Trio Gig

I had a nice trio gig at Ventanas tonight with Tyrone Jackson and Kevin Smith.  It's been a while since our last one--almost two months ago.

Here's the audio.  Mid gig, the crowd was really noisy, but the beginning especially was pretty clear as most of the people were on the opposite side of the room.  It always baffles me when businessmen are standing in front of the band, and as soon as we begin, they stand their ground and yell over us rather than move to somewhere else in the room.  Often they are loud enough that I can hear what they are saying while I'm playing.

Sunday

I did my usual church gigs yesterday.

The AM church gig was a lot of fun.  I got an email earlier in the week saying "bring alto and clarinet," which I assumed meant it I'd be playing the first alto part in the concert band.  When I showed up, though, it was a horn section, and they'd made good charts and everything!  Yay!  I so rarely get to play alto beyond the realm of Yacht Rock, so this was really cool.  It also gave me a chance to practice my concert-pitch-to-alto-sax transposition (major sixth/minor third).  I did really well at it--I'm not sure if my brain has finally learned how to do it, or I just got lucky for ten minutes.

We did two services…extra time on alto!

My PM church gig sounded better than it has in a long time.  We've had vocalists in and out all summer, and I think everybody's back now.  Also, the piano sounded really good--my microphone solution has worked out well.  I was listening to the group play and I had to consciously remind myself that I had headphones on--the piano sounds true.  Yay for that!

I haven't really played flute in almost two weeks, and my flute face was bad news.  Back to work!

Day of the Donkey

Yacht Rock was fortunate to have not one but two gigs yesterday (Saturday).  Yay!

The first gig was an open house for Creative Circus, which is an Atlanta school for graphic designers.  We were on stage behind the building in kind of a spot where you'd expect to be a loading dock (but there was no dock)--just a large open area under a tin roof.  Since you could pull right up to the stage, load in and load out were pretty easy.

If I'm remembering correctly, this gig had four donkeys on the sound crew.

This was a pretty easy, albeit strange, gig.  I guess there were about fifty people back there, and they sat and watched from afar.  We played one set of just over an hour of music.  It was a pretty easy gig.

I got both my main and alto and tenor repaired this week, and Saturday was my first chance to play them (I got them back Friday evening).  In my hurry, I'd swapped the saxophone bodies but kept the necks from both my back up horns.  Guess what?  The octave keys didn't fit the same--I played my entire solo on Taking it to the Streets with the octave key slightly open.  Ugh.  My fault.

The second gig was at the Fox in the Egyptian Ballroom.  Even though we tried to delay our load in so the catering company could finish using the freight elevator, we still sat outside for fifteen minutes while they sent stuff up.  That turned out to be the worst of it, though.

Kip ran sound, and he had two donkeys.

The sound was soooooooooo much better than the last time we were in the Egyptian Ballroom.  I wish we could take Kip with us everywhere.

This gig was a two set affair for a law firm party.  Everybody played well--it was nice, loose gig following the warm up at Creative Circus.  My horns, after the octave key adjustment, played great.  After the weird EWI touch sensitivity thing (which came up again last week in California at the wedding), I am totally scared to death of my EWI.  It was fine on both gigs, but I'm just waiting for it to make me look bad.

Load out was not painful at all.  I was surprised.  We'll be back the night before Thanksgiving, and (assuming Kip is running sound) I'm looking forward to it.

Also, the pay-for-your-parking machine in the AT&T lot did not work, but the call button did.  Whomever answered my call let me out without paying.  Yay for that.

Upcoming shows!

September 13, Greensboro Coliseum (Greensboro, NC)
September 15, Steve's Live Music (Atlanta, GA)--me playing with jazz vocalist Gina Tenore
September 26, Smith's Olde Bar (Atlanta, GA)--Sazerac show
September 27, Park Tavern (Atlanta, GA)
October 5, Music City Southern Hot Wing Festival (Nashville, TN)
October 10, State Theatre (Falls Church, VA)
October 11, Gramercy Theatre (New York, NY)
October 12, Rams Head On Stage (Annapolis, MD)
October 13, Visualite Theatre (Charlotte, NC)
October 19, Variety Playhouse (Atlanta, GA)
October 31, Georgia Theater (Athens, GA)
November 1, Music Farm (Charleston, SC)
November 8, Smith's Olde Bar (Atlanta, GA)--Please Pleaserock Me
November 17, House of Blues (San Diego, CA)
November 27, Egyptian Ballroom (Atlanta, GA)
December 14, Variety Playhouse (Atlanta, GA)

West Coast

Yacht Rock just returned from a great trip to Los Angeles--2 House of Blues gigs and a wedding, plus some cool sightseeing.  I had hoped for a celebrity sighting and an earthquake, but neither materialized.

