cable configuration, etc., etc... Then for the next gig, he could just set it all up like the last gig, and it should sound *approximately* the same (in theory.) Unfortunately, he never did it...and our setup/sound checks continued to be an "adventure."


A valid question, DD, with equally valid observations by Aeolian and AndyR.
I confess, it was I who put all those markings there and here is my reasons why:
First, I am a "marker" and, in my book that is a sign of professionalism, though many in my end of the business might disagree with me ("Job security!", "You should know your gig inside out!", etc.).
I mark and lable EVERYTHING!
I mark settings for a variety of reasons:

1) When Robben first gets a new piece of gear, I mark what you might call the intial settings. These are the way Robben sets up his settings the first time he uses the gear. This gives me a reference point as we learn how he wants to ultimately use the gear. This way, if he experiments and then changes his mind or wants to compare with his "original" settings, we can always go back.
As he develops the settings he uses consistently, I remark the gear to what I call his "generic" settings.
Standard setups can change with the acoustics of varying venues, or the amount of humidity, or the state of the artists hearing apparatus (ie, ears), or the players mood, and so on and so on. With the Generic settings, I can quickly and reliably set up the performers gear to a consistant and comfortable starting point, from which he (or I, once I become familiar with the performers desires) can easily modify and tweak as he feels the urge and/or need.
2) Many times a techs setup and teardown require high speed. With markings, I don't have to waste time "thinking" when speed is of the essence. Set to the markings and *bam*, you're there, and I KNOW it's right.
3) If another tech has to cover for me, it makes it easier for him to correctly setup unfamiliar gear with the performers unfamiliar preferences... something I'm sure the tech filling in for me appreciates, something I appreciate when I am covering for someone else, and, ultimately, something I know the artist appreciates.
4) If something doesn't sound right with the gear, it assures both the artist and the tech of one less variable when troubleshooting the problem.
5) If the artist has a variety of gear he uses, marking them all reduces the possibility of forgetting or confusing the different settings.

In otherwords, CONSISTENCY, CONSISTENCY, CONSISTENCY, my friends. Nothing assures and reassures an artists faith and confidence in both his gear and his tech, as CONSISTENCY.

6) Also, if the gear is borrowed, it gives an unfamiliar user a good reference point to start with, provided by the person who uses the gear on a regular basis and is therefore familiar with it's individual characteristics & qwirks (as Aeolian mentions when he used Robben's Dumble for the first time).

Now, more specifically, as for the Zen pedal's radical settings that you observed & questioned, DD...
The markings you saw in that photo were the "INITIAL" settings I put on that pedal the first time Robben actually used that particular pedal. I know which Zen pedal that was and I clearly remember marking it. It was a gig in Colorado and Robben used it thru a locally provided amp (I forget what kind of amp it was, but it was not one he normally uses) so the initial settings were possibly quite different than what he ultimately settled on once he started using it regularly with his Super Reverb shortly thereafter on the Mayall gig. I was not on those gigs, so I haven't had a chance to modify and update to the more "Generic" settings which would be closer to where he normally sets the controls now.

Also, as regards marking locations of switches, cables, jacks, etc.
This again, for many of the reasons listed above, speeds up and improves accuracy of setup when prepping a stage. I color code cables and their corresponding termination points to assure that that quarter inch plug always gets plugged into the correct jack, especially in a possible line or bank of similar jacks, wether I'm doing it myself, or whether someone else is helping me out.
This applies to all cables and connections (AC power cables or audio cables or data cables, etc.).

Speed, Accuracy, and consistancy = professionalism, reliability, ease of trouble shooting, and peace of mind.
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Well, there you have it.
A LOT of ketchup and, I hope, a lot of questions answered.

So let's move on to what 2006 holds in store, shall we?

First off, for you gearheads.
Cute joking when I mentioned Dumble "servicing" Robben's OD Special.
Now, here's the scoop on what is specifically going on with his Overdrives.
Robben and I have decided that the OD combo amp must go.
It was a lofty experiment, but the reasons we tried it in the first place are no longer working out in the current climate of global travel. Alexander originally modified Robben's spare OD amp head to a combo for us to hopefully make travel easier and for conveience in situations where it was cumbersome to use his full 2-12 rig.
However, due to all the travel restrictions of recent years, this is becoming more and more of a moot point.
So, we've decided to convert it back to the old head and 2-12 cabinet setup.
Dumble has been building a new shell to house the amp and preparing it for the old, and original, configuration... returning the Dumbles to the original 2 identical setups.
So say goodby to the Overdrive Combo, folks. It's history.

Now, what are Robben's plans for this year?
I've been speaking with Robben and here's some of the projects under consideration, some confirmed and some still being looked at and evaluated
.
For you L.A. people, Robben tells me he has been doing some "jam" recordings with an assortment of players at a small studio in the Valley. I don't know yet what will become of those recordings, but he says this is leading into some weekly jam sessions he's planning on doing at a Hollywood nightclub beginning next week. He was hoping I could help him out with those shows, but I fly to NYC next Tuesday to start the Allman Brothers at the Beacon Theatre shows through the month of March, so he'll have to wing it on his own. Maybe Jeff Rivera (his old tech) will be available to help him out.
That's all I know about those "Jam shows" (as Robben calls them), so if you're in the L.A. area and interested, I'd check out the local trades or call around for more info.

