Wednesday White Guy

I did a jazz gig tonight with Jace Honage down at Centennial Olympic Park. We were part of a series called "Wednesday Wind Down." It was cool; Tyrone Jackson brought me on board for this one. The drummer was Henry (I can't remember his last name), and the one and only Ramon Pooser on bass. My first real jazz gig in months. I was pretty amped up about it. Tyrone is one of my favorite people both musically and personally; I hadn't played a gig with Ramon in probably ten years; I'd never met Henry (or Jace).

I showed up at the park and I was the only white guy for miles around...so this is how it feels! Years ago I did a gig with a singer in Augusta in a nightclub where I was the only caucasian. Also quite an expericence! Alot of feeling like I have to prove myself.

On to the gig. We opened with two instrumentals, Yes and No and The Chicken. I played both like my life depended on it--maybe not such a good thing. I find that when I haven't done a jazz gig and then I jump up and have to play something like that, I tend to spray notes, and my mind races along. It's like trying to watch the bullets come out of a machine gun. I get excited and I try and push the musical energy around instead of playing ideas. It usually takes me about three or four tunes to settle down. By then, the instrumentals were over and we were into the gig. Everything went well. We had fun and the band sounded really good. Jace said she got a few gig offers based on this show, so with any luck there will be more.

And jeez...Tyrone was on fire! The best pianist in town, bar none. That guy can do ANYTHING.

Sunday into Monday

Sunday was sort of a weird day. I got home from my experience at The Earl, cooled off for an hour or so, and went to bed. I think I woke up late in the morning on Sunday. It was hard to tell because of the rain. Anyway, I unloaded my gear from the car, took it upstairs, and reset for my gig that night. I ate, showered, and it was about time to head out the door.

My gig Sunday night was me on saxes and flute, Wayne Viar on percussion (that's Wayne up there in the pic), and Jeff Burnisky on turntables (?)--he's a DJ. Basically the idea is that he supplies the groove and the vibe, and then Wayne and I play over the top of it. It works--people eat it up. The only problem is that the turntables never get tired (and never stop), so it's hard to figure out how to take a break, so I end up playing for three hours straight!

This gig featured parking validation, which is a beautiful thing. We were told to valet, so I did. I took my validation to the valet, and they said, "That'll be $15." I said, "How much without the validation?" She said, "$20." I said, "So it's almost worthless." She said, "Every little bit helps, I guess." I was not happy with that. I wasn't going to tip the guy who brought my truck around...I wasn't happy with the validation and I only had a $5 bill in my wallet, but I thought, not his fault. So, my truck came around and I gave the guy my $5 (my "validated parking" has now cost me $20!), and I get in and the seat has been pushed all the way back and the side mirror has been pushed out of position! I nearly jumped out and asked for my $5 back. That was a low blow.

Monday night was the usual stuff. The most expensive babysitter I know.

I'm getting ready for some sort of pseudo-jazz gig in Centennial Park this Wednesday night. I'm playing with a woman named Jace Harnage from 7 to 8. There are charts to write and charts to read, and it's been eating up my time. Some things are Natalie Cole and some things are Jill Scott. I now know that I am not a Jill Scott fan. The rest of the band is Tyrone Jackson, Ramon Poozer, and Melvin Jones (plus a drummer of whom I do not know). Good band! I've got to start getting comfortable with this stuff so I don't suck.

Double Dippin'

Last night I double dipped.

First off was the Platnumb gig. I'm already a bit foggy on the details. We played a wedding at the St. Regis Hotel, a room in which I'd never played before. It was pretty. The whole place looked and smelled like a Restoration Hardware Hotel. Lots of Bentleys, Ferraris, and a Lamborghini out front. As far as the band went, our bassist John bought a new pedal and it sounded awesome! Lots of crazy, funky noises coming from over there. I loved it.

At one point, the stage was flooded with people from the crowd, and some idiot lady came up between me and my music stand, squeezed through, took the neck of my tenor in her left hand and the music stand in her right, and pushed them apart so she could pass through. Not cool. Not cool at all. That was about the spot where I almost lost it.

Once I finished that one, I jumped in the car and raced down to East Atlanta to The Earl or the CD release of Attractive Eighties Women. I walked in, pulled out my horn, and went to work. It's funny (to me) that I began the night playing Chicago Song , trying to play really precisely, and then I ended the night playing random shrieks and squeals on a song I'd never heard before. After I finished with the AEW, I stayed to watch their final couple of songs. Lots of weird stuff went down. The lead singer poured a beer over himself. He took swallows of another beer and spit them straight up so it went everywhere. Some guy in the front had a watermelon, and he threw it on stage (and it broke). The band threw the watermelon pieces into the crowd. It was returned. The lead singer rubbed watermelon all over his face. The whole time, the rest of the band was playing twice as loud as anything else on the planet. It was nuts. Then encore included a bunch more people singing on stage, and that gradually morphed into the fast part of Free Bird. It was totally bizarre. Not my thing, but the place loved it. At one point, everyone was singing "She broke my heart/WALK THE PLANK/ARR ARR ARR!!!!"

I got home around 2:30 this morning.

I've got another gig tonight. Me and a DJ and a percussionist.

Good Luck Ganesh

Last night we had Ganesh Giri Jaya subbing on drums for Mark Cobb. Ganesh is our good luck charm--he has subbed with us on multiple occasions, and we always do better than usual on the money side. He never fails! Things were pretty smooth. I'm trying to thing of something interesting to say, but nothing really happened. No tragic gear failures, no weird crowd stuff, no nothing. The only distaster I can think of is that in Africa I missed the pedal and messed up the second half of the solo. So that was a bad four measures. That was about it. We did have a near disaster--on the second tune, I slid out into the center of the stage for a solo. At that same moment, Nick pointed in my direction by punching his fist to his right (with the microphone in his hand!). I narrowly avoided getting slugged in the temple! His hand grazed my hat. Woah! That was close.

