House Live

House Live hasn't played a gig in a couple of months.  I guess nobody's been having trendy parties the past few months!

We were hired to play a 50th birthday party at a really cool space--a new room at a complex called White Provision.  Pretty cool…at one point it was a slaughterhouse, and more recently a U-Haul place (that's how I remember it).  Anyway, there's no blood left, and it looks really good, and the room where we were had really great views.  Upton Sinclair approves!

The gig itself was really refreshing.  I haven't had a lot of opportunities to just improvise and let it all hang out.  About an hour into the gig, I finally felt like I'd played through all my crap and had gotten to a point where I was coming up with some different stuff.  At that point, I kind of zoned out and just played.  It wasn't until later on that I realized that I was no longer playing in the context of the DJ's tracks--it was beyond that.  Maybe that's good, maybe not.  I don't know if anyone would want to stand in front of us and hear my stream of consciousness playing go on for ten minutes straight, but it was cathartic as all get out for me.

I had chicken fried steak and a biscuit for supper.  Good stuff.  It's been too long since I had that.

davidfreemanmusic.net

Ugh.

Yacht Rock played the 10 High last night.  Nick was sick and Cobb was out, so we had Kevin Spencer and Ganesh working with us.  I wore my new suit.

I know what you're thinking:  Kevin Spencer has an unofficial fan site?  More than one, it appears.  Here's another.

The first set was pretty good.  I got off a really good solo on Biggest Part of Me--remarkable because I haven't had a saxophone in my hands much at all this week.  Kind of a dud reed, but it was able to take the air, so it ended up being more of a feel issue for me and nothing else.  Not much else to report in the first set…it was pretty solid, though the  tempos felt slow to me.

The second set…ugh…the second set was a drag.  It felt slow, and the talking between songs was really annoying, and the crowd was ambivalent.  Brutal.  There was no flow to the set, and the space between songs made it feel like we'd never played a Yacht Rock gig before.  It had all the momentum of a morning rehearsal.  I thought we'd never get to the end.

It got even longer when the entire band stopped, mid-song (Takin' it to the Streets), to have some drunk guy thrown out.  We waited and waited and waited (and yelled at him on the mics) while Nate (our security guy) slowly walked him out of the room.  I think his exit was longer than the song itself.  It sure didn't help make the gig go.

When we finished, I never even bothered to get off the stage--I just started packing up.

After all that, we made pretty good money!  Ahh...the happy ending!

davidfreemanmusic.net

Ashes to Ashes

I had a rare mid-week church gig tonight.  It's Ash Wednesday, and my number two church gig was asked to play the overflow service (people that couldn't fit in the cathedral were bumped over to us).  We ended up with a standing room only crowd.

The most challenging part of this gig was the mixing.  I am rarely ever in this particular room, and I was using unfamiliar sound equipment.  Plus, we were plugging into the ceiling speakers.  Weird stuff.  I think I ended up with a pretty good mix, though I had to ride the gain on a couple of the singers.  Frickin' singers! Half the time they sing with the mic at their breastbones, and half the time it's an inch from their lips!

I played flute but no saxophone on this one.  Lent is supposed to be somber, and I was reminded (once again) that that means no solos for Dave.  For some reason, this doesn't seem to apply to the frickin' singers.  Oh well…one less horn to pack up!

davidfreemanmusic.net

Greater Vavoom

Remember The Greater Vavoom show where we opened for Juliette Lewis?  You can read about it here.

Here are two sax solos from that show:

 Fuck My Boss (edit) by David B Freeman

 Boomerang (edit) by David B Freeman

You can follow The Great Vavoom here.  And you should.

P.S.  We really kicked ass that night.

davidfreemanmusic.net

More Non-Sleeping Madness

Sooooo…last time I wrote, we had played a pretty good gig at the 10 High.  Since then?  Madness.

Friday morning, I got up, made a few notes about the U2 stuff, packed my clothes, and met up with everybody else down at the office in Candler Park.  We loaded the van and drove to Nashville for a gig at the Mercy Lounge.

The Mercy Lounge is really cool.  All of the gigs there feel like significant events in the band's life--as opposed to the 10 High, which can feel like more of an obligation when we're not into it.  The Mercy always has good sound (though it can get really loud), and the sound guys generally care about what's happening.  I mean, it is Nashville--I think because there are so many talented people floating around, the sound guys have to be on it too, or they're likely to be replaced.

