The Ear of the Mind

RIP Clare FIscher

2012-01-27T17:20:00.002-05:00

Sad news today. Clare Fischer was a wonderful composer with a very rich harmonic pallete. Here's some Freddie with Blakey as a tribute:

New Year, New Possibilities?

2012-01-02T11:46:00.003-05:00

I am optimistic by nature.

I really love the end of the year. Looking back over past events and thinking about the future always makes me feel hopeful. This year, however, I feel more optimistic than usual.

This could be for several reasons, but my take is that this will be a year of milestones for me:

- I turn 40 in October

- I've completed my Master's coursework and will "walk" this Spring

- One of my best gurus, David Liebman, will be conducting his 25th Saxophone Masterclass (I attended his 10th). This will be a "reunion" class and I WILL attend this.

But, I am tempering my optimism with a sense of deficiency. Looking at others in my peer group, I still feel like I am "behind". My playing and my writing all seem like they are behind where they could be. In that spirit, I am using some of the milestones above to focus some of my artistic work and projects for the upcoming year.

Speaking first about Lieb's Masterclass. When I left his class, I was very focused on what I needed to work on. Over the last several years, that focus has really widened - I think prematurely - beyond the principles that he gave me. In preparation for going back to him this Summer, I am focusing my practicing back to the principles that I got from him. Mastery of sound and technique as well as the assimilation of primary sources through transcription. I'm putting everything else on hold and dealing with my instrument and transcribing for the next several months. Eventually, I'll work some writing back into my routine, but I need to really narrow my focus to prepare for the masterclass.

With regard to my MM being completed, I have some decisions to make academically. DMA? If so, do I start right away or take some time. I am inclined to take some time, both to focus on the work detailed above and because the balance of academic work with my responsibilities to Navy Music was an incredible challenge during my Master's work. I'm not sure I can split my brain into that many horcurxes again. Also, having had a look "behind the curtain" of academia as a teaching fellow I have some thinking to do about my future in that world.

As far as turning 40 goes, I do feel the need to mark this event somehow. I wonder if the time is right to make a serious recording towards the end of this year.

Looking back over the past year leaves me a little disappointed with my artistic growth. I am most optimistic about the potential for more growth this year.

Happy New Year to all!

Are we (musicians) our own worst enemy?

2011-11-24T19:53:00.004-05:00

I want to get these thoughts down before I slip into a food coma...

I have been thinking a lot about the current scene here in Rhode Island/New England and I realize...I have seen the enemy, and I am he. I always notice when I am playing, a lack of fellow musicians in the audience. This makes me grumble a bit...at least it did until I took an objective look at myself. When I am not working (which, like most of us, is more often than not these days) my behind is most often fused to my sofa watching Rachel Maddow or 30 Rock, NOT out at a club supporting my colleagues. This is unacceptable. If there is to be a sustainable jazz scene in Providence then it is up to us to support each other and this is a commitment I am making tonight. I have come to love Providence and I can see myself settling here someday. There is such potential here for a healthy creative music scene, but we need to get out of the house and support it. The commitment I am making: if there is live jazz happening and I am not working, I will be there. I have left too many of my friends and fellow musicians hanging...if I'm not on my gig, I'll be at yours.

A scene is created by showing up. I want to show up.

Happy Thanksgiving to you all!

OCCUPY THE JAZZ CLUB!

Everything can be practice

2011-06-10T17:00:00.002-04:00

I played a graduation today.

It was a concert band setting, light classical and the inevitable "Pomp and Circumstance"...a LOT of consecutive quarter notes, imagine the "motor" behind the melody and that's what I was playing. This would be a tempting place to go on auto-pilot and mentally visit the Azores as we repeated the melody over and over, but something about the way we were playing the quarter notes reminded me of something from my undergrad days. My teacher Stephen Duke has an exercise that he called "The Scale and Arpeggio Exercise", the specifics of which are to deep to go into here. Suffice to say, that a portion of it involves tapering notes to silence in time.

I decided to take this few minutes of playing quarter notes and be hyper aware of my note lengths, taper, and attack. Could I make each taper the same length? Could I control the taper in such a way that there was true silence between each note? Could I EXACTLY match the tapers of my colleagues?

In playing this passage while asking myself these questions, I was able to take a simple gig in terms of technique (in terms of "fast fingers") required and make it into a valuable practice session in instrumental control (every bit as much "technique", yes?).

It can be tempting to mentally check out from time to time on simple music. But, if we look deeply enough, there is a lesson every time we pick up our instruments.

Primary Sources and Modern Inspiration

2011-04-25T17:49:00.002-04:00

I have been slow to warm "modern" musicians. I think I can trace this attitude back to when I was in high school and I really began to get serious about listening to jazz. My father had a record collection that included Miles, Trane, Herbie Hancock, among others. By the time I was 15, I was pretty clearly ensconced in the Trane-Wayne-Sonny-Joe universe. My first year of college, I was probably the only one there who hadn't been wearing out Brecker's "Don't Try This At Home." I say this all by way of realizing that my musical world view is seen (heard?) through a lens in which most of what I hear in my head as an example of an ideal is at least 50 years old.

I have, of course, come to love the entire spectrum of music, but jazz recorded between 1957 and 1972 will always hold a place in my heart as the TRUTH.

I love to listen to many musicians on the scene today, but for study and inspiration I always find myself going back to the primary sources. How about you?

John Coltrane

2011-04-13T18:29:00.003-04:00

I have been listening to the master a lot these days.

Specifically, "Meditations". It has taken a long time for me to really be able to appreciate some of Trane's music from his later period. I've come to hear that the music on this recording, while being very abstract, contains some of the most intensely beautiful melodies anywhere on record.

Consider the following from the "Love" movement:

What really touches me is the relatively simple way that Trane treats the melody (starting around 2:20). The simple, almost child-like melody with increasingly dark and shifting colors never fails to grab at my heart as does the absolute conviction that Trane plays with.

Just beautiful....

Happy New Year!

2011-01-01T00:41:00.003-05:00

Farewell 2010...hail and well met to 2011! I spent the last hour of 2010 listening to this. I'm rather embarrassed to say that, while I've know about the Bill Evans episode of Piano Jazz for quite a while, I hadn't heard it prior to this evening. What a great conversation. The playing is absolultly beautiful and hearing Bill talk about his processes is a treat. His thoughts on structure should be required listening for all musicians.

Here's an excerpt from The Universal Mind of Bill Evans where he discusses and demonstrates more of the same.

Music Other Than Jazz

2010-12-28T09:50:00.002-05:00

I have A LOT of unread stuff in my RSS reader.

One of the subscriptions I try to read regularly is The Atlanic's culture feed, on which I found this this morning. I had not heard of John Vanderslice previous to today and I have full intentions of making Pixel Revolt my next iTunes purchase. It did get me to thinking, though...how much music do I miss by being SO focused on jazz all of the time. I understand the current trend of jazz musicians taking current material as their source material, but most of my listening remains focused on the perfecters of the art, i.e. Joe Henderson, Trane, Wayne, and Sonny. Additionally, most of the "modern" folks I listen to are steeped in that language as well. The modern guy I'm listening to most these days is Rich Perry.

But, the purpose of this post is not to debate the artistic merit of old vs. new or jazz vs. everything else. My discovery of John Vanderslice today was a joyful one to be sure. It reminded me of how much other music is out there that I love. For instance, REM and U2. I have some stuff from these folks on my workout playlists and every time they come up I remember how much I love that music. The Decemberists are another example.

How about it: what music other than your "favorite" inspires you?

I should read the stuff in my RSS reader more often...

Happy and Merry...

2010-12-24T15:46:00.000-05:00

Jazz Advice

2010-12-24T08:25:00.002-05:00

Jazz Advice is the kind of website that I think the internet was made for. A wealth of good information from folks who know and it is interactive. You can pose questions to the hosts and they will address them with an article. I've just begun to dig into some of the stuff on the site and it is just great information. A most helpful tool.

I came across this website through Eddie Rich's blog. Eddie is a great saxophone player and you should really seek out some of his stuff. Thanks Eddie, for turning us on to this great site!

Surface Structure vs. Deep Structure Part III

2010-10-30T09:27:00.000-04:00

Back to the discussion of Surface vs. Deep Structure in improvisation...

In the last entry, I discussed distilling a transcribed line down to its essential construction. Shown below are the original line and one solution for its "Deep Structure".

Original:

Deep Structure:

Using this raw material one can quickly see that the Deep Structure for this line involves using an Eb Major triad over the Fmin7 chord and an E9 chord over the Bb7. Both of these are quite standard superimpositions, the Eb Major outlining the upper structure of the Fmin7 and the E7 being a tri-tone substitution for the Bb7. Using this schema as our roadmap, the next step is to compose our own lines based on Warne's Deep Structure.

Some solutions follow:

As we develop more material from Warne's Deep Structure, each of the lines developed should be taken through the transformative processes discussed in the previous post.

For a very comprehensive discussion of the pedagogical value and use of transcription as well as a recommended list of solos to transcribe, I recommend this article from Dave Liebman's website as well as his video: "An Improviser's Guide to Transcription" (available through Caris Music Services). Both of these references, as well as my experiences studying with Dave have helped to solidify my thoughts on transcription and informed many of the processes described here.

All praise Mulgrew!

2010-10-26T21:51:00.000-04:00

Haven't been around much lately...school's back in session. I came across the video below and had to share it. Such sage advice. More deep structure coming...I promise!

Sunday Video

2010-09-12T12:52:00.000-04:00

Here is a link to a great link to an interview with saxophonist Walt Weiskopf. Walt is a great modern player whose ideas about hexatonics/triad pairs are very well known in the Jazz Education world.

