House Live

House Live had a nice little corporate background gig at the High last night.  Three hours of it is just about right--any more and I lose my mind.

Since most of the gig is practice in a way (and whatever house music the DJ is supplying is the metronome), I used this gig to work on my flute articulation and the interval of a fourth in my saxophone improvisations.  Later on I also tried to play Take Five in different keys.

So…nothing musically revolutionary, but a fun hang with Wayne and Jeff, and a pretty good night of playing.

Hello Jacksonville!

Yacht Rock played a big show for the The Players Championship, which (in case you don't know) is a big PGA event (Tiger Woods won it this year).  We played a private party in a huge tent.

The gig was good, but just a run of the mill corporate event.  Nothing particularly exciting to report, though the drink runners were mighty fine and load in was extremely easy (off the stage and through the flap).  Daniel Morrison subbed for Mark Cobb.  Even the sax mic feeding back seemed to work out OK--I noticed it most when we played Too Hot (in C), and the note coming through the PA was a C.  I guess if there's got to be feedback…

Afterwards, Jim Furyk invited us to go hang out at his house!  How cool is that?  Everybody was pretty wiped out from a full day of travel (and we had another the next day), so we declined.  Still--how cool is that?

The next day, Mark Dannells woke up with a terrible pain in his eyeball, which got progressively worse throughout the trip home (like icepick in the eyeball kind of pain).  It turns out he has a corneal abrasion.  Ouch!  We tried to find a clinic in Tifton, GA that could treat him, but nothing was open.

He'll be back to normal in about a week.

My Sunday evening church gig was not too bad.  In spite of not warming up, I played pretty well.  It's a miracle!

Trio Tour, Day 2

Congratulations to us!  We played our five hundredth corporate awards dinner last night, which earns us an honorary MBA from Juilliard.  Over the course of playing thirty-some-odd walk ups (really?), I got really comfortable with leveraging new growth, P and L forecasts, and the outlook for FY 14 (which looks great).

Here's the fun part of the evening.  We had a great time playing together again.



Unfortunately, our tour had to end.  Our next gig is Sounds from the Underground June 24 at Elliott Street Pub.  Come see us play a public gig!

Trio Tour, Day 1

In the midst of loading in for the Yacht Rock gig Saturday afternoon, I got a call for a last minute trio gig in Atlanta.  Two days later, we were set up in the corner of a hotel ballroom downtown, ready to provide music for eating.  The room was set up to look like a giant southern family meal under an oak tree, which launched us into a conversation about what percentage of southerners actually drink ice tea from mason jars.

Easy stuff for us.  We played about a half hour, took a forty minute break, played about forty minutes, took a twenty-five minute awards break, and played about twenty-five minutes.  The gig ended an hour earlier than contracted.  Yes!

It's always fun to play with Kevin and Tyrone, both of whom were outstanding.  We played a couple of new one tunes and a bunch of the usual stuff (mostly my tunes--who else is playing them?).  I lucked into playing a half hour of solo saxophone in the pre function area outside the ballroom before the doors opened, which provided a good warm up.

Surefire way to tell the gig was over:  production guy, eagerly wrapping a cable, wiggled between Tyrone and his amp while Tyrone was soloing.  Nothing is sacred!  Another guy walked between Kevin and me during the bass solo.

As soon as we stopped playing, the pipe-and-drape guys were in there taking down the backdrop.  One guy was pulling the drape part through the band as we were frantically trying to pack up and get out of the way.  He narrowly missed pulling my new soprano over.  Not cool.  Five minutes would have been enough time for us to get out of the way.

Anyway…I thought my recording was going to be good because we were running into a mixer that was patched into the PA, and I had my recorder coming out of the mixer too.  Unfortunately, I plugged into the wrong jack on the recorder…foiled again by my own stupidity.  Here's audio from my camera instead.

Workin' for the Weekend

Yacht Rock played a couple of big shows this past weekend.  Friday night we played the Georgia Theatre in Athens, and the following evening found us in the Cannery Ballroom in Nashville.  Big crowds for both nights!

