Adirondack Adventure Plus Jazz

Just got back from a wonderful and relaxing vacation in the Adirondacks with our good friends Mark and Kelly.  For whatever reason, Jeannie and I didn’t feel like traveling far away by plane this summer, so we kept it relatively close with a road trip within New York State.

We packed Friday night and drove up Saturday.  We got lunch on the way in Lake George Village in a restaurant on the waterfront.  By the time we got up there it was mid-afternoon.  Lizzy and Josh happened to be spending the weekend in Lake Placid, so we met them for dinner at some nice restaurant there.  Fancy cocktails all around, and yummy food.  Lizzy remembered Mark and Kelly from when we used to vacation up there when she was a child, so that was a fun reunion.  I think the last time she was in Lake Placid we went to see a Harry Potter movie in the theatre there.

Sunday the main event was an epic bike ride.  There’s a rail trail going in either direction from Saranac Lake to Placid one way and Tupper Lake the other.  Last summer we did the ride to Placid, so this time we did went towards Tupper.  We didn’t get all the way into town but it was a good long ride, over twenty miles.  We stopped and turned around at a park and campground at Clear Lake Pond (I think it was), where there was a nice beach for swimmin’.  On the way back we stopped for lunch at a place on the side of the trail.  All in all this took the better part of the day.  We spent most of the evening hanging out and listening to music.  Mark turned me on to a group call Tin Hat Trio.  Neat stuff, sort avant-garde gypsy jazz combined with Americana and twentieth century modern classical.  Excelling violin and accordion player.  Mark also showed me his guitar pedal board.  He’s been collecting pedals and experimenting with multiple loops and delays.  Great sound and he’d getting quite good at it.

Monday was the start of the main event, a three-day camping trip to Pine Island (I think) on Lower Saranac Lake.  We spent the morning getting our canoe, food and supplies together, then we drove out to the boat launch.  Everything had to be brought in by canoe.  Mark and Kelly have two small, single-person canoes, which Jeannie and Kelly rode, while Mark and I paddled the larger, two-person canoe.  We had to make two trips, since our load shifted right when we set out, and one of our coolers slid into the water!  Luckily it floated.  It was a pretty long paddle, about a mile and a half, took about forty-five minutes.  Mostly thru twisting bays and channels, but the last part was out in the open waters of the lake.  After paddling out and back and out again we were pretty tired.

One we set up our tents, the rest of the time there was pretty mellow and blissful.  The weather was hot (Jeannie and I seem to bring the hot weather with us whenever we go up to Adirondacks, Thousand Islands or Montreal) so we went swimmin’ every day.  Also more canoeing, exploring the other islands on the lake, some light hiking, and hanging around making campfires and cooking.  The second night we all went out to the swimmin’ rock to watch the Perseids meteor shower.  Saw lots of shooting stars, and even a UFO, all glowing and swirly in the night sky for several minutes. We later learned was a detached booster from a rocket launch, falling back to Earth and burning up in the atmosphere.

Wednesday morning it was time to go. The trip back was much lighter. We’d consumed most of our food and firewood, plus Mark and Kelly left their tent since they were planning on coming back on the weekend.  We had planned on hanging out on our little island until after lunch, but there was a thunderstorm coming so we packed down and lit out rather quickly.  Good thing too.  As we made the boat trip the looming clouds came a-rumbling in, but by the time it actually started raining we were putting our boats on our cars.  

Wednesday night Mark’s band Crackin’ Foxy had a gig at a bandshell in a park over in Tupper.  The band is soft of a mix of dixieland jazz and and old time country.  The rhythm section is Mark on banjo accompanied by a tuba, and the horn section is a trombone, trumpet and soprano sax.  All excellent players and a fun sound and repertoire.  They recently lost their lead singer so everyone in the group sang a few songs.  Mark invited me to sit in, so I brought my saxophone along.  Funny thing, everyone else in the band except the sax player is named John,  so to bring me on stage, Mark asked the audience if there was anyone out there named John who plays sax.  The song I sat in on was the standard Comes Love.

Thursday it was time to head home, and we had lunch in Lake George again.  Thursday night I had rehearsal with my own band.  Friday was a rare complete day off, so Jeannie and I ended up unpacking our camping stuff, and doing laundry and other random tasks, but at much more relaxed pace than we would otherwise. 

Saturday Jeannie and I went for a bike ride on our local rail trail.  I did twenty-two and a half miles again.  Jeannie’s brother Denis was in town came up to our place Saturday and came out to our gig.