Practice=Comfort

I practiced alot yesterday. The best day of my life? I wouldn't go that far, but the best day I've had in a long time. I got my clarinet stuff out of the way before my first student showed up. Then I knocked out my flute stuff in the gap between him and the rest of my students. Then I did my sax stuff after supper. In little bits and pieces I played some piano (ok, really I just played Lonely Boy some more, but my hands hit the keys, so it counts).

Practicing for me is all about staying comfortable on the instrument. I want to be able to execute any idea I hear in my head, and I want to make sure that I'm getting a good sound. Practice is a major part of my job, and when I don't get a chance to practice, I'm not doing my job.

Lonely Boy

Let's see...

Sunday night I had my usual church gig. I wore a new suit and got lots of comments about it. Nothing more to report there. I got the suit on sale.

After that I ran over to Tucker for a quick recording session for Nathan Beaver's next record. I nice tune--something about was sort of Lyle Lovett-ish to me. Anyway, Mike Barry (trumpet) and I cranked it out. In an hour we'd triple tracked it (including me going back and laying alto in with the tenor), so yeah, it was a super easy session. Have I mentioned that there were charts, and how grateful I am when there are charts at a recording session? It's almost like you had a plan before we got there!

Two people from my Sunday church gig played a wedding Saturday morning and used my iRiver to record their efforts. I partially edited the audio--I gave up at 4 AM. A couple of more hours during the day on Monday and it was done. It took that long because I was messing around with reverbs, EQ, compression, and a little pitch correction. Raw audio out of board can be a little naked and harsh.

Yesterday was Monday, which means that in addition to laundry, it was back to teaching time. With the exception of my first two students, I don't think anyone else had put much time in to his or her lesson preparation. Lots and lots of B.S., lots and lots of excuses, and they were all one right after another. I'm not saying that nobody practiced--I'm saying they didn't practice enough.

Jack spent the afternoon at my parents' house, so when I finished teaching I ran over there and picked him up. By the time we got home, it was around 10 PM, and then it took an hour to get Jack to go to bed. I watched half of Mad Men and gave up for the night.

My latest musical obsession is Lonely Boy by Andrew Gold. It's an old Yacht Rock tune that we haven't touched in months. I probably like it because I can play the piano part, but whatever--it's a great tune! I love you, Andrew Gold, for that song.
I pointed out to a high school student of mine that Andrew Gold also wrote Thank You for Being a Friend, and that it was the theme to Golden Girls, and he had no idea what I was talking about. It's probably a good thing, because that show was really stupid.

Yachts are for Rich People

Yacht Rock played some guy's 40th birthday party last night at his neighborhood pool clubhouse. Very impressive. A significant upgrade over my neighborhood, my pool, and my pool's clubhouse! If I had the money to throw myself a birthday party like that, I would not spend the money on stuff like that. That's how rich these people must be.

The band purchased a pair of amplifiers for the main PA, and last night was their first test. Passed with flying colors! We were upstairs in a room with a wood floor, lots of windows, and a high ceiling. Loud would be an understatement. One of those nights when I could feel my hearing getting crushed...in twenty years when my ears are totally shot, I'll look back on a night like this when I raped my ears and my plugs were in a bag not six feet away. Nice going, Freeman.

Anyway, we were loud. It was fun, and the sound was actually pretty clear. It was a smooth sonic boom. Mark Bencuya (our keyboardist) said he could hear everything I was doing for a change. Usually I guess he hears me waaaaaaaaaaaaaaaaaaaaaaaaaaay off in the distance. For some reason (room acoustics or the PA), he was able to pick up on my stuff. I hope that hearing me helps reassure him that I've radically improved in covering the parts. I think he's probably more concerned about the second keyboard situation than anybody else in the band--maybe last night will help to let him know that it's working just fine.

I bet I played as much on the keyboard as I did on saxophone last night. How weird is that? I used the band's Nord Electro running through my rig. It is sweet. You hear people moan and groan about weighted keys on a keyboard...it definitely helps with touch. I guess a little resistance there is a good thing. I dug it. Unless something catastrophic happens in the next three or four months, I'd bet I'll be investing in a Nord, assuming things continue with the current band situation and playing this much keys. The Nord's sounds are really sweet (and accurate for things like a phased Rhodes). I feel like I graduated from trying to cover the parts to being the guy in the second keyboard position.
The other night I bought a slightly bigger mixer for running the sax, EWI, and two keyboards into my powered monitor. I have a little Mackie, but I'm one channel short, so I bought a Yamaha board that had a couple more channels. It's going back to the store today. I think that the preamps are kind of lame compared to the Mackie. I had the gain almost wide open, and the channel faders almost wide open. I grabbed the Yamaha over a similar Mackie because it was $50 cheaper, but I think I'm going to go back and get the Mackie. My head is telling me I'm not going to be satisfied with what I've got here.

I've got my church gig tonight and then a recording session for Will Robertson. Will is awesome! He writes the horn arrangements, then sends you pdfs of the charts and an audio mock-up. The horns are able to walk in there and knock it out because the charts work and we've heard the tune already. I wish everybody could be like Will. That's the way to do it. It works great on both ends--the players get the work done faster, and the arranger gets the right notes without having to hunt for the right harmony notes.