Friday:  We haven't played the Georgia Theatre since last October.  It's good to be back!  Such a great room with a cool staff and a fantastic audience.  Not quite a sell out, but we came pretty close.  The last time we played was immediately following a UGA football win;  this one was at the end of finals week.

This was a really fun gig for me.  I had a great time and played really well.

I had good solos on LA Lindsay and Reminiscing (though my alto was out of tune).  We also played Baker Street, which is always a really fun feature for me.  In the second set, I finally got the Hip to Be Square solo correct!  It's about time.  I may need to tighten up my slap delay, though.

This was our debut of Steely Dan's Bodhisattva.  I'm not sure the crowd was really into it.  What would it have been like if we'd played it back to back with Kokomo?  Hopefully, we'll never know.  Awesome work on the former by Mark Dannells and Mark Bencuya.  My part was easy.

I played piccolo on You Can Call Me Al for the solo instead of keyboard.  It definitely gets a crowd reaction, and I am also more accurate.  That's the way to go.  Cartage for me!

Monkey had a bad night.  He was NOT happy, though his second set was better than his first.

Saturday:  After a short night's sleep, we were on the road at 8 AM, headed for Nashville.  Yacht Rock was hosting our Smooth Revival up there, so we had to get in and get set up pretty early in the day.  We took over the entire Cannery Row, with bands in the Mercy Lounge, the Hi-Watt, and the Cannery Ballroom. 

Performing with us at this show were John Ford Coley, Peter Beckett, Walter Egan, Robbie Dupree, and Bobby Kimball.  We'd worked with everybody except Bobby, so most of our soundcheck was dedicated to a run through with him.  He was a hundred miles an hour right from the get go.  After ripping through the Toto stuff and Bodhisattva, he gave a little piano showcase (some crazy blues piano into Big Chief into Burn Down the Mission).  I'm totally jealous.  I can't do any of that.

Nashville's Space Capone played before us.  They're really cool and sounded awesome.  70s disco funk!

I had a bad night of playing.  My alto reed kept choking off, I played a bunch of wrong chords, and by the break I was pretty brain dead.  They should have taken me outside and shot me.

The stage was back lit with several motorized LED lights mounted on poles on the back of the stage.  They were constantly moving and changing, and in combination with the haze machine in the corner,  it looked like we were hosting a rave.  There wasn't much light shining towards us from out front, though, so I wonder of we were silhouetted the entire night?  

The great Kip Conner ran sound, which means that everybody probably heard every note of the bullshit I was laying down.  Great...

We loaded out in the rain.  

Sunday:  I got home, unpacked my gear, ate lunch, and headed out the door again to my PM church gig.  Not too bad, though I was kind of worn out.  

I bought a new/old soprano last week (a mid-80s Yamaha 62 purple logo--same vintage as my alto), and this was its big debut.  I like it so far, though I want to have Lopes check it for leaks and adjustments.  My other soprano is a Yamaha 675.  The 62 is lighter weight (my thumb appreciates that), has better tuning between the left and right hand notes, and has a lighter sound.  

I have two jazz gigs this week, so stay tuned for audio from those.

End of the Week

I woke up at 7 AM Sunday morning, drank a cup of coffee, put on a suit, and left for work.  I hope I  never do this more often than once a week.

I walked into my AM church gig to find it set up for the orchestra instead of the usual small group.  I wish I'd known I could have left three of four instruments at home!  Oh well…middle school level saxophone parts are easy on my brain first thing in the morning.

While we were rehearsing, I got a text message from a friend who works as a pilot for Delta.

My big excitement of the morning was when my tenor sax/T.C. baritone (treble clef) part was flipped over to reveal the B.C. baritone (bass clef) part.  That's an exciting transposition!  Change clefs and up a whole step!  I flipped it back over and went back to sleep.

We lucked into playing both services this morning, so double the money!  Yay!

In the afternoon, I somehow avoided taking a nap and instead ran errands and worked on stuff for a Tuesday morning rehearsal.  We're learning Bodhisattva (Steely Dan) for our show in Nashville this coming weekend.  I found this amusing anecdote about the part I am covering (from steelydan.com):

This reminds me of a certain Arp Soloist you can hear on Countdown to Ecstasy. It was used for that melodic passage in King of the World but I am thinking now of the four part harmony in Bodhisattva that feels somewhat like for saxophones playing together. Now, the Arp Soloist was a small plastic keyboard that could only play one note at a time. It had on tiny plastic knob that you turned between your thumb and forefinger to tune the entire unit.