Here's a video of Walt's sextet:

Thoughts on book burnings

2010-09-08T10:55:00.000-04:00

Please permit me a brief step away from discussions of Deep Structure and Improvisation. Many will have heard of Pastor Terry Jones' plan to stage a Quran burning in Florida on September 11th. I wonder how our Founding Fathers would feel about this. Below is a transcription of some correspondence between the Touro Synagogue in Newport RI. Among the oldest Synagogues in the United States.

We as a Nation would do well to reflect on these words:

The letter from Moses Seixas to President George Washington:

To the President of the United States of America.
Sir:
Permit the children of the stock of Abraham to approach you with the most cordial affection and esteem for your person and merits — and to join with our fellow citizens in welcoming you to NewPort. With pleasure we reflect on those days — those days of difficulty, and danger, when the God of Israel, who delivered David from the peril of the sword, — shielded Your head in the day of battle: — and we rejoice to think, that the same Spirit, who rested in the Bosom of the greatly beloved Daniel enabling him to preside over the Provinces of the Babylonish Empire, rests and ever will rest, upon you, enabling you to discharge the arduous duties of Chief Magistrate in these States. Deprived as we heretofore have been of the invaluable rights of free Citizens, we now with a deep sense of gratitude to the Almighty disposer of all events behold a Government, erected by the Majesty of the People — a Government, which to bigotry gives no sanction, to persecution no assistance — but generously affording to all Liberty of conscience, and immunities of Citizenship: — deeming every one, of whatever Nation, tongue, or language equal parts of the great governmental Machine: — This so ample and extensive Federal Union whose basis is Philanthropy, Mutual confidence and Public Virtue, we cannot but acknowledge to be the work of the Great God, who ruleth in the Armies of Heaven, and among the Inhabitants of the Earth, doing whatever seemeth him good. For all these Blessings of civil and religious liberty which we enjoy under an equal benign administration, we desire to send up our thanks to the Ancient of Days, the great preserver of Men — beseeching him, that the Angel who conducted our forefathers through the wilderness into the promised Land, may graciously conduct you through all the difficulties and dangers of this mortal life: — And, when, like Joshua full of days and full of honour, you are gathered to your Fathers, may you be admitted into the Heavenly Paradise to partake of the water of life, and the tree of immortality.
Done and Signed by order of the Hebrew Congregation in NewPort, Rhode Island August 17th 1790.
Moses Seixas, Warden

The letter from George Washington in response to Moses Seixas:

To the Hebrew Congregation in Newport Rhode Island.
Gentlemen,
While I receive, with much satisfaction, your Address replete with expressions of affection and esteem; I rejoice in the opportunity of assuring you, that I shall always retain a grateful remembrance of the cordial welcome I experienced in my visit to Newport, from all classes of Citizens. The reflection on the days of difficulty and danger which are past is rendered the more sweet, from a consciousness that they are succeeded by days of uncommon prosperity and security. If we have wisdom to make the best use of the advantages with which we are now favored, we cannot fail, under the just administration of a good Government, to become a great and happy people. The Citizens of the United States of America have a right to applaud themselves for having given to mankind examples of an enlarged and liberal policy: a policy worthy of imitation. All possess alike liberty of conscience and immunities of citizenship. It is now no more that toleration is spoken of, as if it was by the indulgence of one class of people, that another enjoyed the exercise of their inherent national gifts. For happily the Government of the United States, which gives to bigotry no sanction, to persecution no assistance requires only that they who live under its protection should demean themselves as good citizens, in giving it on all occasions their effectual support. It would be inconsistent with the frankness of my character not to avow that I am pleased with your favorable opinion of my Administration, and fervent wishes for my felicity. May the children of the Stock of Abraham, who dwell in this land, continue to merit and enjoy the good will of the other Inhabitants; while every one shall sit in safety under his own vine and figtree, and there shall be none to make him afraid. May the father of all mercies scatter light and not darkness in our paths, and make us all in our several vocations useful here, and in his own due time and way everlastingly happy.
G. Washington

~ Emphasis mine...

Colossus!

2010-09-07T09:56:00.000-04:00

Sonny Rollins turns 80 today! Happy Birthday, Newk!!!!!

See NPR's story here.

Sunday Video - Miles' 2nd Quintet

2010-09-05T12:36:00.000-04:00

Some amazing playing from 1967...

Surface Structure vs. Deep Structure Part II

2010-09-04T08:24:00.000-04:00

In my previous post, I spoke a bit about surface structure and deep structure, their linguistic implications, and how they may apply to improvisational pedagogy. In this post, I'll share some examples of how I use these techniques in my own playing and teaching.

Dave Liebman says "Learn from the fathers, not the sons" and this is a hallmark in my study. Transcription serves as the point of entry for all of my study and the transcription I do is of "Primary Sources" - more about that later. We'll start with a Warne Marsh ii7 V7 line I recently transcribed:

This line constitutes a "surface structure" statement. Many would use take this line through all keys and begin to use it over similar harmonic progressions, much the same way we would quote a line of Frost or Shakespeare. It would function very well, and give us very usable vocabulary. There is, however, much more that can be mined from this line. By using a series of transformations, in this case all based on traditional "theme and variations" technique, we can develop much more vocabulary that is original but shares the same "deep structure" as Warne's original line. Here are some examples:

We see that after some rather basic transformations, we have 5 new surface structure statements that all share the deep structure of the original line. Each of these lines can then be practiced through keys and used as vocabulary for improvisation.

Our next step is to return to the original line and really isolate the deep structure. What is the essential construction of this line? What makes it work? One solution follows:

This deep structure now becomes the basis for development of more original material through the process of transformation as discussed above. The next post will go through that process.

It is clear that approaching vocabulary development this way can result in a much deeper well of material than we would have by simply learning and using Warne's line. The beautiful thing is that all newly developed material has Warne's material as its deep structure. Because of this, most transformations will retain the strength and logic of the original line.

Surface Structure vs. Deep Structure

2010-09-03T13:45:00.000-04:00

I have been going between two different approaches in my practicing lately. The first is a very traditional approach to learning to improvise: learning pieces of vocabulary (licks), taking them through all keys, and inserting them over appropriate harmonic situations in tunes. The other is an approach that I first came across in Jerry Bergonzi's great book "Melodic Structures" and have seen amplified by Ed Saindon. In this method, a small cell of notes is drawn from the chord scale in use, permutations are practiced and this becomes the raw material for improvisation. The cells are then rhythm-ized, "edited" and the player is left with harmonically and rhythmic sound language.

I have always had a hard time with the first approach. I never feel that I am really deeply connected to the vocabulary when I approach it this way. Using vocabulary that I have learned this way always feels forced.

The second method resonates more deeply with me. It made sense as soon as I started using it, and I feel MUCH more in control of my improvisation as well as more creative.

I have read bits about Noam Chomsky's ideas about linguistics, specifically the ideas of surface structure and deep structure and I feel that these two approaches mirror, in a very general way, Chomsky's model.

The first method is the surface structure; you are learning the sentence and using it verbatim. The second method is the deep structure; you are learning the building blocks of the sentence, understanding the linguistic transformations that take place, and using those rules to create your own sentence.

In my next post, I will post some examples of the two methods.

Sunday Video - Gerry Mulligan

2010-08-29T10:04:00.000-04:00

Great writing and playing on "Walkin' Shoes"

The Sound

2010-08-25T18:53:00.000-04:00

I am listening to Stan Getz.

Any time I put one of his records on my first thought is "why do I EVER listen to anyone else?!?!" Getz often gets "sorted" into kind of a holdover from the swing era - nothing could be further from the truth. His playing in the 80s right up until he passed (my favorite period, by the way) is as rhythmically, harmonically and sonically advanced and adventurous as anyone but to me, and unlike other adventurous players, Getz steeped everything through a deep well of swing and taste.

One of my favorite things about Stan's playing is what I call the sense of inevitability that his lines have. A great example of this can be heard on "Stan's Blues" from the album "But Beautiful" recorded with Bill Evans. He takes several unaccompanied choruses and EVERYTHING, time, harmony and melody is so clear that as I listen to it, my reaction is that there could be no other choice. His lines are THAT definitive. That kind of clarity is what I strive for every day.

I think I'll be listening to Stan for a while...

Here's a nice clip of Getz with musical soul-mate Kenny Barron:

The Locals...

2010-08-24T06:40:00.000-04:00

There is an interesting discussion going on over at A Blog Supreme dealing with "the great unknown" jazz artists. That is to say, the local cats on the scene who we don't see on the cover of Down Beat or hear at major festivals.

I've come across some VERY HEAVY local guys in my travels including the following, many of whom I've had the honor of collaborating and working with:

Hampton Roads, Virginia:

Jim Nesbit: Woodwinds
Eddie Williams: Saxophone
Roy Muth: Trumpet
Jackie Friend: Trumpet
Jimmy Masters: Bass
Chris Brydge: Bass
Howard Curtis (now in Austria): Drums
John Toomey: Piano

Naples Italy:

Giulio Martino: Saxophone
Tony Ronga: Bass

Chicago IL:

Jim Gailloreto: Saxophone
Ari Brown: Saxophone
Greg Fishman: Saxophone
Brad Wheeler: Saxophone
Karl Montzka: Piano
Eric Montzka: Drums
Dereck Polk: Bass
Tom Hipskind: Drums

Newport/Providence, RI:

Joe Parillo: Piano
Joe Potenza: Bass
Alex Chapman: Drums
Geno Rosati: Guitar

There are so many more, but these are some of my favorite folks to play with and listen to. We all know how important it is to support the local scene, who are some of the cats in your town?

13 Years Ago...

2010-08-10T21:04:00.000-04:00

I have been following saxophone player Christopher Braig's blog over the past week and it has me feeling very reflective and nostalgic. Chris just returned from attending David Liebman's Saxophone Masterclass. I was a student at this class in 1997 and reading about his experience has had me thinking.