We rolled in, set up, soundchecked, and went and ate at Fiesta Mexicana, which is where we've eaten the past three or four times we've been up there.  I had a spinach burrito--a bold move for such a picky eater.  It was ok.  I probably wouldn't order it again.  I'm really only there for the chips and salsa.

When we got back in the parking lot of the Mercy, we got the trailer hung up on a fence, so somebody suggested that the six of us get out and pick up the trailer and carry it away from the fence.  Great, except that when we put it down, I slammed my forehead into the steel frame of the door and got a nice big bump.  Ouch.

The gig was good fun.  I was really tight through the whole first set, and made lots of little mistakes--holding a note too long, bumping a key, that kind of stuff.  Not the major catastrophe variety, but the little mistakes of not being comfortable on stage.  A keyboard playing friend of the band was in the audience, and I couldn't get it out of my head that he might be focused on what I was playing.  Every little blip felt huge.

On Reminiscing, I turned on my sax mic and it started to feedback, so I turned it off and looked over my shoulder for the monitor guy, but he was nowhere to be found.  I waited as long as I could (and kept looking), and finally I just turned it on and let it wail until he came running.  He chopped the offending frequency out of the wedge in front of me, and things were fine.  My solo on that tune was much better than the crap I played the night before.

I played a pretty good flute solo on Lowdown.  They have this really big mic for me at the Mercy, and they put a foam windscreen on it that I hate.  On a regular mic, I get right up against the grille, but with a foam windscreen, it totally messes up my airstream and makes playing difficult.  I feel like they're not getting all of my sound, though, if I'm not right up against it.

Greg and I hung out on the break talking to a couple of girls;  one had really big hair.  She asked me if my hair was real.  I said, "No.  Is yours?"  I've always wanted to say that.

The second set, I was much better.  I guess I finally got used to the sound on stage.

We ended an encore.  Always a good feeling!  We did Baker Street and Footloose.  I did really well on Baker Street--that song is getting to be really difficult to play if the crowd is not into it.  My mind kind of wanders sometimes.

After the gig we packed the trailer and went to the hotel.  Somehow they gave us rooms with king sized beds, so I slept in the same bed.  Fortunately/Unfortunately, he did not spend much time in the bed!  He spent the whole night throwing up his Fiesta Mexicana.  Food poisoning?  I bet he puked five or six times in the four or five hours that I slept.  He puked again in the street right before we pulled out for Atlanta.

We drove straight from Nashville to the office, got our cars, and went on to our next gig at the Park Tavern (the 2011 Shamrock Fest).  We loaded in in the rain, through all the people who were already there drinking bad beer and eating fried food.  It was cold, and the tent over the patio was leaking in several spots around me.  Not good for saxophones or electronics!

The U2 set was at 6:30.  It felt like we hadn't played the stuff in a month.  I was confused about the notes I'd make on my charts, and it was loud and I couldn't hear.  At one point Greg put his guitar down and went and puked again.  For a first shot at it, I guess it went well.  It didn't feel like us, though--it felt more like somebody had dared us to play it.

We changed and hit the stage again at 8:30 to play two sets of Yacht Rock.  These felt much more comfortable.  The crowd was really into it, and I was cool with the sound on stage (once again, though, it was really loud).   I liked the sound guys we had for this one--I think they ran the house speakers a little bit louder, and when I was playing saxophone up front, I could hear it really well.  Most of the time, it feels like I am playing into a pillow, so hearing it in the mains was very encouraging.

Some girl asked if my mustache was real.  I said, "Yes."  I wanted to reply "Is yours?" but I didn't--but I wanted to.  No question about the wig, which always makes me wonder if they think it's real, or it's so obviously fake that they move on to the 'stache.

Sometimes I get asked if my chest hair is real.  Can you fake chest hair?

We called a sub for Greg and he went home on the break.

Early in the second set, we started Lowdown, and that was around the time that it dawned on me that on the break I'd put my flute away (inexplicably).  In eight measures, I went from flute in case to flute on face.  Nice move, Freeman.  A mere minutes later, I played one of my worst flute solos in recent memory!

Weird--at the end of the night, it dawned on me that I never picked up my tenor for the entire gig.  I played four or five alto songs and that was it.

When the gig ended, I packed up my gear and ran like hell to get out of there.  Beth had called after the U2 set to say that her father had suffered a major stroke that evening, so I dumped my gear at our rehearsal space and went straight to Grady.  He's in the intensive care unit of the stroke center.  I was there for a few hours before returning to the space, grabbing my gear, and heading for home.