Saturday night was the Spacecats’ gig at the Green Growler.  We debuted about six new tunes, three originals and three covers or standards.  The group is really connecting and sounding great.  We’ve gotten to the point where we have our own distinctive sound, even with a wide variety of material across the spectum of jazz, funk, soul and prog.  Everyone is really dynamic and interactive on the stand, listening and feeding ideas to one another.  We probably have enough new material to record a second album, and may very well do so in the fall.  Only problem is, we need to find a way to get more people to come out to our gigs!  The place was only half full, and half of those were friends and family.  Ah well, it’s August and everyone is away.  Still, the music is happening, and so they’ll come eventually.  Meanwhile it’s time to start reaching out to other venues so we can build the thing that way.

Sunny

A week went by and now it’s July.  To celebrate my birthday I went and saw Sungazer at the Blue Note in Manhattan.  This was a different configuration than I’d seen the before.  The core group of drums, bass guitar and keyboards was accompanied by not just a single sax player but by an entire big band!  It was pretty mind blowing.  They did big band arrangements of a bunch of their songs (plus a Duke Ellington number), which I’d describe as jazz-adjacent prog rock jam band.  My kind of weird for sure.  With the addition of the big band the sound was somewhere between Steely Dan, Zappa, and Joco’s Word of Mouth.  I must say the band was awesome and the arrangements were great, but my only criticism is the band played just over one hour.  I mean, I know how much work it is to compose, write out and rehearse all those parts, but you could’ve thrown in a drum solo and some stuff like that.

The hot weather continues, but not as hot as before.  Last week I did couple more ten-mile bike rides.  Trying to get out early in the morning these days to beat the heat.

It’s goal setting time at work, and in addition to the usual stuff, they want everyone to come up with and AI goal.  Let’s see if I can have some fun with that…

For fourth of July we went up to Buffalo for a few days to visit my Mum and Dad. Kathleen and the kids were there, and Lizzy and Josh came over too.  I must say my Mum was in much better sprits than she was back in June.  My brother Jim and my nephew William came out to visit them for a couple weeks in June, and helped out with a bunch of things, so that made a big difference.  Kathleen’s kids got me some awesome birthday presents.  Charlie made me a 3-D printer dice jail in the form a castle, using a very cool filament that glows iridescent green blue and purple when you look at it from different angles.  Way cool!  And Abbie drew me a card with a picture of a Mimic that unfolds to show the teeth and gaping maw of the monster.  Also Lizzy got me a pair of drumsticks from the Rock’n’Roll hall of Fame, and Michelle got me a comic book:  Godzilla vs. Thor #1.

We drove up the evening of the 3rd and arrived late, stayed in a hotel in East Aurora, a cool little artsy town.  I’ve always wanted to take some time to check it out.  The day of the fourth we basically spent the whole time going the the park and sitting on my parent’s back porch drinking beers and barbecuing and listening to class rock.  Perfect.  In the evening we went to the fireworks show, which was great.

We got home last night and everyone was pretty tired.  Today I had a much needed day off, but my list of thighs too is growing longer faster than my free time.  Today my replacement MBox arrived and I plugged it in an it just worked with no additional hassles, at least for playback, so that’s lucky.  Tomorrow I’m going to test out the recording side.

New Song:  Flock of Fools, Part I

Here’s a rough mix of the last song from the first batch of tunes for the upcoming Spellbound record.  This brings us up to twelve minutes of recorded music in six months, a blazing pace for me.  That’s less than a third of the total running time of the record, but more than half in terms of the number of songs.  Two of the remaining three songs are about another twelve minutes combined, and the last one is most of an album side.  This one did not appear on the original recording, but I added a couple of songs to bring up to the length of a full-length LP record.  I wrote it around the same time the Spellbound songs, and fits in thematically. 

Flock of Fools was a song idea I had for my prog rock band Infinigon, which was active from 1986 to 1988.  We mostly played covers of bands like Yes, King Crimson, Rush, ELP, Pink Floyd, Genesis and others.  We also had aspirations to write our own material, but little experience at it, so it was slow going and took up lots of rehearsal time.  Flock of Fools was long and complicated song with a lyric and all, but we never worked it up to be able to play it out.  I continued to work on it after the band split up, and at one point in the early 90’s must have made a midi demo, which is the basis of this track.  This is only part 1, a heavy drum and organ instrumental to serve as an extended intro to the main song.  I’ve subsequently taken pieces from some of the other sections and reworked them into other tunes including Angel or Alien, and King’s Hex.  I don’t think I’ve ever done the main section of the song, but may someday.