To say that it was a profound experience would be an understatement. People throw the phrase "life-changing" around a lot these days but for me, Lieb's masterclass was exactly that. I had never before been in such close every-day contact with a master of the art. Coupled with the very no-nonsense, methodical, and logical pedagogy he preaches and practices, I came away with a very clear blueprint of what to deal with and how.

But here's the rub...

To date, I have done very little of it! Let me be clear, the processes and pedagogy I took away from Lieb still informs everything I practice, but there is so much more I feel like I should have done by now (more about that word should in a moment). As with any intense experience, it can be a bit of a crash-landing back into reality afterwards. The flame burns for a few weeks, a couple of precious months, and then the mundane-ness of life creeps back into your artistic space. I catch myself every now and then and try to re-energize by listening. It always works and I vow to start over and get it right.

This bit, the starting over, is the problem. I always feel that when I fall off the path, I must go back to square one. Often this is right, but I find myself practicing things that, for the most part I am quite comfortable with in the guise of "rebuilding the foundation".

I have been thinking about incorporating the Zen idea of "the beginner's mind" into my practice. Maybe not going to square one, but dealing with where I am in the open and accepting mind of the absolute beginner. Not as "something to get through..."

Now, about that word should...the conditional tense causes lots of problems for artists. It makes us question our work and doubt the moment. Lieb even speaks about it when he talks about practicing, here is an example.

Be honest, be open, be objective...figure out what is missing AND GO RIGHT THERE.

That is the last line of my notes from my week with Lieb 13 years ago. I have some thinking to do...

My friend Steven...

2010-08-09T12:21:00.000-04:00

has put some very eloquent thoughts together on the current "Mosque in Manhattan" discussions. I really don't think I can add to what he so bravely states here.

Newport Jazz Festival 2010

2010-08-08T18:32:00.000-04:00

As I write this I can still hear the muffled sounds of Chris Botti wafting over the bay from Ft. Adams into my living room. I am now relaxing after a marathon couple of days that I'll try to recount here...

What I Heard:

Darcy James Argue and the Secret Society

Maria Schneider Jazz Orchestra

Chick Corea's "Freedom Band" with Roy Haynes, Kenny Garrett and Christian McBride

Anat Cohen

Ben Allison Band

Gretchen Parlato

and snippets of many others.

Also, as if the lineup on Saturday weren't enough, I trekked up to Acton to hear Jerry Bergonzi and Phil Grenadier on Saturday night.

What I (sadly) Did Not Hear:

Any real representation of the local New England scene.

Yes, there was a septet from the Berklee Global Jazz Institute on Saturday morning at 11:00, but in a region where a partial list of local cats includes:

Jerry Bergonzi

George Garzone

Hal Crook

Phil Grenadier

Greg Abate

Bruce Gertz

Rick DiMuzio

Jared Sims

The Fringe

and many many more, why no love for the local artists?

My only real frame of reference for big summer jazz festivals is the Chicago Jazz Festival in September. This has always taken place over several venues and stages (much like Newport), featured a great mix of local artists with national/international acts, even having a "local artist" stage for awhile (much unlike Newport), and was FREE (decidedly unlike the $75.00/day Newport festival).

Please let me be clear, the Newport Jazz Festival and George Wien is a blessing and an American institution. Consider the history: Duke's Crescendo and Diminuendo in Blue, Brubeck's many appearances, "Jazz on a Summer's Day" Trane's 1961 date...on and on. But, a festival that is considered to be the perfecter of the genre should, in this writer's opinion, do a bit more to support the "Blue Collar" jazz musicians who live and work in its shadow throughout the year.

Newport Up! 2010 Edition - Day 5

2010-08-06T19:47:00.000-04:00

Tomorrow is the big day...here is a reprise of one of my favorite videos from the Newport Jazz Festival:

Newport Up! 2010 Edition - Day 4

2010-08-05T18:46:00.000-04:00

Dave Holland Big Band

Newport Up! 2010 Edition - Day 3

2010-08-04T20:02:00.000-04:00

Some great footage of Duke's band in 1962:

Follow the link or watch below:

Newport Up! 2010 Edition - Day 2

2010-08-03T17:46:00.000-04:00

Here is a wonderful version of Sweet Georgia Brown by Anita O'Day.

For those of you reading on Facebook, follow this link

Newport Up! 2010 Edition

2010-08-02T17:10:00.000-04:00

It's that time of year in New England...bright blue sky, sailboats, and miles of cars pouring into the city with exotic license plates like New York and Massachusetts...

The Newport Jazz Festival starts this Friday!!! I am especially looking forward to the performances by The Maria Schneider Orchestra and DJA's Secret Society. As I did last year, I will run up to the festival with videos of some of my favorite Newport moments: Here's a great bit from 1979, Brubeck with Bergonzi....

At Last!

2010-06-23T17:58:00.000-04:00

It's no secret that I am a big fan of Dave Liebman. When I received his latest newsletter announcing that he has been awarded the NEA's 2011 Jazz Master award I was thrilled. Here is a link to Lieb's newsletter with the announcement and he speaks very eloquently about the award and the idea of being recognized by the country that created the music (he often garners many more accolades in Europe). To me, Lieb is a total inspiration. Absolute commitment to the art, more artistic courage than just about anyone I can think of, and an absolute dedication to teaching.

It is in this last area that I have had my closest relationship with him. Through studying with him, my own aesthetic solidified and I gained a very concrete path into researching and studying the saxophone and, more importantly, this music for which I will be forever grateful. Not to mention the spirit of brotherhood that he engenders. All who have studied with him will know what I mean. If you ever were his student, you are his family forever. Studying with Lieb really shaped my entire world view in a way few teachers do.

Congrats, Brother

Wachet Auf!

2010-03-28T15:43:00.000-04:00

A bit late on this as I've been recovering from a small surgical procedure, but the 2010 Newport Jazz Festival's program has been announced.

Highlights include both Darcy James Argue's Secret Society AND Maria Schneider's Orchestra.

A composer and arranger's dream...

Here's the entire line-up...contact me if you want to get coffee over that weekend...

Thinking of Michael...

2010-03-09T22:44:00.001-05:00

My thoughts and listening have been dwelling on Michael Brecker of late. I was doing some study of Kenny Wheeler's composition recently and I pulled out Double Double You and ended up with tears in my eyes as I listened to Michael play. That led me through so much of his music that I haven't listened to for a while. 80/81, Three Quartets, Don't Try This At Home and many others. I still have a tough time with Pilgrimage. It's really tough for me to listen to that one...so many emotions are tied to it for me. The fact that I am so connected to Michael's music is a little funny in a way, I came to Brecker late (relatively speaking). I really never heard Brecker until I was in college, specifically the early 90s with Three Quartets. I grew up listening mainly to the "Big 4" of Trane, Wayne, Joe, and Sonny. About the only modern players I listened to were Branford and Lieb. I had heard of and about Michael, but I very naively "couldn't be bothered" to check him out in my high school days, ironic since learning of how close he and Lieb were and the esteem in which he still holds Michael. When I heard Three Quartets, it was one of those life changing moments. The sound, intensity, harmonic sophistication, everything just shattered my entire world. I never became a disciple the way some did, but I certainly checked him out whenever I could (I first heard him live with Paul Simon around that time). I remember doing my first Brecker Transcription (The Meaning of The Blues) in 1992 or 1993. It was during that exploration that I really started to see what all the fuss was about. He made everything sound so effortless that I was fooled into thinking the solo I was transcribing was much easier than it was.

Fast forward to 2007, I'm at IAJE when the word starts spreading around. The grief and sadness was palpable. I remember walking around and seeing all of my heroes absolutely stricken. An image that will stay with me forever was seeing Rick Margitza and Lieb sitting together with tears in their eyes the emptiest looks on their faces...so sad.

It goes without saying that Michael was a touchstone. He became an archetype of saxophone playing years ago and will continue to be one forever. I suppose that every sax player has a Brecker story. Here's mine: During the "Directions In Music" tour in 2002 or 2003, the group played at Ravinia in Chicago. My family and I went and had lawn seats. It was a typical outdoors summer concert, kids running around, people eating and drinking, a very pleasant, albeit slightly noisy evening. Michael did his solo version of Namia that night and over the course of the 10 minutes, the lawn got as quiet as I had EVER heard it. I like to tell people that even the crickets shut up!

That's what it was about his playing for me. Not the technique, sound or harmonic sophistication (although that is all great), but it was the way he could draw you in to what he was doing.

I miss him.

Sunday Video and some quick thoughts

2010-01-24T10:22:00.000-05:00

There was a time that saying: "He's a West Coast player" or "He's a real Chicago Tenor" meant something very specific in terms of style, vocabulary, sound etc. Something that I hear today in my contemporaries and even in my own playing is no sense of regional identity. It is probably quite naive to think in this age of global information that there could be such drastic stylistic differences. An apprentice saxophonist today living in Nebraska has equal access to music from all geographic areas of the US as well as internationally at the click of a mouse. This is a wonderful thing for both the student and the professional, but, I do miss being able to hear a player' geographic linage in his or her playing. Today it sounds like we have all listened to the same 25 records, which of course, we have. As we move through the three stages of artistic development (Imitation, Style, Innovation) I think it would do us well as artists to undertake a study of a historic regional style of playing that appeals to us. We'll be more historically grounded in as well as discover new sources for our own vocabulary.

In that light, our Sunday Video today, features a true Chicago Tenor that I grew up listening to and that I have had the honor of performing with a couple of times...Von Freeman.

Von-Skis!!!!!

Sunday Video...

2010-01-17T10:45:00.000-05:00

Some killin' Joe for your Sunday. The sound is a little fuzzy, but Joe's genius comes through. I may have to transcribe the initial statement of the melody! Enjoy...

I can almost see the floor...

2010-01-16T01:16:00.000-05:00

Since the new year, I have slowly been clearing the weeds away from this blog. It had gotten so overgrown from neglect and non-use that I was afraid I'd never get it back.