Then, Robben will be doing the date in Huntington, Long Island with Larry Carlton on March 17th. Robben told me this morning that it will most likely be a double bill show with Robben using Larry's band to back him up for his portion of the show. He says he also imagines that he and Larry will sit in briefly in each other's show. Just gotta love an evening like that, right? And to answer your question, JackD, Robben plans to ship his Dumble cabinet out to New York and then use one of Larry's Dumble OD amps thru it.
I won't be there, as I will be working with Allman Brothers at the Beacon Theatre in NYC that night, but... we are looking seriously at Robben coming into the city and guesting with Gregg and the ABB either the night before or after (16th or 18th) depending on travel arrangements.

Then, somewhere around the end of April, or scrunched in between the Florida club + festival shows and the Yoshi's dates in May, he plans to go into the studio and record his next album for Concord records.

After that, besides the already confirmed Yoshi's shows in May, JavaDiva will be happy to know that Robben wants to do another short west coast tour up into Seattle, Portland, Eugene (?) and possibly more California dates around the middle to the end of June.

At the end of July and into the beginning of August he wants to go to Italy & Europe.

After that, other projects he's mentioned being discussed are possibly doing an album together with Robert Cray.
He's also talking with Larry Carlton about doing an album together with him, too. Plus possibly a Japan tour with Larry, and maybe filming a live Carlton/Ford DVD while they are there.

And there you have it, everyone. As much as I know at this point, but Robben agrees with me that this could be a very full and productive year.

We'll see how things go and I'll try to keep you abreast of things as they are confirmed to me.
BC-ing You all!

==================
Oh yeah. Before closing there is one last topic I would like to address... the issue regarding Red Rooster.

Red actually introduced himself to me (in, and as, his every day identity) right before a show a few years back while I was taking a guitar to Robben's dressing room , but it didn't dawn on me that it was him until the show began and by then, of course, I'd lost him in the crowd.

The whole Red Rooster event was something that happened a long time ago and I think can, and should, be left to rest.
However, before doing so, I would like to clear the air about something which I hope will help to settle the issue with some of those who were involved in the episode and are still troubled by the way it all came down.

It began on the old board with a heated argument between myself and Red. My fault as much as anyone's. Yes, those things happen, and still do on occasion. I am sorry for that. I let my emotions and personal opinions get out of hand and for that I apologize to all who ultimately became involved, especially to Red. The argument grew to involve several members passionate in their thoughts and beliefs (some backing me and some siding with Red).

What I would like to make clear to everyone, however, is that the old board was not a secure "gated" community such as the current one set up by the Captain, and because of that, it easily opened up to at least one, possibly more, of those severly disturbed type of individuals from outside of the community who love nothing better than to fan the flames, and take joy in stirring up dissent, discontent, and hatred.
Like terrorists, they find no satisfaction in being a supportive element, helping to build and advance a positive, uplifting growth, beneficial to everyone. But rather, they take pleasure in senseless destruction and ruination, trying to rip apart the fabric of intellect & civilization.
I'm sure that board members from that time will remember that that was when things started getting confused and uncomfortably out of hand.

What they don't know is that it quickly grew to a point that moved outside of the board postings and started taking on the scope of personal threats and irrational demands upon myself, Robben, Robben's manager Dal, and even Robben's record label.

I personally do not believe that this was done by Red Rooster, but rather, by at least one entity whose own identity mutated thru several incarnations to misuse the community discussion to start confusing the issues, actually impersonating regular board members (myself included), and pitting member against member with slander, vehemance, and extremely foul langauage.
False postings appeared while actual postings and discussion mysteriously disappeared.
It got to a point where I (and others in Robben's organization) could not clearly tell the good guys from the bad guy, with no hope (or way, under the conditions of the old board environment) of resolving or controlling the situation.

That was why I left and, for those of you who were unjustly affected by the situation (Folks such as Diatonic Dude and others, to whom I sincerely aplogize for my distrust and excessive caution when meeting you in person at the time.
Please understand, there was alot going on, deeper and more disturbing than what was witnessed by the general public and board membership).

Let me just say that Red, in his current board identity, has shown me to be a beneficial and supportive member of the Robben Ford community, reaffirming my belief that he was NOT the board terrorist who led to my leaving the community for a year or two till things settled and Captain Kirk (Dave... who took the bull by the horns) created a controlled environment which led me to finally feel secure enough to return and reestablish my own involvement here.

The malcontent of whom I speak has tried to slip into this community a couple of times in recent years, but Dave has quickly spotted him, contacted me, and has, in my opinion, dealt fairly and efficiently with him in ways I approve, thus keeping this community open and safe for those who do appreciate Robben and the kind of fans he attracts.

