Channeling Ringo

We had a lovely Thanksgiving. Spent the day out on Long Island with Jeannie’s sister and the niblings, playing Jackbox and watching the Bills game. Michelle came home from college, although Lizzy stayed in Buffalo cuz she had work on Friday. We observed Slack Friday, as is our custom, and did no shopping. For someone who doesn’t watch alot of TV, however, there was alot on.

First, we watched the new Cowboy Bebop live action series the weekend before Thanksgiving. I thought it was great, very entertaining, and want to watch it again at Christmastime. John Cho is excellent, as is the whole cast, and they pulled off the trick of staying faithful to the spirit of the original tone, action, humor, and sci-fi world building, while pulling the story arc and characters in into deeper directions. And the music was great.

The internet seems to hate it, but they must all be super picky nerds who do nothing besides wallow in their fandom. After all, it’s a show on a streaming internet service, based on a cartoon from the ’90’s. What do you expect? If you’re at all reasonable, the new Bebop blows them away.

Then we watched the new Peter Jackson remake of the Beatles’ Let It Be. I heard it was long, but was hopeful nonetheless. After all, Jackson’s adaptation of Help! was the original extended trilogy, and remains one of my favorite movies of all time, even at thirteen hours long. In fact, we usually watch it every winter, and since Michelle was home for the long weekend, we viewed the first half.

Granted, Jackson transposed the setting for Help! from 1960’s England to a place called the Shire, and the four young lads are Hobbits rather than Liverpudlians, and as they try and get rid of the ring, they’re being chased by a death cult of Nazgul rather then a death cult of Kali, and they’re trying to get to Mordor rather than the Bahamas. Eleanor Braun is replaced by a CG Gollum and Victor Spinetti by Christopher Lee. They added a few new songs and changed the title, but the basic plot remains the same.

So, was the new Get Back on the level of Lord of the Rings, or more like PJ’s The Hobbit, bloated and stretched thin like butter over too much toast?

Well, I have to tell you I’m a huge Beatles fan, but now I finally feel like they’ve jumped the shark and landed in overrated and self-indulgent territory. It would have been a much better film if it was five or six hours long rather than eight. As a musician who has spent tons of time in rehearsals and recording sessions, I know very well how tedious it can be to write, arrange, rehearse and perfect a set of tunes. I think there was actually a great story in there, and a bit of editing would have moved things along without all the false starts, noodling jams, and endless complaining how they don’t have the material for a movie yet. Eight or sixteen bars would do. As it is, the new film is not really much better than the original, just alot longer. They should have named it The Long and Winding Road.

Ah well, at least Jackson has kept in touch with his horror movie roots. He featured Yoko Ono “singing” (ok, really just screaming) for several minutes, presumably anguished over George quitting the band. Why anyone would let that woman near a microphone is beyond me, even if you’re drug addled, madly in love, and think it’s avant-garde. The look on young Heather McCartney’s face at witnessing the spectacle is priceless though.

In other news, my new jazz album is almost done. I’ve decided on a running order for the tracks, and five of the six songs are fully mixed and mastered. The last one, Sun of the Son, was the first track I did, over a year ago, and I did a three or four rock tracks after that before I decided to make the focus of the album instrumental jazz. So I changed my mastering setup for the newer songs, to give the sound more depth and dynamics. Now I’ve gone back and done the same thing for SotS. Almost there!

New Song: Bluezebub (The Devil You Don’t Know)

Here’s a close-to-finished mix of my new song Bluezebub (The Devil You Don’t Know). This is a last song to complete my new album of computer jazz songs. I’ve already turned to corner to doing final mixes and mastering, and am close to done on three other songs. So more on that soon. But for now let me tell you about Bluezebub.

It’s a rather long and complicated song, but for what it is, it came together pretty quickly and organically. The general vibe is 60’s spy jazz meets prog rock madness.

It started with the drum pattern that introduces the song, which I came up practicing various swing and shuffle beats, and seeing if could make 5/4 time swing. Next came the bass line. I became fascinated by the idea of a 10-bar blues, and that pattern forms the basis of the arrangement. I also came up with 5- and 15-bar blues patterns that are used in different places. Since I don’t have the constraints of playing live, I double tracked the bass part with a synth and fender bass guitar. There’s also a piano part played on fender rhodes to outline the chords and give it some tastiness.

The first part of the song is a slow, easy, kinda groovy mysterioso feel. I brought in the melody on bari sax. The song suggested a building feel, so the next chorus I added a tenor sax, then a lead synth the chorus after that, and before I knew it I had three melodies in a fugue-like interlock over the rhythm section. To bring some resolution from there, I wrote a bridge where the horns and synth all play in harmony, mostly on whole notes, while the bass and piano come forward. Then it’s a restatement of the fugue theme, but elaborated and embellished with drum breaks.

The solo section echoes the structure of the head somewhat. The bari sax has a nice long chance to stretch out, then the tenor and finally the synth, keeping the groove relaxed and building to a simmer.