The past 4 months have been a huge shock to my system. Going to grad school full time and working full time is no joke! I will say that it was a great decision. I'm working toward some interesting goals and there are some potential opportunities out there that look really encouraging.

My study this semester has left me with a bit of an identity crisis, though. I am having a difficult time finding a center as far as who and what I want/need to study. I spent last semester dealing with Warne Marsh and that was quite rewarding in the final analysis, although a bit frustrating while I was in the middle of it. I am thinking of dealing with Joe Henderson next semester, I have been on a big binge of his playing for the last month and I really would like to try to absorb elements of his harmonic and rhythmic vocabulary.

The semester was extremely productive in terms of my writing. I completed an original piece for Jazz Orchestra entitled "Pablo's Return" that had a very successful premiere. I have to say, I'm happier with it than I've been with anything else I've written in recent memory. Once I get the recording back, I'll post it at my MySpace.

The horizon has some projects that I'm looking forward to. I'll be doing an independent study project on the Lydian Chromatic Concept. This is very exciting, I have wanted to dig into the Concept for years, but it always kept slipping off my list. I also will be doing a Duo Recital with the wonderful pianist Pamela Hines (she's also on my Quartet hit at Acton Jazz Cafe on February 19th - more on that soon).

Ahh...that's better. I can see more of the floor now...

My inner geek...

2010-01-15T06:44:00.000-05:00

sometimes comes out. Click here if you need help getting going this morning....

Quote of the day...

2010-01-14T18:59:00.000-05:00

“This music, jazz music, has a discipline that comes from practice, that’s very good for life in itself.”

~ Muhal Richard Abrams at the 2010 NEA Jazz Masters Awards

Is this the future?

2010-01-12T21:01:00.000-05:00

My wife turned me on to this article in the NYT today.

I was pleased on several levels. As an ex-pat Chicagoan it is great to see some of the cats on that scene doing great things. But, on another level I am pleased to see the trend of musicians taking ownership for the scene continuing. I wrote in an earlier post about how musicians like Dave Douglas and Matt Otto are changing the paradigm from a "label-centric" jazz world to more of an "artist-centric" one. The idea of musicians owning and managing the performance space is a logical step in that continuum. It isn't really new, though. Tesser cites Ahmad Jamal owning a club as well as the AACM model. I would add Seventh Avenue South, the Greenwich Village club owned and operated by the Breckers in the 1970s as well as Free Life Communication, the artist's collective of the 70s that counted David Liebman, Michael and Randy Brecker, Steve Grossman, Dave Holland, Chick Corea, Don Grolnik, Richie Beirach and many more.

I think that we as artists have to move in this direction. As long as we continue to rely on outside entities such as club owners or record labels to provide venues for the exhibition of our art, there will always be a market influence on said art.

Business models like these above as well as self-distribution and places like AS220 in Providence, RI place the art first. It is our music, lets support each other in the presentation and distribution of it!

Go out and hear some local music. Buy art from local artists, buy a CD from a player at a gig. Find a local theater and see a play. Buy a book by a local author. Seek out local artists and support them.

We want to play, write, perform, show for you!

Matt Otto...

2010-01-07T16:28:00.000-05:00

has a new book out.

If you are unfamiliar with Matt's playing, rectify the situation here. I have been loving his playing for just over a year now. He is one of the most organic improvisors I know of today as well as being one of the most generous.

The idea of an entire book on one particular scale (Harmonic Major) is very interesting. A quick look leads me to believe that there will be much to mine here.

Congrats, Matt...I'll be ordering one soon!

Something to start your year off right....

2010-01-01T18:24:00.000-05:00

Hard to go wrong with Miles, Wayne, Tony, Herbie, and Ron...

Dig

Happy New Year, all...

Dear 1999

2009-12-30T20:00:00.000-05:00

This post is part of a group blog event organized by MusiciansWages.com. The topic is: "If you could go back to 1999 and give yourself one piece of advice, what would it be?"

Dear Greg (1999),

I wish you had an idea of the changes that are in store for the music world in the next 10 years. Looking back on things, there is one thought that keeps coming back to my mind and it serves as the most important piece of advice I can think to give you for the upcoming decade: Don't Wait.

We both have a tendency to plan things out and think about how great things will be when we get everything just right. The secret is, it is never just right. Start documenting things, start writing, start recording, don't wait! Things are coming that will blow your mind!

In just a few years, the internet will be much more connected to the music world and it will change the whole paradigm of how music is experienced, purchased, discussed, etc. There is still much discussion going on even now in 2009 but I can tell you, this is a GOOD thing. Artists are getting their work out at a rate that is unprecedented. The trumpet player Dave Douglas (go find his recordings as soon as you can...) is self distributing everything he does. He records a set, goes home, posts it online and makes it available for download. Tenor player Matt Otto (don't wait to check him out either...) does similar things with his recordings as well as lessons and exercises with a pay what you can system. So generous.

Get your stuff recorded and get it out there. As an artist, you (and I) have to be ready to embrace the opportunities that are coming.

Remember what you tell all of your students: "If we waited until we could do something to do it, we'd never do anything!"

Peace,

Greg (2009)

Someone should have Warne-ed me!!!

2009-10-25T10:33:00.000-04:00

The Warne Marsh project I've been working on is at the same time incredibly rewarding and incredibly frustrating.

I've transcribed some stuff from later in is life and an now working on stuff from the 50s. His harmonic vocabulary is very steeped in common practice/BeBop ideas so it is relatively easy to absorb his melodic and harmonic choices. What I am struggling with is both his rhythmic language and his approach to the saxophone in general. The rhythmic piece comes from, I am sure, his study with and of Tristano's approach. He plays lines that at first hearing do not seem so complex but once you begin to deconstruct the line, none of the expect rhythmic resolutions are present. Lines that typically resolve on the beat are displaced by several beats. That coupled with a sound conception that is very impressionistic and effervescent make it quite difficult to isolate the specifics for his vocabulary. His sound is one of the aspects I haven't quite decided about yet. The transparency of his sound gives the effect of his lines rising and out of and falling back into a misty field of subtone and air. I get the feeling that Wayne Shorter was influenced by Warne at some point. If anyone has data on this, I'd love to hear it. However, there are aspects of his sound that do not appeal to me also. To my ears, there is a nasal, almost "stuffy-head" color to his mid-register and his upper register can be an adventure in intonation.

The challenge and point of transcription projects like this is to put aside any subjective feelings about the artist under study, absorb the artist's conception and approach, and THEN decide what works for you and mine that gold.

These challenges are very good for me right now.

That Old Feelin'

2009-09-20T17:22:00.000-04:00

Last week marked my first week as a Graduate Student in Jazz Studies at The University of Rhode Island.

It feels great to be back in school and I am working on some very interesting projects:

- A research project into Gil's writing that will culminate in 2 charts written in his style.

- A semester-long study of the saxophonist Warne Marsh (An Unsung Cat indeed).

- A Music "History" course on the 20th century. This is mostly 20th Century Classical, but I am already finding some interesting compositional techniques that I look forward to trying out.

Having some projects to do and some milestones to hit has done wonders for my motivation level, which has been sagging of late. I'll update how the projects are going. For now, here is a great clip of Warne's playing with Lee Konitz.

Ladies and Gentlemen, The President....

2009-08-28T21:18:00.001-04:00

A happy 100th birthday (a day late) to Lester Young. I have been listening to some Prez today for the first time in a while and I must get some more into my rotation post-haste.

Lester is one of those cats that I always feel like I "should" listen to and never do. I have written about primary sources before and Prez CERTAINLY counts as one. All of my favorites have links back to him and, as today's listening has shown, he is QUITE heavy. His sense of line is something I want to dig into over the next few months. Currently, I'm digging "Ad Lib Blues" from Lester Young with the Oscar Peterson Trio. Just beautiful playing.

On a different note, I am adding the Twitter widget that Howard Mandel has put together. This is a great idea and I hope many will use it. It is designed to act as a way of tracking who is hearing live jazz where...in direct response to the "Is Jazz Dead" article and conversation that has been going around. Here's what Howard has to say about it:

"Start a Twitter campaign, and see what happens! Do as many people hear live jazz in a week as attended Woodstock, say? Using the hashtag #jazzlives, a rough count is underway, supported by independent jazz activists, musicians, festivals, journalists but most of all the listeners themselves. It's a lesson in how people participate in culture now, with encouraging findings."

I am still formulating my own thoughts on the issue, at least trying to put them together in a coherent enough fashion for posting here but, based on the attendance and demographic at the Newport Jazz Festival a couple of weeks ago (at $75.00 a day!!) I am encouraged, with reservations. I'll be exploring those reservations in the next couple of days. Until then, dig some Prez...

Newport 2009 - Day 2

2009-08-11T20:43:00.000-04:00

Sorry for the lag...

The second day of the Newport Jazz Festival was an absolutly amazing experience.

I love Joe Lovano. I have loved Joe Lovano since "Universal Language" back in the 90s.

Joe Lovano played on Sunday as the first act on the main stage. It...was....beyond....words!

NPR webcast the performance and it is available for download here. RUN, do not walk, to this site and download it. US5 is, in my opinion, his most creative project yet and they were in top form. The 2-drummer format worked very nicely...very textural and not much "bashing" (although, there was some). Esperanza killed it for a second day in a very different setting. She is an amazing musician.

Roy Haynes and Ron Carter (!)...another killer set. Ron's bass sound is as thick as ever and his playing is even more refined than I remember.

Brubeck was as elegant as always. Played mostly Duke tunes and it was great to hear his sensibilities steeped through Dukes compositions.

Enjoy the pics:

Brubeck!

Lovano and some hack...

Roy Haynes and Ron Carter

Lovano!

Lovano on Tarogato...