I got up a few hours later and ran over to church gig number one.  Everything was really relaxed, and we burned through everything with ease.  In fact, the rehearsal ended early--usually it runs seventy minutes or so, but this time we knocked everything out in about forty-five.  The service itself was a bit more chaotic, with the leader trying to whisper directions to us about intros, and lots of pushing and pulling (and small train wrecks) of tempo.  Chris, our drummer, was furious--all that stuff made him look bad, and it was the leader's fault.  At one point, the main singer/cantor was singing and conducting at one speed, the leader/pianist was plowing ahead at another speed, and the band was caught in limbo between the two, and the leader was glaring at Chris.  Not cool.  I thought Chris was going to quit mid-gig.  He cooled off enough to get through it.

We were asked to stay and play the next service (yay! more money!).  When we got on stage, some old guy with a trombone said, "Hey!  You guys need to be wearing robes!  Where's your robe?"  I thought he was joking, so I said, "Can I borrow yours?"  Steam shot from his ears.  Evidently, there's some friction coming from the "orchestra" that plays sometimes at the second service.  So…we went downstairs and got suited up.  What do I care?  I'm guessing he hasn't seen what I usually wear to gigs.

I went home and took a nap, a shower, and then went to church gig number two.  It sounded pretty good.  I mixed with headphones this week to double check what I was doing.

The church attempted to show a video of the bishop's appeal, so a guy pushed a black metal A/V cart out into the middle with a projector on it and tried to hook his laptop up to it, but it wouldn't work--like it's 1995 or something!  It never ceases to amaze me how technologically deficient this church is, and not for lack of money.  Sadly, I think that the laptop/projector set up is a step forward for them.  Last year they set up a TV on the altar and just turned the sound up.  Then again, at least it worked last year...

This was right after the priest bragged about how they'd received $30,000 beyond what they'd needed last year for the appeal.

I was able to get a lot of sleep today.  Good thing--it's going to be a tough week.

davidfreemanmusic.net

The Build Up

This week has been relatively pain free after last weekend's crucible.

Most of the focus has been on the U2 stuff.  We did two rehearsals; one on Tuesday, and then a wrap up one on Thursday to check everything.  Both went well--everything sounded big and powerful.  After doing some more research, the guitar guys (Greg and Dannells) ironed out their respective parts a little more clearly.  Now it's up to Nick--this Bono stuff is super humanly high to sing, and a whole set might kill a lesser vocalist.  We lowered most of the keys a half step, but it's still tough stuff.

Last night at the 10 High was pretty good.  As usual, the first set was really tight;  everybody played well.  I did crash and burn on my solo to Reminiscing--things we going well, I was following a cool succession of ideas, and then my hands couldn't keep up with my head anymore, and that was it.

I played my best palm slide ever on the organ part to Thunder Island.  Ever.  I think I'm going to make a point of high fiving myself for things like that.

Also deserving of a high five:  Mark Dannells' solos on Reelin' in the Years were on fire!  Totally awesome.

On the break, some guy was telling me how good the guitar duet sounded in Reelin' in the Years (Dannells on guitar, me playing the other part on alto sax).  He said, "it sounded so good--I couldn't tell where the other guitar was coming from, and then I looked over and saw you playing!"  I said, "I guess if you didn't notice that it wasn't a guitar, then it sounded right."  He said, "it sounded great.  What patch were you using?" Huh?  I played along…"it was my 'saxophone' patch."  "That sound was perfect.  It sounded like a guitar."  Thanks, I think.

The second set was a slow descent into silliness, led by Cobb's Roland drum pad.  By the time we got to the end, I was playing the tenor solo to Old Time Rock and Roll (we got multiple requests for Bob Seger last night) on EWI (using a bari sax patch) over the verse to Lido Shuffle.  Then Hans (the sound guy) took it one step further and used his pitch shifter to destroy my synth build up on that tune.  Crazy.  We amuse ourselves.

davidfreemanmusic.net

The Oscar Goes to…David Freeman!

This weekend was all about the movies.

Thursday morning, we (Yacht Rock) had our first U2 rehearsal.  We're playing (under the name Uno Dos Tres Catorce) a couple of shows in March.  It's a pretty easy set for me--I'm mostly percussion, and a few little keyboard parts to help out Bencuya.  The bulk of the music is guitar with delay!