Then things get crazy. The time shifts from 5/4 to 15/8, with the feel on the triplet. This is superimposed over the old pulse, to there’s a 5-against-6 feel that comes around every few bars. The blues bass line is now sped up, and everyone blows over it, increasingly dissonant and intense, culminating in a climactic burst of silence. This is followed by a skewed, condensed and embellished recapitulation of the head, with the rhythmic tension retained and a bit of Cowboy Bebop style riffing thrown in for good measure.

Believe it or not, there wasn’t alot mixing to do once I dialed in the basic setup, cuz most of the dynamics are in the playing.

I shared a rough with Martin last week, and he called me up to tell me it evoked a story to him, where Bluezebub is this supernatural blue cat demon, identified with the bari sax, and is emceeing some kind of show or parade of friendly monsters, but then it all turns scary and you have to run away. I think that sums it up pretty well.

Anyway here it is. Enjoy!

https://zingman.com/music/mp3/bziv/Bluzebub41c.mp3


New Song Preview: Bluezebub Bari Sax Demo

Autumn arrives. A week ago the kids were home visiting for the weekend, which was very nice. Michelle is doing well at college, having fun, making friends and enjoying her classes. Perhaps not surprisingly, she brought home a giant bag of laundry in lieu of luggage. Lizzy hung out with a bunch of her friends down here, and was good to see how they’re all doing too.

The weather has remained mostly mild, although we had a couple cool nights where we had to turn on the heat the next morning for a little bit. I’ve been resisting putting on the heat more than necessary, figuring this is a good time acclimatize myself to the cooler weather. Anyway we decided to take out the air conditioners this weekend, and then today got up close to 80 degrees.

Last Friday I got in a skate on my rollerblades, the third and maybe final time this season. Even though it’s been staying pretty warm, it’s getting dark earlier every day, which limits the time available to do things outside. Sunday I went for an epic bike ride thru the nature study woods, all the way to the far end and back. And I went up in weights in my workout like I’d planned. It’s been a a few weeks and feels good. So the next increase is in the offing.

I’ve been playing alot of bari sax recently. It’s been a while since the last time I took it out of the case, but I needed it for my new song Bluezebub. I spent a couple days practicing, getting my chops in shape on the horn, and then a couple sessions laying down the track. And it must say, it came out great. The horn has tone galore, and the action and intonation are better than I remember. Maybe cuz I’ve been playing more tenor then I used to before the plague times..

The bari is an old horn, a Conn 12M, which I brought from my brother years ago. He always considered it less than a pro-level horn, probably because Conn saxes were not particularly well regarded in the 1980s when we were students, and it is a big beast to manage. But I googled it, and the 12M is actually considered and all-time classic with a lineage dating back the 1930’s, the big sister of the legendary “Naked Lady” 8M tenor. The one I have was built in the 1960s, before production moved to Mexico, and has a giant fancy engraving on the bell that includes the words “Elkhart Indiana U.S.A.”. Everything about the horn, the pads and springs and all, are in great shape. My only real complaint this the thumbrest is not so comfortable. The mouthpiece is a hard rubber Otto Link btw, a great paring. So tone galore. And now it’s back in its case until next time I write a song with a baritone sax part. Unless maybe I can find a horn section band.

Meanwhile I really dig the way the bari part came out, so here’s a preview, without the other saxes and synthesizers, of the first half or so of the song. Enjoy!

https://zingman.com/music/mp3/bziv/Bluzebub27_bari_demo.mp3


What’s Going On

Things have been mellow lately. The kids are out of the house, and my main contract gig ended a little while back, so there’s less to do than usual while I line up a new gig. Last year at this time I was building a patio, but right now there’s no need for any big home improvement projects. We’re kinda in the middle of defragging the house, but that’s slow going. We’ve been thinking, mostly idly, about getting some new furniture. The world is still under a pandemic, so it’s not a great time for any epic travel adventures. We do have a few mini road trips coming up, but I’m hesitant to do anything that involves air travel nowadays.

I’ve bee updating my web site, including my online software projects portfolio (https://zingman.com/portfolio/). So far alot of it has been invisible, behind-the-scenes stuff, but there’s some new content too. More stuff is in the offing, so stay tuned for future updates.

Been working on the Global Jukebox (https://theglobaljukebox.org) too, and in fact we just did a push to live a couple weeks ago. There’s also another site for The Association for Cultural Equity called The Alan Lomax Digital Archive (https://archive.culturalequity.org/). The site is pretty much what the name implies with lots field recordings, films, radio shows, etc. plus a section of curated exhibits. The site is built in Drupal, and most of the work involves styling and skinning, plus a few UI widgets. The workflow is pretty convoluted, since the site is not under source control and there’s no dev instance nor any way to deploy a local version. A large part of the early phase of the project was setting up a pipeline were I could do chunks of work locally, rapidly deploy and test, and roll back if things didn’t look or behave as expected. Now things are pretty much humming along, but there’s gotchas at every turn.

Although the heat of summer is gone and suntanning season is over, the weather has remained quite mild and pleasant into mid-October. We’ve yet to turn on the heat or even take out the air conditioners, but the days are really getting shorter faster these days. I’ve been going for walks in the nearby field alot, and Jeannie and I even got in a good hike last weekend, up Mount Hook in the Palisades. I’ve also been biking about twice a week on average, once on the streets and once in the Nature Study Woods. I still want to get back on my rollerblades a third time before the end of the season. I went up in weights recently in me workout, and added back in tricep curls. I’m still 5 lbs. short of my goal for the year, and hope to go up one more time, but it gets harder when the weather turns cold, so I better do it soon.