Newport 2009 - Day 1

2009-08-08T19:31:00.001-04:00

What a great day. The weather was perfect, bright and sunny (as evidenced by some very unfortunate tan lines on your's truly...I was wearing a Kufi. Use your imagination....) and not too hot. The music was wonderful! I heard:

The Cedar Walton All Stars - Cedar with Lou Tabackin and Curtis Fuller. Lou is always a treat to hear and what a privlidge to hear Curtis. One of the only (if not THE only) bone players to play with Trane. The music was right out of the hard bop/modal genre. Cedar's great tunes sound great with the tenor/bone combination.

Esperanza Spalding - How is it that I have not been listening to her for the past couple of years?!? Killer bass player, that goes without saying, but her vocal work really knocked me out today. Informed to my ears by Betty Carter as well as artists like Stevie Wonder, there is an element on her upper range that just grabs at my heart. I'll be visiting iTunes soon.

Joshua Redman - Josh hit with his double trio, which at times covered the entire spectrum from solo to sextet, with all mathematical combinations in between. I haven't checked out much of Redman's music in the past few years. Hearing him today makes me realize what I have been missing. The music was exploratory, very textural and formally VERY interesting. No head-solos-head.

Branford Marsalis - When I was in high school, Branford was my hero. I begged my father to take me to hear him when he would come through Chicago/Ravinia etc... I have gotten away from listening to him in the past few years, but today was a nice reminder of how much I like him. A good mix of standards and originals, his set was full of mastery. Branford's harmonic sense is quite original while keeping touch with history and his rhythmic concept is just amazing. He can shift gears between upper and lower neighbor meters with more ease than anyone I can think of. His soprano tone is to die for!

A great day of music and I can't wait for tomorrow...Photos follow...

Esperanza Spalding

Joshua Redman

Esperanza Spalding

Branford Marsalis

Esperanza Spalding

The crowds

The NPR Command Center

Cedar Walton, Curtus Fuller, Lou Tabackin

Newport Up! - Day 7

2009-08-07T17:02:00.000-04:00

I must admit, I spend a good part of yesterday listening to OMD and The Cure. But in honor of the Festival starting tomorrow, here is one of my favorite performance clips from Newport.

Brecker and Stern on "Original Rays"...

See you at Ft. Adams....

A brief pause...

2009-08-06T17:36:00.001-04:00

from the run up to Newport Jazz Festival to pay tribute.

John Hughes has left town...59!!

In memorial....

The Newport videos will return tomorrow.

Newport Up! - Day 6

2009-08-05T17:10:00.000-04:00

Joe Williams and Jimmy Rushing take us to Chicago, by way of Newport, with Basie's band providing the propulsion.

It's the best in the Midwest...

Newport Up! - Day 5

2009-08-04T16:25:00.000-04:00

I have always thought that Dave Holland's Quintet with Chris Potter was one of the best. Here they are in 2002...

Newport Up! - Day 4

2009-08-03T16:48:00.000-04:00

Today, a KILLIN version of Midnight Sun by Esperanza Spalding. She'll be there this year too with Joe Lovano's Us 5.

Dig!

Newport Up! - Day 3

2009-08-02T08:45:00.000-04:00

Muddy Waters gets his Mojo workin' in 1960.

Newport Up! - Day 2

2009-08-01T08:48:00.001-04:00

Today I offer a short little gem. Rahsaan Roland Kirk at the 1962 Festival. Bro. Rahsaan tears up some flute...

Dig

Newport Up!

2009-07-31T19:11:00.001-04:00

As life in transition settles down and boxes slowly get unpacked it occurs to me...THE JAZZ FESTIVAL IS NEXT WEEK!!!

I am very excited about the lineup and will be posting my impressions here, but in preparation I will offer a daily look back at the Newport Jazz Festival of days gone by...

We start, very appropriately, with Pops:

Please return your seatbacks and tray tables to their full-upright position...

2009-06-21T20:02:00.000-04:00

So, it has been over 2 months since my last post.

In the blogosphere this is roughly equal to the amount of time it takes for light from Alpha Centauri to reach Earth, so I am grateful for anyone who is still following. If you are new, welcome!

My move to Rhode Island has been a very positive step for me. The energy of New England is a much better fit and the location is perfect, close to Boston and New York. Being able to drive 1.5 hours and hear an artist of the caliber of Jerry Bergonzi (with only 10 people in the club!) is a true blessing.

The scene in Rhode Island seems to be positive. I have met and been working with some great players including: Joe Parillo, Joe Potenza, Gene Rosati, and Jared Sims. I'll be starting my Master's Degree at The University of Rhode Island this fall so I have a feeling that most of my projects will be focused in that direction for the next couple of years. The program at URI is very interesting and seemingly very progressive. It's a performance degree but the curriculum is quite ad-hoc. Lots of opportunity for independent study and research coupled with traditional lessons, recitals etc.

The Spring has been exciting in the listening realm. I've been on a big Joe Henderson kick lately. His sense of time and harmonic individuality are big inspirations to me lately. I have read in interviews and also heard from some of my teachers who studied with Joe that he was big on writing etudes on tunes under study. I have been doing a bit of this in my practice and it is a very valuable way to understand a tune. The trick for me is to write etudes that don't sound like etudes. Greg Fishman (one of the teachers mentioned above) is great at this. He has several books of etudes that are great examples of the process.

I have also been listening to a lot of Rich Perry. I am in love with this guy's playing. Beautiful sound, rich harmonic and melodic ideas and a soft and subtle concept that really appeals to me.

I've taken a bit of a break from writing, although I currently have an "itch" that I keep messing around with at the piano, so something may be coming soon.

Finally I must state me sorrow at the passing of Charlie Mariano. I have been listening to a wonderful arrangement of Ravel's Pavane for a Dead Princess by Vince Mendoza that features him.

Bud Shank (1926-2009)

2009-04-05T10:04:00.000-04:00

I was saddened to learn of Bud Shank's passing this weekend.

When I was an undergrad student at NIU, the program was great about bringing in artists for long residencies and performance tours. Bud was the guest artist during the Fall semester of my Freshman year.

I was entranced by his playing and his lectures and clinics we very formative for me. I was really effected by his honesty, frankness and depth of knowledge without being pedantic. I remember a great conversation we had about how I felt there there was too much polarity in music and he paid me a very nice compliment about my "mature outlook". Needless to say, I was buzzing for weeks on that. His alto playing continues to knock me out and his music will be in heavy rotation today.

Here is a link to Doug Ramsey's remembrance and a KILLIN video...

Lovano KILLIN it!

2009-03-01T21:02:00.000-05:00

I just came accross this footage from 2008 Jazz Baltica's Trane tribute. Dig them in order...

Pack up all your cares and woe...

2009-03-01T20:11:00.000-05:00

A busy 2 months...

That is the only way I can describe what has been going on around here. In addition to my usual gigs and projects (more on that in a moment) I have been processing some big upcoming changes.

We are going to be moving soon. I've taken a job in Newport RI; I move up there in April and the family will follow in late June/early July. This is an incredibly positive thing.

I've enjoyed living and working in Hampton Roads VA. The scene here is very healthy and there is work, even now, to go around for everyone. The jazz scene is small, but forward thinking and there is a good public following for creative music. I'll truly miss some of the cats I have been working with, namely: Chris Brydge, Jeff Smith, Jim Nesbit, Keith Philbirck, Joe Camarda, Roy Muth, Jackie Friend, John Toomey, Rob DeDominick, Woody Beckner and so many others.

I have to admit, though, I am really looking forward to the move to New England. The chance to be close to Boston (an hour) and NYC (2 or so hours) is really exciting as is the opportunity for study. I am applying for some grad schools up there and I hope to complete my Master's within the next couple of years.

There have been some great moments in the past couple of months. I have been doing some very creative work with Chris Brydge's quartet. Alto, Tenor, Bass and Drums. The colors between the alto and me on tenor are really refreshing and Chris can GROOVE!!!! Also, the Virginia Arts Festival Jazz Orchestra (AKA The Roy Muth Big Band) recently performed a tribute concert to Frank Foster. Fos' lives in Hampton Roads and it was such and honor to work with him on his music, some brand new and some the original ink from Basie's band!

Postings here will continue to be sporadic as the family and I prepare for the big move, but I will drop in from time to time. I have a few more projects pending down here that may merit discussion.

Lastly, I would like to add my thoughts to the many who have already paid tribute to Gerry Niewood. My thoughts are with Adam and his entire family...

A Wonderful turn of events!!!

2009-02-13T15:35:00.000-05:00

This update from Virginians for the Arts says it all...

Thanks to all who wrote their Congress-people!

Washington...we have a problem

2009-02-08T16:56:00.000-05:00

An amendment to the stimulus package has passed that has taken any hope of arts funding to a new low. At Parabasis, they're calling this the "How To Make Sure None Of The Stimulus Money Will Go To Enriching Or Bettering People's Lives Amendment" and I think that sums up my feelings on the matter.

Americans for the Arts is sponsoring a letter writing/email campaign to let both our Senators and the local media how we feel about this. It takes very little time, please make your voice heard!

I quote Darcy James Argue on his post on the issue, "Remember last week when people were all worried that America might indulge in too much arts funding...or that Obama might appoint an Arts Czar and that would be bad, somehow? Good times." Ain't that the truth!!

We're better than this...

Happy New Year

2009-01-01T14:29:00.000-05:00

I can't believe...insert cliché here.

There are a few things that make me a bit thoughtful as I look back on 2008. Many of which have already gotten considerable press such as the Election, the new administration, the economy, and Illinois politics. Others, less so: Freddie's passing, IAJE's passing, and the future of the arts in said economy. Considering the latter, I have been so grateful to the group of bloggers that I read for giving a voice to some of those issues. Thanks to Darcy, Majikthise, DonnaTroy, Howard Mandel, Dave Douglas and so many others.