In going back and studying the stuff, I was really impressed by how much The Joshua Tree impacted me.  I wouldn't have said I was a huge U2 fan, but checking out that album made me realize how deep I really was into it in the late 80s.  Very powerful stuff, now and then.  

Thursday afternoon, I got an email from Ben Lovett asking if I would like to be part of a movie.  He's doing the score for an independent feature film called The Proxy, and they were looking for a street musician to play bass clarinet (huh?).  I said yes, I 'd do it.  A lady from the movie emailed saying she'd be in touch with more info.

Thursday night, Yacht Rock played a private gig at 200 Peachtree.  It sounded great, considering the acoustics.  I liked it a lot more than I did a few weeks back at the Beatles show there.  We played for the Meeting Planners International party--hopefully we'll get some really good gigs out of it.

My effects pedal that I use for my saxophone died.  One of the buttons (the "up" button) that allows me to scroll through presets stopped working.  That would not be a huge deal, but I have a couple of them set up as intervals, and I need to change the interval mid-phrase!  Yikes.  Only the "down" button would work, so I would play on one setting and then frantically scroll through eighty presets to get to the on above it.  Not cool.  On the break, I took a screwdiver and attempted a little triage (using paper to help activate the "up" switch inside), but it didn't work.  I plugged it back in right before the set, and the "up" button still would not work.  A minute or two later, I looked down, and the the thing was scrolling "up" so quickly that I could barely make out which direction it was going!  The thing went Poltergeist on me.  I unplugged it and went without effects for the rest of the night.

I played well, and I had great reeds on both horns, though my tenor reed had a chip in the corner.  It still played fine.  

Friday morning, Yacht Rock had a photo shoot at the Atlanta Humane Society for an upcoming gig.  We played with four or five dogs and they took pictures.  The dog I had made my suit and shirt really smell bad.  

Friday afternoon, the costuming lady from The Proxy called, asking about clothing she'd seen on my website.  I agreed to bring a few loud Yacht Rock suits.

Friday night we played a sold out show at Andrews Upstairs/8 Traxx Disco.  The usual stuff--crappy stage, weird sound, darkness where I was sitting.  It's not a really fun place to play, but it's a good money maker, so I will only complain so much!  I played well, especially considering I was sitting next to Bencuya, who only hears me this clearly when we play this venue.  I fared well.  Bencuya gave me a gold star for my playing.

In between soundcheck and the show, I got an email about The Proxy.  No one had bothered until now to mention that the shooting date was Saturday morning.  Great.  The email she sent me had the call sheet--7 AM!  Aaaaaaaaaaaaaaaaaaaaaaaaaaaa!  Not good.  I couldn't find a phone number on the sheet (and I didn't think calling and yelling at the costume chick would do me any good).  I didn't feel like I could back out of it, and I didn't want to do that to Ben, but I was NOT HAPPY.

Saturday morning, I got home from Andrews, unpacked my truck, took a shower, and went to sleep at 4:35 AM.  I was up at 6 AM, and on the set (downtown Atlanta) at 7 AM.  They started with me, so I thought hopefully I'd be finished in an hour and I could go home and sleep.  Not so!  I spent four and a half hours standing on the corner of Fairlie and Walton in my brick-red three piece suit (white shoes, of course), playing bass clarinet, while they shot this scene of the movie two or three times from EVERY CONCEIVABLE ANGLE!  It was really boring (and for the first three and half hours super cold and windy).  As non-movie people walked through the set, I did manage to get 1. a tip ($1);  2. someone telling me to go to Buckhead instead of downtown;  3.  lots of strange looks.  I guess that was better than the homeless character across the street, who was told he couldn't lie there!

I have no idea what the movie was about.  The main character walked up to me, had some sort of epiphany, and then walked off.  I guess a futuristic movie with street musicians in 70s attire playing bass clarinet will do that to you.  

Anyway, keep an eye out for it.  I'm sure I was magnificent.  The 2012 Academy Award for Best Street Musician in a feature film goes to…

There was some discussion about the next day's shoot (again at 7 AM), but I told them I was unavailable due to church gigs.

I am still wondering if I will get paid for it.  It all came together so quickly, I never had time to ask.  Once I was on set, I never knew who to ask.

I got home, packed my truck, and left for my gig that night.

