September 30 trio

I played a trio gig last Wednesday, September 30 with Louis Heriveaux (keyboard) and Tommy Sauter (bass). For your listening enjoyment, I have spent the past few hours trying to figure out how to post the audio. Here it is. I guess the player picks songs alphabetically--in other words, scroll up above Blue Monk to hear the first couple of songs.

There are a couple of tunes where the sound quality is not as good--I started with my recorder off to the side of the band. After a couple of tunes, I moved it to directly in front of us.

Also, you can hear during Black Narcissus someone requesting Electric Slide or Cha Cha Slide. Seriously...we played a bunch of nasty Joe Henderson tunes (I mean, GEEZ! we played a free tune right before I started recording!), and some lady wanted us to play Electric Slide with no vocals and no drummer. What are we going to do, just play two chords for 5 minutes so that four people out of one hundred fifty can do a dumb dance? I said, "We're a jazz trio," but that didn't solve it. Thus, we played Cold Duck Time and they did their dance. Then, quick as we could, back into Joe tunes.
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Beth at 40

My beautiful wife, Beth, celebrated her birthday today.
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Sunday/Monday

Not much to report.

Sunday was a day of digging out. I unloaded all my gear from the truck and put it away. I played my church gig that night (and took Jack with me). Jack puked in the parking lot before we went home.

The only thing memorable about Monday was that I was teaching and my phone lit up because of an incoming call. It was the store--Music and Arts. But I was there (and had been there for two hours). So I called them back, and as we were talking, I walked out front to let them know just how dumb they were. While I was standing there talking on my cell phone to the guy four feet away from me on the store phone, my phone beeped--it was the other clerk calling me!

The biggest news of the day is that Y.O.U., my favorite local band, has decided to disband.

Rain and the Jazzoo

Yacht Rock was supposed to play a pair of gigs yesterday--the Sandy Springs Festival and Jazzoo at the zoo (duh).

The Sandy Springs gig got rained out. We showed up and it was pouring. Then the rain stopped. It's on, we thought. As we were loading our stuff on to a golf cart to take into the festival, the golf cart driver got a message that the gig had been canceled. So...back in the truck! We walked over to the stage to see what we would be missing. Twas a nice little ampitheater in Sandy Springs. By the time we got back to our vehicles, the rain was coming again, so I drove home in the rain. It kept raining for a few more hours.

Two nice things about that gig getting cancelled: 1. We still got paid. 2. The squeeze of trying to pack up, sprint to the zoo, and set up again was eliminated. Instead, I went home and ate supper, and then left around 6 PM.

I loaded into the zoo around 6:30. It was still raining, but miraculously we were able to drive through the back of the tent and unload there. How sweet was that! Very sweet, I tell you.

The crowd was thick at the Jazzoo. Lots of rowdy drunk people, probably due to the free alcohol samples at the different booths within the tent. It was a good gig, though. The stage was high enough to keep them at bay.
The sound was weird on stage. You know those gigs where it seems like you can't hear your amp well, and you keep bumping the volume up, but you never really get anywhere until it's wide open? It was one of those--probably because we were in a tent with an asphalt floor, and no wall behind the stage (just a drape). Eventually, I got to where I could hear my monitor, but if I stepped away from it, I heard nothing. This proved to be no fun when it came time for Taking it to the Streets. Trying to play when it felt like I was un-miced caused me to overblow and get tired. On Baker Street it was a little easier because the alto is easier to hear. I don't know why--could be that it cuts a little more, could be because it's higher, could be because the bell is closer. I don't know.
I went back (beginning this past Thursday) to an older alto mouthpiece of mine that is a little less open. I was playing on a wide open piece and it sounded great when I was jamming a ton of air into it, but it wore me out. The older piece is a little more closed, and I can get the same sound without feeling with less effort. I'm going to have the open mouthpiece refaced to see if I can bring it down to something I can get more use out of.
When we were playing Baker Street, Mark Dannells was playing a rippin' guitar solo with one foot on the monitor. Dannells always does this--it's his standard guitar hero move. Towards the end of his solo, he must have shifted his weight onto it because it slipped out from under him. He fell flat on his back, but amazingly NEVER MISSED A NOTE! That guy is awesome.
Speaking of awesome, Mark Cobb was once again on fire. He is really sharp right now. Mark's so creative that even though we're playing the same songs night to night, I can hear within the beat what he's thinking about (musically) on a given night. The fills turn into a question--"Do you hear me? Do you hear what I'm telling you?" You know it. Mark Cobb is driving the band right now.
One crappy thing--the drum set was a rental, and we used the part of one of my gig bags to deaden the bass drum. As soon as the gig ended, the rental guys jumped on stage, grabbed the drumset and ran out the door. It's going to take a couple of days to see if I can get my stuff back. Argghhh! I brought my EWI home wrapped in my t shirt.
I'm playing my parts, particularly the keyboard stuff, with a feeling that the end is near. Kind of like the tour is almost over. It'll definitely improve the band to have two full time keyboardists, but I'll miss the challenge, and I think it'll feel really weird to go back to doing almost nothing on alot of these songs. Nobody's said exactly how it'll all shake out. We'll see.

