When Acoustic Alchemy began touring in the mid 1980’s, their image and their music were defined by the sound created when two acoustic guitars take the lead as the dominant instruments. Though it was hard to categorize their music, people loved the dual guitar sound. In the late 1990’s tragedy struck, and Acoustic Alchemy was forced to reinvent themselves. Still led by the core sound of two guitars, Acoustic Alchemy branched out and began touring as a full band – complete with keys, sax, drums, and bass. In the early days, when I was just discovering this genre of music, I liked Acoustic Alchemy’s music, but I was not the fan I am today. I became a major fan, with the reinvented band. Therefore, I admit I was a little apprehensive about the trio tour.

The show took place at the intimate Blues Alley nightclub in the heart of Georgetown, Washington, DC.  Intimate not only describes the nightclub, but the mood and style of the show as well.  Between songs, band members, and longtime manager, Stewart Coxhead, told stories and anecdotes, and gave commentary relating to the band, their songs, the audiences, and life on the road. They also provided a brief Q&A session midway through the show.  The stories helped to bring the band a little closer to the audience, and, in turn, the Q&A session brought the audience a little closer to the band.  This further enhanced the feeling of intimacy which was prevalent throughout the show.

The evening’s set list began with "The Alchemist," which we learned is dedicated to John Parsons, affectionately known by the band as "the third Alchemist."  Acoustic Alchemy was then joined by special guest Terry Disley, (their original keyboardist), for "Casino," and another AA favorite, "Mr. Chow."  Bandleader Greg Carmichael describes that song as "Chinese reggae."  It’s evident from his enthusiastic playing that he likes that song a lot.

Acoustic Alchemy fans are sometimes divided between the music from the original AA era and the music from the AA of today.  I came on board with the new AA, but this trio concept proved to be a great experience.  The Trio tour is a way of presenting the material in its original context.  It is a gift to long time AA fans, and an opportunity for newer fans like me to experience something musically unique.

Having only heard the full band versions of such tunes as "Playing for Time," "Trinity," and "Laseez," I erroneously imagined that hearing them played in the trio format would somehow take away from, or diminish, the quality of the songs in some way.  I could not have been more wrong in this assumption.  These songs were presented beautifully. Their sound was rich, full and clear.  They were all perfectly suited for the acoustic trio format.  None more so than "Ariane," which built into a glorious crescendo by song’s end. In addition to it being a song that plays well in both the full band and the trio format, "Playing for Time" continues to be a visual treat as well.  The perfect synchronization that exists between Greg Carmichael and Miles Gilderdale when they play this song is impressive.

For someone who was not heavily into the early AA work, I was surprised at how familiar I was with every song in the set list, (with the exception of Terry Disley’s wonderful tune, “Three Arabian Nights").  Another one of my early favorites, “London Skyline," sounded just as good, if not better, than the first time I heard it way back when.

Webster defines alchemy as: an apparently magical power or transmutational process.  As I listened to the music, I was able to feel what those early AA fans felt in the band’s early days.  I could feel the magical power hard at work.  The alchemy had done its job.

Mary Bentley

Photography by Joe Angel of Digital Alchemy Photography
and Art Karpf