This was our first time flying keyboards--my sax case has made a couple of flights now, but our four keyboards had never taken to the air.  Evidently, the cost to rent two Fantoms and two Nords is insanely high, so in order to make the trip more cost effective, we had to do it.

I think Bencuya was more concerned than I.  Our cases are ATA rated, but you'll never really know until you actually hand them over to the baggage guys.  It looked bad slamming on to the baggage carousel, but all of the gear worked perfectly--no damage whatsoever.  Take a bow, SKB!

Thursday:  we flew out in the morning, landing (due to the time zones) at LAX around lunch time.

we hadn't even checked in to our hotel, and there was already a police chase on the local news

After dumping our gear at the hotel in West Hollywood, we strolled down Santa Monica Blvd to a Mexican restaurant for a late lunch and margaritas.

There was a liquor store pit stop and some record store browsing before we eventually wandered back to the hotel.  Pete made a phone call and got us into the House of Blues on Sunset Strip to see Shuggie Otis.

Another drink (warm tequila), and soon I was hanging out in a restroom stall.

At some point, Nick dragged me out into the parking lot, I projectile vomited three times, and the House of Blues asked us to leave.  Oops.

Friday:  Water, water, water, water, but still quite a hangover.

We swung by SIR and picked up some rental gear.  Fortunately, the House of Blues has some gear available (drums and amps), so we only had to pick up things like keyboard stands and an acoustic guitar.  From there, we headed to Anaheim, a distance of approximately thirty miles down I-5.  It took us three and a half hours!  LA traffic is incredible.  I mean that in the worst way.

The House of Blues in Anaheim is in their Downtown Disney complex, an outdoor mall of gift shops, restaurants, and a movie theatre, all sandwiched between the gates to Disneyland and a Disney hotel.

The gig was pretty good.  The house drum set was in pretty bad condition, and the available guitar amps were not ideal for Monkey, but all in all, it was fine.  There looked to be two or three hundred people in attendance, and they dug it.

We packed up and headed back to Hollywood.  Circumstances dictated that we take all the gear out of the van and bring it up to our hotel rooms.  Definitely no fun at the end of a long day.

Saturday:  we reloaded the van in the afternoon and headed downtown to checkout the Grammy exhibit across the street from the Staples Center.  So awesome!  Lots of cool memorabilia, including an entire floor of Ringo Starr stuff.  Incredible!

Thelonious Monk's hat

Herbie's Grammy speech

sheet music from Miles' Porgy and Bess

Herbie's keytar

photo from Born to Run

Let it Be/Abbey Road kit

Our Saturday night gig was at the scene of the crime--the House of Blues on Sunset Strip.  A much cooler experience than the Anaheim show--better gear, better crew (Jim Croce on monitors!), better location.  On top of that, we had Elliot Lurie, and Peter Beckett, and Ron Moss sit in with us (on Brandy and Baby Come Back).  All of these factors brought forth a really kick ass performance for maybe five hundred people!  Sooooo coooool.  We're definitely playing here again!

with the Led Zepp Riot House across the street!

the scene of the crime

Here are a couple of video clips:





Sunday:  we returned our gear to SIR, ate brunch at a great place called Grub, and headed south to play a wedding reception for some cruise ship friends in the Carlsbad/Vista area.

Sunday afternoon, but still there was traffic.  What the hell?

We loaded in the gear we'd flown (saxes, keyboards, guitars), and the rest was back lined by a nice crew of sound guys (friends of Kip).  No problems.  Other than my EWI freaking out again on a humid night (I guessed correctly on which was to turn the adjustment screw and made it through Africa), it was a relaxed gig--definitely nice to see some of our friends out in California.

The gig was over at 11 PM.  We were on the road around forty-five minutes later for the hundred miles back to Los Angeles.