Saturday night, Yacht Rock played a gig at the Children's Museum.  I was going on fumes.  It was some kind of benefit…I really don't know.  I think it was for the Children's Museum.  Whoever put the gig together must have never done it before because they forgot to get us a PA.  We showed up (thinking that the sound was provided), and Nick had to race back to the rehearsal space and get our PA.  Ouch!  Other than that, the gig was cool.  The crowd was really into it in the second set.  

Sunday morning, I got home and unpacked around 2 AM, slept a few hours, and got up at 7 AM.  Church gig number one was a little strange.  The drummer told me he'd gotten an email asking him to stay for the second service, and it also told him that (in case I asked) that there I was not involved in the second service.  I asked the leader, and he said yes, stay for the second service.  Weird.  We played through the stuff we need for that first service (kind of blew through it).  Things got a little tense in there (the leader said something about "spoon feeding" us the alterations).

Interestingly, we finally got some clarification about extra money for staying late.  When we have been asked to play part of the next service, I (and others in the band) have asked if we would be compensated.  Generally, we have, but when there is no mention of it, I ask.  My thinking is that it is not just one (or more) songs extra--the second service begins a half hour after the first ends, and so we end up staying forty-five minutes to an hour later, and that time has value (in my case, it means SLEEP!).  

It's not like this church doesn't have the money, either.  Last fall, I heard crazy-big numbers about how much some of the Atlanta Symphony guys were being paid to fill out the holiday music.

The new plan laid out by the leader is thus:  stay for the opening song, no money; stay up to the sermon, extra money.  That's fine with me.  The leader asked that we "stop asking about the money."  Now that we're clear about what the compensation will be, I don't think that will be a problem.

Sunday afternoon, I finally slept.  Basically, from noon to 5 PM I was out.  I got up, showered, and hit my second church service.  It sounded pretty good!

Sunday night, I watched the Academy Awards and started thinking about what my acceptance speech would be…"I accept this award on behalf of bass clarinetists and street musicians around the world!"

davidfreemanmusic.net

Main St. Exilers

Tuesday morning, I got up on very little sleep and made the trek down to the radio station to play with the Main Street Exiles.  We were promoting Fake Fest at Park Tavern this Saturday (The REMakes, Ill-Eagles, Main St. Exiles, and The Mighty Dan Halen).  We played Miss You.  It went pretty well.  I didn't play the solo exactly right, but I got most of it.  Here's the video:



You can't see me (except for a slice of the back of my head), but I'm there.

I guess we should have checked the gain on the sax mic BEFORE we started--geez, it was loud.  The first two notes startled me.  I kind of tiptoed through the rest of it because of the volume in the headphones (and it sounds like it).  Too bad, because that's a solo that needs to be a little more crazy than I could make it.

Here's a live version from December 1, 2010 at Smith's Olde Bar.  The sax solo is at 3:11.  I screwed up differently on this one!

 09 Miss You (live 12-01-10) by David B Freeman

Tuesday night, I recorded the rest of the first movement of the Creston.  I had recorded the first two pages for a student of mine.  Here are the last two.



Not too bad.  Couple of little hiccups.

davidfreemanmusic.net

Not Much Happening, but the Yard Looks Good

I haven't been doing much--I had the weekend off.

Thursday night was our 10 High gig.  It went pretty well.  Nick was on vacation and Cobb was on hiatus for the month, so we played the super safe set list for Kevin and Ganesh.  Kind of a drag--I wish the Schooner guys would pick up a few more of our tunes so they could sub in with us on some of our current stuff--but it made for an easy night.

It was a pretty crappy crowd.  Not a whole lot of people, and almost no turn over, so we didn't make much money out of it.  Bummer.

Dannells was on fire in the first set--he could do no wrong.  In the second set, he cooled significantly.  I played pretty well, especially in the first set with Dannells breathing down my neck.  I felt like I had to rise to the challenge.

Friday, I cleaned gutters.  Tell me why I need gutters?  Houses in Florida don't have gutters.  They don't need gutters.  I don't need gutters.  They catch more pine needles and sweet gum balls than rain.

Saturday, I went to Lopes' house to get the brace resoldered on my bari.  I wish I could go to Lopes' house and hang out about once a week.  Lopes is my guru.

Saturday afternoon, I cleaned the yard up--raked and mowed.

Sunday was the magical land of church gigs.  The first church gig went pretty well.  We received no music emails earlier in the week, so it felt very much to be a seat of the pants affair.  Things were pretty solid, considering.  We were fortunate to be asked to play half of the second service (extra money!), which was cool.  It would really be cool if they eventually have us play both services.  I mean, we're already there! Come on!  Hire me!