The only way to get four part harmony out of this synthesizer was to record four parts on four separate tracks, one at a time. By the time we progressed to the second of these tracks we could hear tuning problems. "I could swear I had it in tune," said Donald. "Maybe it's just certain intervals," said Walter, proud owner of a book by Hindemith on music theory. So we began tuning and patching bits and pieces of each part. Sometimes we returned to a previous part to repunch a note or two. The air grew thick, and Donald's fingers were getting sore from turning that little knob. This affected his performances so the each bit required more takes. He began saying "I'm gonna kill this thing" every time he had to retune. Then he started saying it whenever the tape stopped rolling.

Then it was done. The last part had been played and played back. The look on Donald's face was one I will never forget. He yanked the wires out of that Arp Soloist and headed for the door. We all followed. Outside the door was a hallway that led to a balcony and stairwell that let out on a courtyard down below. Donald threw the synthesizer down the stairs as hard as he could. He then chased after it and started jumping up and down on it. Several of us joined in with a few kicks and thumps. Roger got some alcohol from the studio and we proceeded to set the thing on fire! That [sic] we a warm glow.

That studio was in the same building as ABC Dunhill headquarters. It was therefore no surprise and no accident that the wreckage was discovered the following morning by some men in grey suits. Their response, however, was something else. It must have touched a raw nerve, because they had that twisted lump of burnt plastic framed and mounted on a wall with an engraved plaque. I don't remember the inscription but it said something about Steely Dan, men and machines. 


The drive to my PM church gig was pretty harrowing considering the rain, my bald tires, and the fact that I kept nodding off.  Somehow I made it, and managed to stay awake through the entire service.  I'd even go so far as to claim that I played well and my mix was pretty good!

I made it home, ate, and passed out on the couch while trying to watch the Braves game.  At 3 AM, I finally crawled into bed, where I laid awake for a half hour, trying in my head to play the eight bar sax solo to Hip to Be Square.  I couldn't do it--probably the reason I can never get it right at our gigs.

I nail it at soundcheck, though.

In other news, I've been listening a lot to the new Jeff Coffin album, titled Into the Air.  Great stuff!  Here's one:



Also, the latest Dave Douglas record Time Travel.  Go Matt Mitchell!



The record before that was the same group plus a vocalist, called Be Still.  I love that one too.



Big Yacht Rock shows at the Georgia Theatre in Athens this Friday, and our first Yacht Rock Revival in Nashville on Saturday!

P.S.  I am majorly procrastinating, thus the long post.

MILF City

Yacht Rock finished off the weekend with a slamming gig at the Atlanta Athletic Club last night.  I have no idea what we were celebrating, but it was a rocking party.

We played this gig last year--we drove straight there from Nashville and set up on a stage in their tennis stadium.  Due to the weather, this year's event was in their indoor tennis facility.  Way better to me--no pollen, no rain, no direct sunlight.

Awesome gig!  The sound guys were fantastic (Hi-Gain Audio), the crowd was into it from the first note, the load in/out was easy, and we played well.  Plus, we played I Keep Forgetting AND Whatever Gets You Through the Night!  Why can't they all be like this?

We'll be back!

Anchorman and U2

Yacht Rock played the Variety Playhouse last night.  Pretty good gig!

The Yacht Rock Schooner played the opening set, and sounded great.  They did some new tunes (You'll Never Find) and some oldies (Rosanna).  A problem with the front of house interrupted their set (FOH couldn't get the band in the PA).  Once they got it up and running, it sounded really good.

We played the Anchorman soundtrack again--previously, we'd learned it for a show at the Variety in January.  This time felt a little more uptight to me;  we might have played it better on this one, but I was kind of holding on like "I am NOT going to screw this up!" for the entire set.   It was good, but we were working at it.

I played about twenty bars of saxophone the entire night--the solo over the verse in She's Gone.  I think my mic was audible on stage, but I don't thing it was on in the house.  Hmm.  Maybe it was, but it didn't feel like it.