This is the shortest tune on the record, under two minutes.  I’m thinking of using it as an intro into another song now, possibly to the eighteen-minute epic that comprises most of side two.  It’s about the misfortunes of a sailor who goes off the sea the world and look for adventure, and is itself a continuation of the two-part suite that opens the record.  If I do this, I may rename the track Tempest Fugitive.

Like the other songs so far, this track uses patches from my venerable Roland Alpha-Juno, most notably the Rock Organ 42, layered in with sounds from my onboard SampleTank software synth.  There’s also a swoopy bloopy synth intro/outro that utilizes layered patches from the Roland as well as my rarely-usedMoog Phatty.  This was knob jam that cannot be created in midi. 

I added a lead guitar part that was not in original track in the spirit of “what would Martin do?” Inspired by his solo on Sandcastles, it turned to be fairly Frippy, with lots of compression and sustain for a heavy overdrive sound, mainly on long high notes.  It was good to be able to explore this kind of thing without having to cop a specific part.

I was hoping to one more mixdown after listening back, but unfortunately, my MBox, the heart and soul of my recording studio, bit the dust sometime last week.  (Maybe coincidentally, my garage door opener started glitching right around the same time.)  The lights light up and it communicates with the computer, but it doesn’t output any sound from my DAW.  Oh tragedy!  The thing is about fifteen years old, and connected to an equally old computer, running an equally old version of ProTools.  I’m hoping I can find a replacement MBox and be able to plug it in and it all just works, but if not the whole system may be kaput.  Too bad, I had it set up in a way that really works for me, with effects plugins and synthesizer sounds that I’ve gotten to know very well, and I think of as part of my sound, to say nothing of being able to pull up twenty years worth of recorded songs if I want to remix them or anything like that.  Ah well, all things must pass.

Indeed, I’ve been planning a replacement and major upgrade to my studio for some time now. I have modern-era computer that has Logic Pro and Reaper installed on it, and I have a new 8-channel audio interface I bought in the wintertime, along with a set of mics and stands to mic up my drum kit.  Only problem is I haven’t had the time to get it all wired up and configured. 

Last summer I was planning on producing an album of Martin’s songs, and I was going to use Reaper, since that’s his DAW software package of choice.  And he was gonna help me get to know his favorite effects and sounds and all that as part of the process.  Obviously that did not come to pass.  When I finally regrouped and decided the next record would be the Spellbound project, I decided to use my old rig one last time, at least to start with, just to get making music as fast as possible.  The plan to record live drums requires using the new rig, so that will get me a pathway there.  I’d figured I could compare the two ways of working and find comparable sounds in the new system.

The other thing holding me back was after last July’s origami convention, my studio, which a combination origami and music studio with a finite amount of space, was just plain full up.  There was no place to put away new paper or any more folded models.  There were no clear work surfaces.  It was upstairs all over the dining room too.  Around Thanksgiving I had to clear the dining room table, and the situation became clearly unsustainable. Around Xmastime I started reorganizing my studio, throwing things out to make more space, and all that.  It was a much bigger job than I anticipated, and I’m still not done yet.  Mostly there though.  And we have a long weekend coming up.  Soon, soon.

Anyway, after all that rambling, here is the track Flock of Fools, Part I.  Enjoy!

https://zingman.com/music/mp3/spellbound25/FlockOFools16a.mp3

New Song – The Silent Hour

Here is a rough mix of the third song for my forthcoming album Spellbound.  Unlike the others so far, this one was mainly written by Martin, and the original version of this song was just him singing and accompanying himself on a single electric guitar with no other instruments.  I didn’t sing or play anything, but I still get a songwriting co-credit because that’s what we agreed on for all the songs in the project.  So for this version, my main task was to learn the song and guitar part.  It’s not a particularly hard song, in fact it was probably the first song Martin ever wrote and the chords are very basic.  But there’s alot of nuance that I wanted to be sure to capture.

The vocal was pretty straightforward.  Martin and I have a similar vocal range and sense of phrasing, and this song was neither very high nor very low in my range.  The guitar on the other hand, well let’s just say I’m learning alot about how to record electric guitars.  Martin’s original take was just a six-string Ibanez thru whatever amp he had at the time.   I don’t believe there were any effects on it other than the tone of the amp.  So my first pass was using my PRS six string and my Roland Jazz Chorus amp, and it produced a warm and satisfying sound, definitely in the zone.  Being such a sparse arrangement I wanted the gutiar sound to really shine. But it was a little muddy and the low end was uneven, so I got in there with some EQ and compression, and even added an amp modeler as a sidechain effect.  Oh the joys of digital production and the endless tweaking it affords.