I had a great tenor reed.  It's new, but it plays great;  flexible, but a little resistance;  it was edgy, but not thin or mushy.

The second gig was about average.  During the first song I had to deal with a dead microphone--it's always wonderful when the singers sing one line and then whip around to tell me what's wrong!  I haven't set the gain on anything yet!  Gimme a sec!

My flute face was in good shape--I played lots of long tones at church gig number one, which made number two sound much better.  Hooray.

Big week ahead!  Stay tuned...

davidfreemanmusic.net

InterContinental

Yacht Rock played a private gig for IHG (InterContinental Hotels Group).  Some kind of private party at the InterContinental.  I have no idea what they were celebrating.  Maybe they were celebrating the really crappy labyrinth of a load in?  I was quickly reminded of why I usually avoid the freight elevator here.

Nick called Mark Dannells right before soundcheck to get his ETA.  Dannells did not know we had a gig.  He went from underwear to the stage in forty-five minutes.  Oops.

The gig was pretty good.  Full production was provided for the nice big stage.  I think we all played well, though nobody in the crowd seemed that interested in hearing us.  The room thinned out really quickly, and  we took on the energy and enthusiasm of a good rehearsal.  Not much of a party.  On break, we talked to a bunch of people who loved us, but I think they all stayed out in the prefunction area.  Greg and I took a photo and did a flip book.

Oh well.  The gig ended a half hour early.  We had fajitas for supper.  Who could ask for anything more?

davidfreemanmusic.net

Mucho Cartage

I got paid (in theory) big money this weekend for all my cartage.  Not really, but it was a weekend of many, many horns (and my "bag o' crap" percussion).

Friday:  I had two gigs.  The first was a quick quartet gig downtown at Ventanas, so I hired Louis Heriveaux, Kevin Smith, and Marlon Patton.  Awesome gig!  Those guys make my stuff sound like we play together all the time.  It was very relaxed, but focused at the same time.

I was particularly impressed with Marlon.  I do way more trio gigs than quartets, so I really noticed his input the most.  He was super creative and read everything down without any problems.  Could he be the Mark Cobb of my jazz world?  I'm thinkin' yes.  Listen to his stuff.  Fantastic.



The jazz gig was two horns--tenor and soprano.

The second gig was Beatles (Please Pleaserock Me) vs. Rolling Stones (Main Street Exiles) at Smith's.  I played on both.  The Stones went first.  We used the full horn section for what we could, and it sounded pretty good--really, we could stand to be a lot sloppier, but it's probably never going to happen.

The Beatles set was good, but really long.  It felt like we were up there for a couple of hours.  I guess it was because we played thirty two minute songs!

It was super loud.  I was two feet from a sixteen inch crash all night, and my left ear was fried.

The Smith's gig was four horns--tenor, bari, flute, and piccolo, plus miscellaneous percussion.

Saturday:  Please Pleaserock Me managed to snag a corporate party gig!  We played at 200 Peachtree (the old Macy's downtown location).  It's a really neat room.  I'd never been in there before.

It was a rather daunting gig, going into it--four hours of Beatles?  Did we have enough stuff?  By the time we finished eating, the gig had gone down to three hours…and then we dragged the breaks out a little, and we had enough stuff.  In the end, we padded it out with a couple of Yacht Rock tunes and everybody was happy.

For me (and I'll speak for Jason, too), it was a low intensity gig.  Particularly in a situation like this where people were dancing (and the focus was on the early 4 piece Beatles stuff), there wasn't much to do but drink beer and pick our noses.  Occasionally we would have to get on stage and clap two and four on the bridge of a song, but it was hard to get in the groove of playing because we'd be on for one, off for two.  I took lots of bad pictures (posted immediately to Facebook) to pass the time.  It was mostly a hang with friends.

Mark Dannells!

Bencuya is my hero

Cartage for this one?  Nyet!  Four saxophones, piccolo, flute, clarinet, and the bag o' crap.  I played some "lead guitar cowbell" on Hard Day's Night that probably deserved a fine.

new wig?

Ouch!  Bari down!

Sunday:  The usual church gigs.  Church gig number one:  tenor and clarinet (though I have to bring flute and soprano because I never know what I'll need).  Church gig number two:  soprano and flute.  In between there was a pretty good nap.

davidfreemanmusic.net