As for my part, I look back on some of the posts for the last year and I see an evolution from some posts about the artistic process and aesthetics to mainly a links clearing house I feel a slight tinge of disappointment and concern about what this blog is "supposed to be" and the types of posts that "should" be here. Neither of these are healthy. I will continue to post but I will also try to be much more mindful and post thoughts that are important to ME vice things that "should" be on the blog in order for it to be what it's "supposed" to be. There may be more time between posts, but there will continue to be posts.

As a final note, tis the season for resolutions and I do have some this year. They are very general and they are as follows:

Less Driving...More Biking

Less Speaking...More Listening

Less Buying...More Making or Making Due

Less Electronic Media...More Reading

Less Facebook...More Facetime (sorry, that is a cliche waiting to happen!!!)

Less Division...More Inclusion

Less Expecting...More Accepting

and finally...

Less Planning...More Doing

RIP Freddie

2008-12-29T13:57:00.000-05:00

Many of us will know that Freddie has not been well lately. Today, I received the very sad news that he passed this morning. Here is Downbeat's obit.

Freddie has always been an inspiration to me - some of the most swinging' eighth notes ever!!

I heard him live a couple of times, both in the 80's. He was one of the first trumpet players I REALLY LISTENED to.

In tribute, enjoy this clip of Freddie playing some amazing stuff...

Happy Holidays!!!!

2008-12-23T14:56:00.001-05:00

More Favorites of 2008

2008-12-19T22:46:00.000-05:00

Another cat I have been deep into lately is saxophonist Matt Otto.

I've been listening to 2 of his recordings: "Red" which was recorded in 2005 but I've just been into it lately, and "La Commune" which was recorded this year and is available for FREE (donations are appreciated) at Matt's blog.

Matt is a new discovery for me; discoveries like him are always such a blessing. His playing is incredible melodic and lyrical without being overly sentimental and his sound is nothing short of beautiful. He has a very organic approach to developing a line and an understated quality that has been appealing to me more and more. His harmonic vocabulary is very interesting - he is a protege of George Garzone - but I never feel that harmonic playing is in the forefront of his approach. He doesn't play harmony for the sake of harmony. Everything he plays is in the service of melody. His rhythmic language is just as fluid and organic. His tunes float through mixed meter effortlessly but again, all in the service of melody. In short - I love his playing.

As evidenced by his distribution of "La Commune", he is a very giving cat. Not only is the entire project available, he also makes lead sheets to all the tunes available as well as his thoughts and insight in each of the compositions. We have had some email conversations and his comments and advice have really been eye-opening for my own playing. His website has many lessons available for download.

It must be true, I read it on Facebook

2008-12-10T20:30:00.000-05:00

Here is a link to a very good post by Lindsay Beyerstein featured today at her blog Majikthise.

She has some good thoughts on a very obnoxious and sexist photo but what she has to say about the immediacy of Facebook is very important and needs to be kept in mind.

Great quote and great blog

2008-12-06T22:53:00.000-05:00

I came across Saxophonist Sam Sadigursky's Blog "The One Seat" today. In reading though I found a great Bertrand Russell quote that I hadn't thought about for a long time. Just wanted to share:

We're never as good as we think we are on our good days, nor are we as bad as we think we are when we have a bad day.

My Favorites - 2008

2008-12-03T00:15:00.001-05:00

Over the next few weeks, I'll be posting some reflections on the recordings that have been in heavy rotation in my house this past year. The first thing that came to mind was the second recording by The Saxophone Summit - Seraphic Light.

Liebman has been a touchstone in my life. I remember my first experience with him very vividly. It was at one of Jamey's camps when I was in high school, probably 1988 or so. He was in residency for a couple of days, did some lectures, performed one evening. I was just enamored of everything about him: his total command of the language, his teaching style and ability everything. I will always remember his performance of "After the Rain" at that venue One afternoon I was walking across the campus after lunch and Lieb was sitting on a bench alone (this in and of itself kind of knocked me out - here is this heavy cat, just digging the pleasant afternoon...). I introduced myself as only an awkward 15 year old could and he was very gracious and we had a very cool talk. I eventually wound up studying with him at his annual Saxophone Masterclass and I still send recordings to him for comment.

This project has been very important because it brought three of the major voices and to my ears the three "archetypical" approaches to playing saxophone, tenor specifically, in the post-Coltrane world. Lovano, Brecker and Lieb all in one place was a dream come true for me. Lovano is just as important to me. I have never met him but he has one of my biggest modern day influences. Brecker was, of course, just superlative in all ways. When Brecker passed and Ravi stepped in, the energy of the group of course changed, but it also evolved as an ensemble. This latest recording has probably been my most-listened-to recording of the year.

Here is a nice You Tube clip of the group from the summer. Really nice statements from Lovano and Ravi. Lieb, unfortunately gets cut off.

Gratitude

2008-11-26T17:14:00.001-05:00

As I wait for my bread dough to finish rising, I thought I'd follow suit with some others in the blogosphere and share some things that I am thankful for this year:

My wonderful family.

S is finishing up a very demanding degree program (she graduates in a couple of weeks) and there has not been a time that I haven't been amazed at her focus, insight, determination and courage at this massive undertaking. Joey breaks every stereotype of a 13 year old that there is. My parents are in good health and happy, my brother is home safe after a long trip to a not so safe place and my sister is very happy. I also have, simply put, the best in-laws ever. I truly love my father, mother and sisters-in law.

Friends - old, new and reconnected.

I feel very luck to have a group of friends, colleagues, and fellow artistic strivers that make both my personal artistic journey so much more rewarding. I also have reconnected with so many old friends through the marvel of Facebook and MySpace. It's wonderful to have so many of you back in my life!

Change.

I am optimistic and hopeful about the next four years. A welcome change!

Music.

I am always thankful for so much music but here are a few individual things that have brought joy to my life lately...

Maria Schneider - Sky Blue

Darcy James Argue's performance at IAJE last January

Beethoven's C# Minor String Quartet

John Coltrane's "One Up live" recording

Sonny Rollins "Night at the Village Vanguard"

Wayne Shorter - Both his 6o's stuff and his latest explorations

The Decemberists - "The Crane Wife"

Radiohead - "In Rainbows"

Jerry Bergonzi "Tenor Trilogy (Tenor Talk, The Tenorist and The Tenor of the Times)"

Gurus.

David Liebman

Stephen Duke

Christopher Collins

and most recently, Matt Otto

I am so grateful to have learned from you and that you continue to provide guidance and inspiration.

And finally I am grateful to have this outlet to share ideas and to you for reading and participating.

Happy Thanksgiving

Listening

2008-11-25T17:01:00.000-05:00

This is a great talk on listening.

I love Evelyn Glennie. Her musicianship and virtuosity are a given, but here I am really touched my her thoughts on both the ideas of interpretation vs. translation and listening in general.

Glennie has been Profoundly Deaf since she was 12.

This is from a Buddhist blog, 21Awake, that I have just started reading. Enjoy.

A Perfect Moment

2008-11-24T05:51:00.000-05:00

Very early, sitting.

A perfect breakfast, in the quiet and cold.

Waiting for the Loves of my life to wake,

Observing the perfect moment that this is.

24 November

5:54 am

Scofield Quartet c. 1992

2008-11-08T23:52:00.000-05:00

I came across tonight. I have always loved this tune and this quartet. Dennis and Billy get into some deep stuff here....

There are no words...

2008-11-06T20:29:00.000-05:00

for both how proud I am of the Electorate and how proud I am to be a part of the Electorate.

We have spoken. And in doing so, shown that we are both individually and collectively ready to take the next step in social and political evolution. When I heard President-Elect Obama's victory speech. I was very touched by the lack of ego that I heard. The essence that I got was that this was indeed a great and historic day, but now the work for ALL OF US really begins. I feel a sense of responsibility as a citizen that I must admit has been lacking for a good part of my adult life.

I have heard my Father talk about Kennedy. I have heard him talk about how Kennedy made him want to help this country. I have heard him talk about how Kennedy defined what it meant to be patriotic.

I think I may finally understand what he was talking about.

"I hope for peace and sanity — it's the same thing." - Studs Turkel

2008-10-31T20:31:00.000-04:00

Studs Turklel has passed.

I have read several of Turkel's books including: "Working: People Talk About What They Do All Day and How They Feel About What They Do", "Race: What Blacks and Whites Think and Feel About The American Obsession" and "Giants of Jazz". I have been greatly affected by both his writing and his contributions to Chicago radio. His observations were invaluable to my beginning to understand a bit about the human condition. I will miss hearing his voice.

"Take it easy...but take it!"

Amen to that, Studs!

Here is a link to The Trib's story.

Tenor Madness

2008-10-23T18:42:00.000-04:00

Chris Collins at Wayne State University has put together a great program that goes through tomorrow called Tenor Madness. Performances, Lectures etc featuring:

Chris Collins

Jerry Bergonzi

Emanuele Cisi

Francois Louis

And others.

I am no where near Detroit so for me,the best part of this whole thing is the LIVE WEBCAST!!!!

More educational institutions need to be doing things like this...

Check it out...

Smile...

2008-10-22T17:19:00.000-04:00

These have been making the rounds. Two videos; one very funny, one very curious.

Enjoy:

Funny

Curious

While you're in a mood of giving...

2008-10-19T10:38:00.001-04:00

Many of us have had our checkbooks and credit cards flailing lately in support of whoever we're supporting in the upcoming elections. While we have them at hand I'd like to draw your attention to another cause that could use your help.

Darcy James Argue and his Secret Society have a very important opportunity to record a much needed collection of Darcy's original material on New Amsterdam Records. This sure to be magnum opus will be entitled Infernal Machines Unfortunately, such things can be prohibitively expensive for a quartet, let alone a full steampunk big band. Darcy is making an appeal for help. This is a great chance for all of us to support a wonderful composer and project.