I added a second guitar track to give it some more depth.  (I often double track my keyboard parts.)  This one was a 12-string.  Martin switched mainly to twelve string sometime in the nineties, and the guitar I used was one that used to be one of his.  This time, however, I went direct inject and mixed it into the same sidechain amp effect.  All in all it sounds pretty good but I’ll probably continue to tweak it.  I might even try again using the 12-string as the main guitar.

But for the time being, here’s the song.  Enjoy!

https://zingman.com/music/mp3/spellbound25/TheSlientHour08c.mp3

New Song:  Sandcastle Kingdoms

Here’s a rough mix of Sandcastle Kingdoms, the second song for my forthcoming album Spellbound. I don’t really remember too much about writing this one.  It’s mainly one of “mine” with me sings lead vocals and having a keyboard part as the spine of the track.  I guess I was feeling restless and forlorn at the time, and tapping into that for the lyric. 

Musically, it’s pretty much a power ballad, with a repeated 8-bar verse and a bridge.  I was aiming for some level of terraced dynamics, building up layers of parts throughout the song.  And there’s alot of parts.  In addition to the piano bass and drum, there’s a string/brass synthesizer and the guitar. Of course the piano is double-tracked with a Fender Rhodes and the Juno’s Polysynth 1 patch.  The drums are midi and samples for now, but I’ll put down real drums later one.

The lead vocals are drenched in effects, although I’ll probably dial that back later.  This song was really high in my range and has some really long sustained high notes.  It took me a few takes to really nail it.  If I were writing this song now I’d probably shift it down to an easier key.  But once I found my voice up there it sounded really good, so I kept it.

The synth part is a blend of four patches, two each of synth strings and synth brass, and one of each of those being an onboard sound of my protools rig and the other one from the outboard Juno, being the sounds used on the original recording.  I was going for something nice and rich and fat.  I still need to go in and add some fader moves to make the brass predominate in the louder sections and the strings in the more delicate parts.

This is the first song where I tried to replicate Martin’s guitar part.  Martin didn’t sing on this track and the guitar seemed to be his only contribution. Martin’s sound – the phrasing and the tone – always had a certain magic to it, even from these early recordings.  I’ve been listening really close and trying to capture that, but ultimately found it’s elusive and I’m having to make it my own.  I’m using a whole different setup, different guitar, amp and effects that sounds like me.  But I’m learning alot about how use effects to get different kinds of guitar sounds.

In any event, I copped his solo fairly faithfully because it fit so perfectly in the song.  I also paraphrased his riffs in the intro and outro.  I even added some new riffs on the the bridge.  All this is on a lead guitar track.  On the original track Martin also did a bit of noodling around in the verse, but I didn’t duplicate that.  Instead I added a second guitar track, low and overdriven with alot of sustain, deep in the background to give the track some fullness and weight.  This is the kind of thing Martin used to call “guitariness”.  Getting the right sound for this was a learning experiment too, and I’m not finished yet.

So here you go, enjoy!

https://zingman.com/music/mp3/spellbound25/Sandcastles27.mp3

Top 40 Prog Rock Songs

Here’s this summer’s playlist.  The theme is my top forty favorite prog rock songs.  This may or may not actually fit with a summertime backyard barbecue party vibe, but it’s what’s been on my mind recently as I’m putting together the Spellbound record and looking for songs out there to compare to.  So I thought I’d give it a shot just because it’s hard to find the time to sit down and listen to music.

The roots or prog of course are in 60’s British psychedelic blues and pop jam bands, so that’s where we start.  I actually had a whole bunch more 60’s songs on the list which I jettisoned to make room for more core proggy stuff in the 70’s and beyond.  As with previous playlists, I decided to have only a single songs per band, although King Crimson tempted me to make an exception because the different versions over the decades were essentially different bands.  Nevertheless, some musicians like Bill Bruford, Tony Levin and John Wetton appear multiple times since they’ve been in a bunch of different bands.  The other rule I had was to avoid full album side length tracks.  The one exception to this is Iron Butterly, the original long song from a heavy 60’s jam band. As it is, this playlist is almost as long as other that have twice the number of tunes!  Also there’s a good handful of songs that are considered canonically essential, but I skipped them because I never dug them.  As the 70’s get into the 80’s and beyond, the list gets a little more idiosyncratic as the genre rubs against adjacent styles like metal, techno and jazz fusion.  Hopefully I did a good job representing the re-emergence of prog in the twenty first century as it continues to the present day.