Monkey cussed A LOT during this set.

After the break, we came out and did our U2 set.  The people who dug it really dug it, but I'm not sure that the general Yacht Rock audience was into it.  As the set went on, people towards the back of the room started trickling out.  For whatever reason, the set never really caught fire--it didn't feel as 'epic' as it has on other occasions, so we had to kind of grind it out.  There were some cool moments--Beautiful Day was big, as was Where the Streets had no Name.  For the encore, we began with Vertigo.  Nick tossed handfuls of glow sticks into the audience--that looked neat.  He also worked a handheld par can light, circa Rattle and Hum.

Obviously, there's no saxophone in U2, and barely enough keyboard work to require two keyboardists.  I did, however, work the tambourine and shaker.

And away we go!  Next week's big shows--Georgia Theater in Athens on Friday, Nashville Yacht Rock Revival on Saturday!

May 3, Georgia Theatre (Athens)
May 4, Yacht Rock Revival (Nashville)
May 11, TPC Sawgrass (Jacksonville, FL)
May 17, Braves Game (Atlanta)
May 23, House of Blues (Chicago, IL)
May 24, Radio Radio (Indianapolis, IN)
May 31, Purple Rain at Park Tavern (Atlanta)
June 8, Park at City Center (Woodstock, GA)
June 13, Lincoln Theatre (Raleigh, NC)
June 14, NC Music Factory (Charlotte, NC)
June 15, Ziggy's (Winston-Salem, NC)
June 28, Park Tavern (Atlanta)
June 29, Yacht Rock Schooner Steely Dan Tribute @ The Strand (Marietta, GA)
July 8 Cape May Convention Hall (Cape May, NJ)
July 10 Brooklyn Bowl (New York City)
July 11 Mohegan Sun (Connecticut)
July 12, Power Plant Live! (Baltimore, MD)
July 13, XFinity Live!  Philadelphia (Philadelphia, PA)
July 14, The Hamilton (Washington DC)
July 20, Yacht Rock Revival at Chastain! (Atlanta)
July 26, Orange Peel (Asheville, NC)
August 23, Park Tavern (Atlanta)
September 27, Park Tavern (Atlanta)
October 19, Thriller at Variety Playhouse (Atlanta)
November 1, Music Farm (Charleston, SC)

Convention Bureau Gig

Yacht Rock played a short gig last night at the World Congress Center for the Atlanta Convention and Visitors Bureau.  Short and sweet!  We played one ninety minute set.  Home by midnight.

Things started early in the day with an extreme load in--we had been instructed to enter through the loading dock, up the freight elevator, and around the ballroom.  Easier said than done!  I luckily ran into a couple of event coordinators who helped move my gear.  I still had to find my way back down to the dock, then drive around the block to the red lot.  The World Congress Center is that big.

It seems like I knew everybody at this event.  My friend Jeff Burnisky was the DJ in the ballroom (on a plexiglass platform lowered from the ceiling!), the photographer was Ross from Northlight Photography, and the great Tony Winston Trio was playing before us.  Plus, Matt Sheren (from my morning church gig) was running sound.

Once we found the stage, set up and soundcheck were quick and painless.  Greg Lee showed off some moves with his new bass.

There was enough time for everybody to go home.  Fried chicken, Ritz crackers, and tea for me.

So…back to the gig!  Before I left home for the second time, I reprinted my parking pass, gave it to same lady at the red lot, and she let me in for free again.  Awesome.

The gig was easy and pretty casual, and the sparse crowd enjoyed it, but not in a Park Tavern riot kind of way.  No encore necessary.  Yay!

Burnisky!

I got the solo right on Get Out of My Dreams.  Better late than never.  On the whole, I played well, except for some gruesome chords in Lady and (of all things) the bridge of Power of Love.  Lowdown was back on the setlist after a prolonged absence--I love playing that one.

We loaded out through the B Building front doors onto International, saving us from a Bataan Death March of a load out.

Monkey kisses this pathetic PA goodbye

Big show tonight at the Variety Playhouse tonight!  Come see us play most of the Anchorman soundtrack and an entire set of U2!