About Darcy and his music; I first became aware of Darcy through his blog. Truth be told it was one of the primary influences for this blog. I had heard recordings of his music there and was really inspired by his composition. The real tipping points for me were his performances/lectures at IAJE(RIP) this past January in Toronto. I was absolutely floored by his music. He is in a class with Maria and the few others that are really going places with large scale jazz composition and orchestration. You can read my initial reactions to his performance here.

Please consider helping him out. Here are the details...

An informed Electorate...

2008-10-06T17:42:00.000-04:00

There are very important issues for all of us to think about regarding the upcoming election. However, there are some that don't get the same press as others. The issues shown here are certainly important to me and may be to you also. Please make sure you register and participate in the election in November...

Know Thyself....

2008-09-28T10:31:00.000-04:00

According to the "what breed of Liberal are you" quiz, here are my results....

My Liberal Identity:

You are a Peace Patroller, also known as an anti-war liberal or neo-hippie. You believe in putting an end to American imperial conquest, stopping wars that have already been lost, and supporting our troops by bringing them home.

Take the quiz at www.FightConservatives.com

Happy Birthday...

2008-09-23T17:11:00.000-04:00

John Coltrane

I will be listening to Trane for most of the evening, the playlist I have put together has material from all three of the big periods. His music never ceases to inspire, everything about him is superlative.

Here is one of my favorite videos of Trane in performance. Such beautiful intensity and dig the steam pouring off of Elvin...

You know, the rain is gonna come...

2008-09-05T21:16:00.000-04:00

Well it's been a busy week!

After a wonderfully relaxing vacation in Chicago/Northwest Indiana I'm back at work with two new classes. My role this term is much more administrative (yuck) than pedagogical and I am dealing with that shift with varying degrees of success.

Going back to work, as with many musicians who teach, always brings my thoughts to priorities; where do I focus..on my art or on the teaching? I read something that brings that question into very specific relief a few days ago. Over at Bottomless Cup, D0nna Tr0y has written so eloquently about this dichotomy that I feel I can add nothing but kudos on articulating a very complex set of concerns. I also must congratulate her on her very brave decision to focus on her art full time. Read the entire piece here.

I have just completed a few arrangements for various people and ensembles, but my own writing seems to always get pushed aside in favor of other projects. If any writers out there have any wisdom to share on this point, I'd love to hear it. I have a composition that has been sitting on my piano for several months now! I hate to sound like I'm complaining because I am truly happy and grateful for the work, but it is a true dilemma of balance.

This past Wednesday I played a very "sustaining" gig. I have a standing trio that I do occasional work with. We have a "semi-steady" hit at the Chrysler Museum of Art in Norfolk VA. This past Wednesday was especially rewarding. The communication and energy was great and I felt myself playing in a much less self-conscious way. Self-consciousness is something I have been dealing with in my playing a lot lately. It seems that the more I deal with vocabulary, the more aware I am of it NOT being present at certain critical times. Of course, upon listening back, it is often more coherent than I think but the point is that I am not as in the moment as I'd like when I'm playing. This past Wednesday was a breath of fresh air if for no other reason than I was able to play and detach from what I played in a very quiet and calm way. It feels nice to get back to that again.

This next week I'm presenting a recital in honor of Trane's Birthday. We'll be performing material from all three of the big periods and I'm looking forward to exploring this material in a much deeper way over the next few months. The challenge for me in presenting something like this goes back to the idea of self-consciousness I wrote about a bit ago. When I'm playing standards or tunes in general, I feel that I bring a good bit of who I am to them. When ever I approach Trane's material, the history and archetype is SO strong in my mind's ear that I begin to think about how I SHOULD be playing over these tunes instead of what the music is doing now. As Lovano says: "The tune is playing you"! As I work through this recital my goal is to present the music in a way that not only highlights Trane's music but also his aesthetic of individual expression through the music.

Finally, we're waiting for Hanna to pass over. We're expecting a tropical storm by the time it gets here...nothing too serious, I hope. I will say this, my friend Jackie is right! Kenny Wheeler is wonderful music to listen to while watching rain!!

Checking in...

2008-08-19T20:46:00.000-04:00

As I continue to enjoy a brief respite, please enjoy this new (for me) discovery. Great footage of Lovano and Harrell:

Part 1

Part 2

The Jazz Showcase & Jimmy Heath

2008-08-16T11:34:00.000-04:00

A benefit to having family near Chicago is that on every visit, I get a good Chicago fix.

Last night I ventured in to the new Jazz Showcase to hear Jimmy and Tootie Heath and it was just beyond words. First, a few words about the venue. I have a long history with the Showcase, going back to its tenure at The Blackstone Hotel, through its location on Grand. It was the first jazz club I ever went to thanks to their very progressive and still in place All Ages policy. I have heard too many heavies there to count but some of the standouts include: James Moody, Elvin Jones, David Liebman, Ira Sullivan, Tom Harrell, Dave Holland, Joe Lovano and John Scofield. I even had the great opportunity to perform there for a week. When I was at NIU, the Jazz Ensemble had a long standing performance there the week of the Midwest Band and Orchestra Clinic - this is when the Showcase was at The Blackstone - and I played there with Jon Faddis doing all of Dizzy's Big Band rep. I was very happy to read that the Showcase was back in action at Dearborn Station in the South Loop.

The room is great. Not a bad seat in the house and the sound is to die for. It is still a pantheon of jazz history with pictures and playbills of "Showcases past" and enormous photos of Bird and Trane still watch over all proceedings.

Jimmy Heath was just KILLIN!!!!! If you have the chance, RUN, do not walk, stroll or otherwise prevaricate to hear him. The man is a walking Rosetta stone of the jazz language of the past 60 years. His vocabulary is deeply rooted in Bebop but he has kept pace with the rhythmic, sonic and harmonic progression since the Bebop era. He has a rich, dark sound with, to my ear, overtones of Trane and Joe Henderson but not sounding at all derivative. The harmonic language, while rooted in Bebop, was very forward thinking and always grounded in a sense of melody that can sometimes be lacking in very harmonic playing. His rhythmic interaction with Tootie was just off the map. These two were completing each other's sentences left and right. Something that comes for YEARS of playing and developing together.

The only disappointment was the size of the audience. There were probably 25-30 people in the club, and for a town like Chicago on a Friday night, I would have expected more.

Through Sunday at The Jazz Showcase
806 S. Plymouth Ct.
Chicago IL 60605
312-360-0234

Sets at 8 & 10 on Saturday
4, 8 & 10 on Sunday

Live from beautiful Hebron IN....

2008-08-15T11:12:00.000-04:00

I'm on vacation for the next few weeks.

It's very nice to have days where I can shed, write and ride at my leisure. Tonight I'm going into Chicago to hear Jimmy Heath at the new Jazz Showcase, expect a full report tomorrow.

Not nearly as exciting as what's happening over at Bottomless Cup...reporting from Down Under and all...

In the mean time, enjoy some Wayne here, here and here.

Sunday Links

2008-08-03T13:32:00.000-04:00

In the second edition of the occasional feature, Here is some killin' Newk!

My Top 5 Sonny Rollins Tracks:

Sonnymoon for Two - A Night at the Village Vanguard

St. Thomas - Saxophone Colossus

Without A Song - The Bridge

The Eternal Triangle - Sonny Side Up

Body and Soul - Sonny Rollins and the Big Brass

You???.....

"In the practice of tolerance, one's enemy is the best teacher. " - H.H. The Dalai Lama

2008-07-29T23:02:00.000-04:00

I've been thinking about this quote a lot over the past few days.

Most will probably have heard about the tragedy in Knoxville this past Sunday. If not, here is a link to one of many stories covering the events. Now, it is probably safe to say that there are incidences of gun-related violence every day, but this one hits me a bit closer to home. I attend and am very active in my local UU Church. I have found a home there where I am free to explore and develop a personal theology while being in a caring and supportive community that cares about many of the same issues that I do.

Yes, it is true that I am a Liberal. I wear the term proudly. Most of my friends are Liberals and the Church I attend supports many Liberal causes. I have always valued discussion and discourse with those whose viewpoints differ from my own, but the level of discourse has been steadily declining and I believe that this decline is one of the many things that contributed to this tragedy.

Discussions decline into defensiveness. Defensiveness declines into shouting. Shouting declines to silence. Silence declines to anger. Anger declines to irrational rage. Rage...well, we can see where that leads.

In that light, I will not use this space to bring an indictment to any of the icons that one could blame. In fact I won't even list them; we all probably have a long list of both individuals and institutions that we feel are responsible. Instead I will offer these words which have been serving as a mantra of sorts for me in the past few days.

Compassion

Tolerance

After my initial shock and rush of feelings, compassion was the strongest emotion I felt. Compassion for the victims, families, community, and even for the shooter. I can't imagine the series of events and circumstances that would lead a human being to the conclusion that this was not only a rational act, but that it was the best course of action.

I feel compassion for the community of Knoxville. And, of course, for the congregates of TVUU. I hope with all my heart that you will be able to feel safe again.

I also hope that as we process, grieve, and discuss this horrible tragedy that we can remember tolerance. If we allow our discourse, discussion, thinking, speaking and action to decline to the level of irrationality, we will loose much of what we as Liberals - religious and otherwise - strive for.

Suffering, I have learned, is a fact of life. I am angry. I'm sure many of my friends are angry. But it is not an anger that consumes me. I see it, acknowledge it, allow it to pass over over me, and come back to my "baseline" of compassion and tolerance. When a being allows anger and rage to replace compassion and love, the consequences become more and more unthinkable.

Please, keep the city of Knoxville in your thoughts.

If I knew you were coming I'd have tidied up a bit...

2008-07-28T17:47:00.000-04:00

At 2:03 today there was a hit on this site from the US Senate Sgt. at Arms.

RIP Little Giant

2008-07-25T16:03:00.000-04:00

Here is the sad news...