1960’s
The Beatles – Strawberry Fields Forever
The Beach Boys- Good Vibrations
The Nice – America
Iron Butterfly- In a Godda Da Vida
Frank Zappa – Peaches en Regalia
Jethro Tull – Bourée

1970’s
Gentle Giant – Giant
Yes – Starship Trooper
Led Zeppelin – Four Sticks
The Moody Blues – I’m Just a Singer (In a Rock’n’Roll Band)
Emerson Lake & Palmer – Trilogy
Deep Purple – Highway Star
Uriah Heep – The Magician’s Birthday
Chicago – While the City Sleeps
Pink Floyd – Money
Supertramp – School
Queen – Ogre Battle
King Crimson – Starless
Camel – Air Born
Genesis – Dance on a Volcano
Kansas – Point of Know Return
Rush – Xanadu
U.K. – Thirty Years
Styx – Renegade
Led Zeppelin – Carouselambra
Bill Bruford – Hell’s Bells

1980’s – 90’s
The Police – Behind My Camel
Blue Öyster Cult – Fire of Unknown Origin
Asia – Wildest Dreams
Alan Parsons Project – Gemini/Silence and I
Iron Maiden – Rime of the Ancient Mariner
Spinäl Tap – Stonehenge
Marillion – Pseudo-Silk Kimono/Kayleigh
Gowan – You’re a Strange Animal
Dream Theatre – Pull Me Under
Ozric Tentacles – Astro Cortex
Liquid Tension Experiment – Paradigm Shift

2000’s – Now
Tool – Lateralus
Porcupine Tree – Trains
Spock’s Beard – On a Perfect Day
Tame Impala – Let It Happen
Sons of Apollo – God of the Sun
King Gizzard and the Wizard Lizard – Dragon

New Song – Strange to My Mind

Here’s a rough mix of Strange to My Mind, the first song for my forthcoming album Spellbound.  As previously mentioned, Spellbound is based on a project Martin and I did together in January 1990 when were on winter break from school, using a borrowed 4-track cassette recorder.

Strange to My Mind was the first rock song I wrote to completion.  At that time I had a jazz fusion group Event Horizon, and was mainly focused on instrumental music that combined composed sections with opportunities for free improvisation.  I had some sketches of ideas for lyrics but had never seen thru to the end the process of fitting a lyric to a melody and working it up to sing and perform it.  I learned alot about what worked for me and what didn’t and it gave me a foothold into a whole new realm to explore.

As far as it goes, the ambition wasn’t super high.  The lyric and chord progression are pretty simple and the form is straightforward, with an intro riff, verse, chorus, repeat, bridge, solo, and recapitulation of the verse and chorus.  Still, that’s enough for a satisfactory three-minute pop song.

At the time I was mainly writing on piano.  I had a Fender Rhodes I’d bought for something like $175, and a Roland Alpha-Juno synthesizer.  I didn’t have access to a real piano and in those days synthesizers did not have very good piano sounds, so this rig became the basis of my sound.  Meanwhile Martin was playing a cheap Ibanez electric guitar with a a couple of Boss pedals for chorus and distortion.  We didn’t have a bass for the project; I did all the bass parts with my left hand along with the keyboards in the right, like Ray Manzerek of The Doors.  The drums were added at the end, played by my friend Mark along to the tracks and recorded using a single mic.

For this version of the recording I brought it more into line with my standard way of doing things nowadays, while trying to capture the spirit of the original.  I used an electric piano as the spine of the tune.  It was fun figuring out the part I made up long ago.  It had a fairly busy left hand, since that was the bass part.  Also it has a pretty cool hook with the chord progression going from G to Bb to D, with a little jazzy modulation in there.

To this I added an electric bass guitar and a midi drum track.  For this project, the big new thing is to use real drums, but I haven’t gotten that far yet, and that journey is a whole ‘nuther story.

At the time I was leaning heavily into a sound on my synth called Polysynth 1 for the general comping and rhythm playing.  I deemed this essential to the song, so I fired up my old Juno synth and was delighted to find it still works after all these years.  I doubled the piano part on the the synth and blended it in. 