Monday:  I turned off the TV at 2 AM.  We were in the lobby at 7 to catch the plane home.  Ouch.

Wham-it!

The 80s live!

I played saxophone on an song that sounded like a Wham rhythm track today.  Much fun was had, and the hang was great, too.  I'll take one of these any day of the week.

Highlands Wedding

Unfortunately, I ended up with no Saturday night gig.

Sunday, I was up for my AM church gig.  There were no big surprises this week;  we did play some crazy seventeen page song with a million chords and three or four modulations.  Sightread that!

So long to our buddy Matt Sheren, who has been running sound for us ever since I began playing here. He's off to bigger and better things.  I hope the next guy is as funny and talented as Matt!

When the gig ended, I had enough time to race home, change clothes, and run out the door again to meet up with the Yacht Rock guys for an out of town gig.  Under our more catch-all wedding band moniker "Constantly Awesome," we played a wedding reception in Highlands, NC.

It was a really nice gig in a beautiful room.  We left the doors immediately behind the stage open and enjoyed the really pleasant weather up in the mountains.  Everything sounded good (using our very basic PA).

The first set focused on Beatles stuff.  On the break, we changed over into more Yacht Rock stuff.  Other than the first dance (All You Need is Love) and Hava Nagila (which was SUPER GROOVY AS HELL!! thanks to Mark Cobb), everything else was really familiar.

We came back to Atlanta Monday morning.  The new van's maiden voyage was a success.

Here's a nice sounding clip from last Friday's Park Tavern show.



We'll be in California this coming weekend--the House of Blues in Anaheim on Friday and the House of Blues on Sunset Strip in Hollywood Saturday.  Come see us if you're out there!

Park Tavern

Yacht Rock was back at the Park Tavern last night for our monthly show there.  Not much to report…a good sized audience, though not overly crowded.

We added a couple of new tunes:  Band on the Run (which technically we added last week, but I just started playing the keyboard part this weekend) and Running on Empty (which technically has nothing for me to play).  The former is much more interesting for me to play now that I have a greater role in the music.  To the latter, I added some organ to kind of fill it out--the live recordings I looked at had one keyboardist but two guitars.  We have one guitar and two keyboardists (well, one and a half, let's say) so I'm providing an anonymous layer of harmony and volume.

The gig began with Band on the Run, and the rest was kind of downhill.  I'd practiced that song a bunch, so I was confident and played well.  Everything else (other than Running on Empty, which I'd also played a lot during the week) was pretty sloppy.  My solos on Biggest Part of Me, Takin' it to the Streets, and Lowdown were bland.

Anyway…the Park Tavern PA only has six vocal microphones?  Maybe five?  Ganesh got a 57 and I ended up with a massive wireless microphone.  When I tried to adjust the boom stand, the microphone clip broke--the threads came out of the plastic.  Great…I turned off the mic, set it out of the way and got on with the gig.  One of the sound guys came by later and got it back together with a wad of electrical tape.  That held until the end of the gig.  I felt lucky that the thing didn't come apart and fall in my lap.  Falling on the keyboards would probably have broken some keys.

Ganesh on drums:  sweet red Vistalites

I wonder if we're getting pickier about the way things sound for us?  Even with good sound guys, we still had some feedback problems, and generally a really loud, muddy sound on stage.  Is it the shape of the tent, the placement of the PA stacks, the relatively short distance to the opposite wall, or are we just not getting things the way they need to be at soundcheck?  I'm not sure.  I know that I went back and forth with my volume all night (too loud, not loud enough), and was pulling my ear plugs in and out from song to song trying to hear the stage sound.  Every time I see audience videos, the sound out front is fine, though, so I'm not sure what the solution is.  They did upgrade the monitors (which I think has made a significant improvement).  I wonder what it would sound like if the stage was in a different part of the tent?

Oh well…still, it's great to play for a crowd that was really into it, and I sure do appreciate the gig.  We have yet to wear out our welcome in Atlanta!  The next Park Tavern show will be September 27.

Once again (I think it's happened after every one of these shows this summer), I encountered rain on the way home.  I had to stop under an overpass and reconfigure my gear to keep the electronics from getting wet.  Boooooooo.  Any Yacht Rock fans sell Bakflip bed covers?