Thursday business

Thursday was another day that didn't look too bad when I checked my calendar.

I went by Music and Arts to buy a new saxophone stand. I have a couple of Hamilton stands that I've been using, but the bumpers at the bottom don't cradle my horns well, and I've tried to bend them and get them to work, but it's never been what I wanted. The older ones have a V shaped bumper--the newer ones are pretty flat, and they don't work that well in my opinion. It started to bug me, so I moved on. I had a Hercules stand that was holding an old saxophone up at home, and so I switched one of the Hamiltons out for that. I went and got another one so I'd have two in my bag.
While I was buying my stand, I overheard the clerk working say that he is now the manager. If my memory is right, that's the fourth manager in four years. Ahh, retail! I'll have to get the scoop on what happened to the other guy. Anyway, when he got around to me he mentioned that they brought on a new woodwinds teacher for Wednesday. No big deal--they'd asked me about coming in on Wednesdays and Thursdays but I declined because I teach from home on those days. So I asked who it was, and he said it some Fulton Co. band director. She's primarily a clarinetist, but is willing to teach beginner saxophone. Ok...and then the guy tells me straight out that the store will be funneling potential clarinet students towards her (just like I presume that the reason I have so few flute students is because they funnel the flute students to the end of the week when a there's a flute teacher at the store). What the hell is that? If the idea is to have a woodwind person there every day of the week, shouldn't the schedule be the determining factor in who ends up with the student? Maybe I'm making too much of this, but it's been my experience that having a mix of flutes, clarinets, and saxophones keeps my schedule much more full. I have fifteen students at the store right now. Seven are saxophones. The other eight are clarinetists.

On to Yacht Rock.

It appears my tenure as the second keyboardist is coming to a close. Mike Bielenberg will be coming on next Thursday to replace Brandon Still. I've known Bielenberg for probably ten years, and he is an excellent keyboardist and a really creative guy. Good news for Yacht Rock for sure. I think there are a couple of more random gigs for which he won't be available, but it sounds like he's our man for the future.

Last night was pretty good. Not the crowd disaster we had last week, where the rain kept everybody away. This week's group was pretty good. I'd say about average, numbers-wise. Lucky for them MARK COBB IS BACK! After about four of five shows where he was not quite on the ball, he was back in a big way, and it was really cool. Tempos were good, the grooves were good...he's back to being awesome. I love it. When he's playing well, it makes everybody else in the band play better. For me, his playing determines whether or not we're happening, musically.

Mark Dannells played some great stuff. I remember this one wrong note he played, and he bent the hell out of it to fix it. Even when it was wrong, it sounded so good. I'm a big fan if solos that sort of trip and recover--too safe is no good. I'm not saying totally-suck-and-get to the end; but the note that makes your face go ouch! and then you figure out a way to make it work--that's cool. That note was a great example.
I crashed one Magic. I got behind on the chords, and it took me an entire verse and chorus for my head to get up to speed. I hate it worse because Nick was standing next to me while I was making a mess. It reinforces the need to find another keyboardist! Fair enough. I need to be more consistent if I'm going to keep up with the level everyone else has set.
Yacht Rock has two gigs on Saturday with an hour and a half to go from one to the next. We're going to need a roadies and a police escort to make it.

Update on Flute/Guitar Duo

In case you're interested, I have added mp3s of a couple of songs from last night to my website--it's on the "sounds" page down at the bottom.

You might also notice that when Dan is soloing, there's another guitar comping behind him. The beauty of technology! Dan ran his guitar through a Boomerang pedal, allowing him to record the chord changes during the first chorus. There are a couple of minor mishaps (when the form was too long for the pedal's memory!, or as in Jordu, when Dan said "I was sure you'd take more than two choruses!") but who cares...it's a really cool way to make the gig happen.

Duo with Dan

I played a flute/guitar gig with Dan Baraszu tonight. I'd bet I've known Dan now for about twelve or thirteen years. In that time, I don't think he's ever made a mistake! We had a good time--it was a relaxed gig, and they even insisted that we eat! I had some kind of spicy shrimp pasta.

I recorded the affair (except for the first couple of tunes). Here's some 2 minute samples if you want to hear what we did.