The date would help...

2008-07-21T22:15:00.000-04:00

Yeah, I forgot....

Roy Muth Big Band

Thursday July 24th

8-10 pm

Enrico's in Norfolk

Once more into the swing, dear friends....

2008-07-21T21:21:00.000-04:00

It has been a light summer with regards to gigs for me, but there is this:

Roy Muth Big Band

Enrico's

4012 Colley Ave.

Norfolk VA

757-423-2700

Hope to see you there.

Sunday Links

2008-07-20T09:22:00.000-04:00

In an new feature, we at "The Ear of the Mind headquarters" are passing on interesting links to video, music etc. We'll be doing this on Sundays, allowing for more substantive writing throughout the week.

This week, some very interesting interviews with John Coltrane. I had never heard these before.

Nick Hornby, please sign in...

2008-07-15T16:50:00.000-04:00

Inspired by this, I thought this might be fun.

What are your top-ten tracks by a given artist? Every so often, I'll post my 10 for whatever artist catches my fancy and I hope you'll chime in with yours. There is no rank ordering, any track is just as good as any other...

We start at the top:

John Coltrane:

Moment's Notice (Blue Trane)

Liberia (Coltrane's Sound)

Wise One (Crescent)

Crescent (Crescent)

After The Rain (Dear Old Stockholm)

Giant Steps (Giant Steps)

I Want to Talk About You (Live at Birdland)

One Down, One Up (One Down, One Up)

Welcome (Transition)

Evidence (Thelonious Monk Quartet with John Coltrane at Carnegie Hall)

---Disclaimer---

This list is subject to change at any time...

Please add yours!

This one time, at band camp...

2008-07-14T19:44:00.001-04:00

First things first: I had every intention of blogging from Jamey-land but as far as "madness" goes IJAE had nothing on Jamey's camp!

I first went to this workshop about 20 years ago - give or take - when I was a high school student and the experience I had this time was very different. I got to work with David Baker very closely for the week and the man is a bona-fide National Treasure. His depth of knowledge, sense of history, and commitment to pedagogy is like no one I have ever worked with before. The man is a walking history, harmony, composition and improvisation textbook. It is safe to say that I had a very meaningful experience and got a huge dose of inspiration.

Some other high points for me were:

Tim Armacost...Very deep player with a refreshingly organic approach to practicing and vocabulary development.

Ralph Bowen...Some very tangible processes for development of technique and amazing harmonic language

Marty Nau...Marty wasn't a faculty member (he should be!!). He and I were in the same combo. If there is someone in the US with a deeper knowledge and command of Phil Woods' conception I have never heard him/her.

I was really inspired by the range of ages and abilities here. There was no vibe at all, everyone was very open and giving with their time and knowledge. If you have ever considered this workshop...go! It is worth EVERY penny.

Happy 4th

2008-07-04T18:05:00.000-04:00

A thought for today...

"Those who would give up essential liberty to purchase a little temporary safety, deserve neither liberty or safety."

-Benjamin Franklin

Here is my favorite editorial page today...

Watch this space as I will be blogging my experiences from Jamey Aebersold's Summer Jazz Workshop beginning Sunday...

Lazy Afternoon - well really lazy several weeks, but that is not nearly as poetic...

2008-06-25T21:21:00.000-04:00

I have been criminally negligent in the care and feeding of this blog as of late. It was brought home for me as I was having lunch with a friend and we were talking about blogs - I asked him if he reads any and he said, "well I read yours this morning...". All I could think was: how embarrassing - nothing for almost a month. I have no reason. No big project to detract me, no hordes of students yipping at my heels. I have just been feeling very uninspired in general and nothing seemed worth writing about.

Now, before anyone sends free samples of Zoloft, I am coming around.

First, some horn talk...

I have been going through a period of extreme naval gazing with regards to almost every aspect of my playing. I have been unhappy with:

1. My sound

2. My vocabulary

3. My technical control

4. EVERYTHING about my soprano playing

Something I know about myself is that when I am going through a valley with regards to my playing, my first inclination is to step back from the horn and let the magic of not playing work out all of my kinks - I think we all know how well that works. I was listening back to some tapes of recent gigs and while I can objectively say that some things sound good, there is a higher percentage of stuff that I am not happy with (see list above...)

Tonight I took the "first step out of hell" and did some very rudimental work. Overtones, long tones, basic technique (scales and 9th chords). No transcription, no tunes, no "free association improvisational etudes" but basic nuts and bolts saxophone work. I feel that I need to focus in this area for a while - I have been so into just playing tunes gigs that some of my foundation has really suffered. I know better than this and I can not believe I have let it get to the point that it has but this is where I am and it is time to move on. Have any of you struggled with bouts like this? How did you deal with it?

My writing -

NOTHING to report here. I have a couple of project in mind but with no firm deadline I am having a tough time coalescing ideas. They are both big band projects:

1. A re-constructionist approach to "Epistrophy"

2. A transcription and subsequent arrangement of "Respiration" by Ben Allison

There is some exciting news on the horizon...I'll be going to Jamey Aebersold's Jazz Workshop in a few weeks. I am looking forward to getting a good buzz from this. Secondly, I have been talking by email with Michael Blake and have some tentative plans for a lesson this fall. I LOVE his playing and writing so this is a bit of a dream come true for me.

If you've stuck around and still read this blog - I thank you. I'll try to do better...

PS - This just in...I saw this as I was linking to Ben Allison's site...Man Size Safe featured on WNYC's Soundcheck. Listen to the audio on Ben's site...

Keep your eyes open...

2008-06-03T17:08:00.000-04:00

This is awful. If you ride, please be careful and if you drive, PLEASE be aware of us. Bicycles are everywhere...

Notes from the couch...

2008-06-02T19:10:00.000-04:00

One of the benefits of laying on the couch all day is it allows for catching up on listening/videos. Here are a couple that have made my day much brighter...

I picked up the Chick Corea DVD of the Three Quartets reunion and finally got around to watching it today. Three Quartets was a touchstone in my development, this was to me what modern small group jazz was about; an aesthetic grounded in communication and improvisation but the perfect balance of compositional elements, transitions, sectional writing etc. The music of Ben Allison, Michael Blake and Ted Nash appeals to me for the same reason, but Three Quartets will always hold a special place in my heart. To see Brecker, Gadd, Corea and Gomez tearing this music up was a wonderful experience. If any of you were lucky enough to hear this performance live, I'd love to hear about it.

Secondly is this. I have heard about Brecker's solo concerts and I had the great experience of hearing him do a solo version of Namia in Chicago several years ago but this video is nothing short of amazing. Never mind the technical display, but dig the motivic development Brecker displays in the first several minutes. I miss Michael...

The "my legs feel like rubber" edition

2008-06-02T15:41:00.001-04:00

This past weekend was the MS150 bike ride on the Eastern Shore of Virginia.

I have loved bicycling for a long time and I made it a goal to complete this ride this year. Here are the details:

150.69 miles (over two days, roughly 75 miles each day)

Average Speed: 15.2 MPH

Max Speed: 24.2 (hills and pacelines can be fun)

Calories burnt: 4329.3

Total time in the saddle: 9hrs52min

Number of sunburnt extremities: 5 (arms, legs, neck)

I had a wonderful time and I am now addicted to distance bicycling. I have tried to get into distance running (I've done a couple of half marathons) but nothing comes close to this. Let me be clear; I am very sore in various places including my legs, but I don't feel a fraction of the "beat-upness" I have felt even after my best runs. It was not all without event, however...

The first day we went out feeling great and at about the 6th mile I heard a familiar and stomach turning sound: (SPHINGGGGG). A spoke broke on my back wheel. Luckily, the SAG support on MS rides is top shelf. Within 5 minutes I had a truck and mechanic with me wrenching on my back wheel. We couldn't replace the spoke (it was on the cassette side and would have required some major surgery) so this "field medic" mechanic tweaked the tension on my remaining spokes (causing another one to pop) enough to get the wheel true - it would spin - but not perfectly round. Imagine riding over a speed bump with every wheel revolution. This guy was a godsend - I would have been REALLY DARK on the prospect of having to SAG in after 6 miles. His work got me to mile 58 or so when...SPHINGGGGG! Another one!!! %$^*&%$#^^%$#@#^&*(&^%$!!!!! Luckily I was about a mile from a rest stop so when the SAG truck showed up, I tossed my bike in the back and rode up to the next stop where Bike Beat had a bike M*A*S*H unit set up. Roger the mechanic replaced all three spokes and got me set up enough to finish the ride - into a 20mph headwind. If that weren't service enough, he had me come by at the camp so he could do some MAJOR surgery on my wheel, ensuring a smooth ride back on day two. He did a great job as I had no mechanical problems on day two.

Day two was uneventful but for some beautiful scenery, one giant turtle and soreness.

A great time all around!!!

Another voice silenced

2008-06-02T15:33:00.001-04:00

Bo Diddley has left town.

DJA has a nice video up at his blog. I'll echo his thoughts about Bo's sense of time. I defy you not to move when you hear him play!

Gone Camping Edition

2008-05-24T09:36:00.000-04:00

The family and I are leaving within the hour for the mountains to camp for the rest of the weekend.

I wanted to quickly acknowledge Darcy's post on Bob Florence's passing, he includes a wonderful story from Ingrid Jensen. I play in a big band where his charts constitute a bulk of the book and they are always a joy to play. His writing was a big factor in my decision to pursue arranging as part of my aesthetic.

Also, not sure of the street date of this but The Saxophone Summit has a new recording on the way. Here is a bit from Bret Primack's video page. Some wonderful words about Brecker here. Lieb sums it up well with his comments. Thanks to David Valdez for hipping me to this...

Enjoy the weekend....

Happy Birthday...

2008-05-16T05:38:00.000-04:00

To Adrienne Rich.

I love her poetry, here is a link to one of my favorites.