Oh, and of course the sax solo.  I played it on alto at the time, but on the new version I use a tenor.  I’m wondering, though, if I should have stuck with the alto.  Even though my tenor sound is big, with a Dukoff mouthpiece and all, it’s maybe still a bit dark and smoky compared to the searing high register of the alto. 

Listening closely, it appeared that there was no guitar part on the original version and Martin’s sole contribution to the completed track was some harmony vocals.  Nevertheless, I added a rhythm guitar part for some more depth to the sound, and overdubbed his vocal parts a second track after my own lead vocals.

Anyway here it is.  Enjoy!

https://zingman.com/music/mp3/spellbound25/StrangeToMyMind17c.mp3

New Lyric – The Silent Hour

This is the first song of the Spellbound project that was mainly written by Martin. In fact when we recorded it, it was just him singing and strumming along on guitar with no other instruments. My new version follows that arrangement. The feel is a sad and beautiful folk ballad, although played on an electric guitar. Very stark. The subject is about how winter is a kind of death of the world, maybe even a gateway to another realm, told from the point of view of a guiding spirit offering a choice of returning. This was probably the first song Martin wrote to completion and worked up to perform. His writing was full of deep and surprising imagery from the beginning.

The Silent Hour

Hello, I’m glad you made it here tonight
With your creased and folded paper body
And eyes still shining bright
Relax, you’re one of us now
Join us in this inner circle embrace the silent hour

And you see how the wind can blow at night
Opens your eyes to the dreaming silver starry sight
And now you know why the winter comes our way
Giving freedom to the souls too tired from the day

Away, you’re time is rushing by
Like freezing water thru your fingers
Or softness from the sky
I know, the child has gone away
But if your heart can’t bear to follow I will let you stay

And now you know that pain can make you cry
Smiling eyes and sadness in you for all of us must die
And now you see what makes the winter cold
All those payin’ must leave the fold
A goal to make them old

Arise, the leaving time is near
To take it from this fading world
The wish that brought you here
Goodbye, the story now is told
Lay your head upon the snow and let your body fold

And now you see the pains you used to fear
Closes your eyes to the dreaming leaving with the year
And you know you’re one us now
Listen to the world sleeping listen and embrace
Listen to the world sleeping listen and embrace the silent hour

— Martin Szinger, 1990

New Lyric – Sandcastle Kingdom

Here’s the lyric for the next song on the forthcoming record Spellbound.  This is another one of “my” songs, with the lyric and arrangement mainly by me, as well as the singing on the original track.  This one is basically a power ballad, which is a style I don’t really write in anymore.  I don’t remember much about writing it, other than not being totally satisfied with either the lyric or the chord progression at the time.  Listening back now, I think both hold up quite well.  Thematically, it’s about longing and yearning for the future, like alot of the songs on the record.  Musically I seem to recall trying to work in some jazz chords but never really finding a place for them. There’s a pretty cool lift from G major to E7 in the middle that made the final cut.

Sandcastle Kingdom

Passing time
But somehow I don’t seem to mind
As if I had some time to spare
Never a day left to share
With you but why then don’t I care I’m getting left behind?

Once long ago
Although now you’d never know
I held the flame that burned so bright
It lit the sky up in the night
But then somehow I lost the light I wonder where’d it go?

[guitar solo]

Loose your dreams
It’s not as painful as it seems
Imagination all dried up
Fought the fight and gave it up
Waiting for a change of luck to open some new streams

Well they might have been castles I built inside my head
Seemed real enough when I lay dreaming in their bed
But as a change of the tide will wash old sands away
The time to build new ones comes with a new day

Gone a year
But now I feel the time is here
Don’t wanna put my faith in fate
You know there’s not much more I’ll wait
Because tonight is growing late tomorrow’s drawing near

— John Szinger 1990

Spacecats at the Green Growler

Here’s announcing the next upcoming show for my jazz group Spacecats, a triumphant three-peat return engagement to the Green Growler in Croton, NY, on Friday, May 30 at 7pm. The Growler is one of our favorite places to play, with a relaxed and comfortable vibe, and always a good crowd.  The group features John Szinger on saxophone, Josh Deutchman on piano and synthesizer, Ken Matthews on bass and Rick Arecco on drums. We play a blend jazz and funk, originals, standards, and pop songs with our own unique twist.  We’ve been jamming some fun stuff lately and will probable debut two or three new originals, as well as changing up the mix of standards and covers.  Should be a great time, so come on down!

Spacecats – Jazz and Funk
Friday, May 30, 7 to 10 pm
at
The Green Growler
Croton-on-Hudson, NY 10520