I say we should let things rest and allow Red to continue in his present incarnation as the beneficial, constructive, and supportive member of Robben's community that he is now and as he was back in the early days of Robben's internet-community.
_________________
B C-ing U!
( }:-Daved
"This boy's diseased with rhythm!" -Bing Crosby (Road To Rio, '49)

[JackD]

Daved:

Thanks for the terrific post! It must feel great to get all of those pending questions answered. We really appreciate how you keep us posted.

Thanks for the download on Robben's potential activities for the year. You've got to tell Robben to swing by the Midwest sometime too. Hell, I've got to fly all the way to New York just to catch him with Larry Carlton (which will be well worth the trip). Hopefully, I'll be able to talk to him then and convince him to come back to Michigan sometime soon.

Enjoy the rest of your free time. It sounds like you will be having a busy 2006 as well!

[Ian Hurtt]

Daved,

Thanks for the very informational post, both for answering my question more fully than I could have imagined, and for the obvious time and effort you put into giving us a glimpse into your world.

[JohnnyZ]

That would make a great Forward to the book that our resident old codger is always hinting towards...

[Ruedy]

WOW! I gotta read that one over again a few times!

We're lucky to have Daved!

[FatTeleTom]

It's the mother of all Daved posts! Great stuff--thanks as always for taking the time to share all this, and congrats on what sounds like a fun vacation.

Hmm, a Robben + Robert Cray album, a Robben solo album, Robben+Larry CD, Robben+Larry live DVD, plus these "jam" recordings. Well, that all sounds VERY good to me!

[johan]

Damn, that the best post I've read, ever, period!

Like Fat Tele Tom said, Robben CD, Robben Cray CD, Robben Carlton CD AND DVD...too good to be true. + I REALLY look forward to the European tour this summer. Don't forget Scandinavia...!!

[BlueRunner]

Wow. Many thanks, Daved. Earlier today I printed a hard copy, and then enjoyed lunch at my favorite local cofeehouse, pouring over all of your great information and observations.

I must have come on the scene too late. I know nothing about the "Red Rooster Incident," and would probably like to stay that way. Life is tough enough just going through every day and doing those things we regularly have to do (but fortunately for many of us, actually love to do, as well), without folks who get their jollies out of making things even more complicated.

Oh yeah ... and thanks for the tip about the phony-leather plastic pants. Guess mine go into the trash as soon as I get home tonight!

Thanks again.
_________________
- BlueRunner

[diatonicdude]

Daved,

you are a credit to Robben, and your profession!

To take time out to provide feedback to the extent above, with obvious sincerity and thoughtfulness makes for a truly admirable person, in my opinion!

By the way, a big thanks for the reply to my question too

With respect to the Red Rooster saga, I fully understand the stance you took. I too got embroiled in the opinionated crossfire, which at times made me beg the question why I bothered with the forum at all! But that's in the past, so lets let bygones be bygones.

So, the next time I meet you at a RF gig (hopefully in the UK this year) I will buy you a drink. I know this will probably have to be non alcoholic as you are working, but the offer will be there!

Lastly it happening, at last! Robben with Larry C, and possibly a DVD too (great to hear about the other projects also)! That leaves just RF with Jeff Beck!!!!

All the best to you,

DD
_________________
Music is the universal language; speak it with emotion, listen with a passion.

[Cal]

But Daved, I loved those plastic leather pants.

Great post. Glad I missed those red rooster days, too.

Cal

[Cal]

But Daved, I loved those plastic leather pants.

Great post. Glad I missed those red rooster days, too.

Cal

[Daved]

Quick update:

I've been on the phone off and on all day speaking with Robben here in California (he's been laid up with a severe cold over the last week and a half, but is feeling much better now) and Bert (Allman Brothers manager) in New York.
It looks like Robben would like to come into NYC and guest with the ABB at the Beacon during the March 16th show. We're still confirming travel arrangements, but it's all looking pretty firm at this point.

I suggested to Robben that he use his Zen pedal thru one of Derek's Super-Sixes, and he liked that idea, so that's looking like the plan at this point.

BTW, I mentioned my new AC-30 to Robben and he thought that was great. Says he's always wanted one. I told him he was, of course, always welcome to borrow mine and he said he'd love to try it out.
_________________
B C-ing U!
( }:-Daved
"This boy's diseased with rhythm!" -Bing Crosby (Road To Rio, '49)

[jconstant]

[sfhalo]

Daved: What a great post............thanks for the time you spent answering those questions. I have one more.............Why doesn't Robben play in the San Diego area? There are now several great venues (House of Blues, etc.) in the county and though I saw Robben play at the Belly Up Tavern twice about 5-6 years ago, he hasn't been back since. I recently had a chance to speak with Robben's brother, Patrick, when buying the Mike Bloomfield tribute CD and mentioned this to him. Patrick mentioned that for certain reasons there was a problem getting Robben booked into this area. Possibly, it's the economics? Maybe, you can fill us in. Thanks for the 2006 updates.........more fantastic music and a live concert DVD is what we've all been waiting for.

[henkholland]

Daved, thanks for the update. Very interesting. Great to hear about the plans of an European tour. Any news about the release of "the best of CD" with the studio version of Moonchild Blues?
Henk