In music, I’ve been working on a new song Bluezebub (The Devil You Don’t Know). This is the last song on my upcoming Computer Jazz record I’ve been working on since the start of the pandemic. It’s a sort of 60’s spy-jazz meets King Crimson vibe, in 5/4 time with a sort fugue-like riff structure for the first half, a crazy uptempo jam in the middle, and then an elaboration and recapitulation to end it all off. I have the whole arrangement worked out, and have tracked the drums, fender bass, synth bass, and fender rhodes piano, and have sketched midi tracks for the horns and lead synth. Yesterday I broke out my bari sax to attempt to lay down the part, only to realize that I better write it out first and practice it a few times, so that’s next.

I’ve been a bit of a Beatles phase lately, as I tend to do every few years. This time I created and printed out lead sheets for a whole bunch of their songs , as part of my ongoing songbook project. Most of the stuff from the first half of their career is to play on guitar. Turns out they’re mostly pretty easy and really fun to play, and full of little twists and tricks and tight arrangements. If only I knew someone who like to sing harmony. Their later songs are mainly to work up piano, with a focus on maximum psychedelia such as Strawberry Fields Forever and I Am the Walrus, plus some not-quite-rock Paul songs.

The jazz group is humming along, although I haven’t had any luck getting gigs, and admittedly I haven’t been trying very hard. Also keeping an eye out for the opportunity to form a new rock group, although there’s not much movement there either.

New Song: Lift Off

Here’s a pretty-close-to-finished mix of my song Lift Off. It’s the fifth of six songs on my forthcoming computer jazz album, and the most straight-ahead bebop number of the bunch.

https://zingman.com/music/mp3/bziv/LiftOff50.mp3


This song was originally developed for my pre-pandemic jazz group as a vehicle for some uptempo tenor sax shredding, inspired in part by John Coltrane’s Countdown and Steely Dan’s Bodhisattva. The changes are in the mode of standards like Have You Met Miss Jones? and A Foggy Day, but with a half-step modulation inside the ii-V’s, a streamlined version of the Giant Steps trick (i.e. ii-bii-bVi-V). It’s pretty challenging to solo over, but even with the constant modulation and implied dissonance, it’s pretty smooth to listen to.

Like other songs that I’ve previously played live, it’s hard to completely unwind the arrangement, so the live version was used as a starting point. It’s a tenor sax backed by a rhythm section of piano bass and drums. I introduced an organ in lieu of a guitar, and then the organ is sometimes doubled by a synth for emphasis.

There’s actually two bass parts. One is a bass guitar played fairly softly and EQ’d with much of the middle scooped out to make is sound more jazzier. The other is a synth bass, and the patch is layered with an organ to suggest the organ player is doing it with his left hand (which is actually true, I guess). They double for much of the song, but in the solos when it goes to a walking quarter note pattern the bass guitar just outlines the chords, and the synth takes over. I can’t walk on those changes on a bass guitar at 200 bpm!

I put alot of effort into the dynamics and the drums to make it swing. I’m using mainly sequenced drums here, again because of my limitations playing jazz drums at that tempo and doing it justice. So something resembling human feel and interaction was important. Alot of the song is carried on just the ride cymbal and hi-hat with the snare and kick drum doing accents. I practiced and developed a few patterns out of the bebop drumming book to really get what I wanted to program.

There’s a section where drums and sax are trading fours. I tried a few different ideas for this. I was inspired by Mahavishnu orchestra and their vocalized drum solos, and went with something kinda like that, but doubled on snare and toms and with a heavy flange effect. I think it sound cool and works pretty well.

She’s Leaving Home

We just got back from another road trip. This one was up to Buffalo to drop Michelle off at college. Yep, she’s a freshman at SUNY at Buffalo, majoring in aerospace engineering. Jeannie and I are officially empty nesters.

The week before was a hectic one, full of Michelle packing and getting organized, and getting ready mentally for a big change in her life. She was mostly looking forward to it, but a little bit nervous too. Lizzy, on the other hand, was psyched to have her sister coming to town. Last Saturday and Sunday it rained all day, so we didn’t have a change to pre-load the car. Monday morning we got up early and the rain stopped just as we started to load in, so it all went pretty smoothly and everything fit.

Monday night Lizzy invited us to join her and her friends for trivia night at a local bar where they have a regular team, because I know all kinds of useless facts. I used to wonder about whether we’re turning into our parents, but she’s already turning into us. I recently asked her what new music I should listen to, and she said she’s listening to alot of classic rock these day cuz it’s always a topic for trivia. Anyway, it was a fun night and downtown Buffalo continues to be hip and trendy. We came in 3rd place, which is much better than they usually do, because I knew things like Alice Cooper’s real name, who the programming language PASCAL was named after, and the height of Mount Everest. We would have done better if they’d listened to Michelle when she correctly identified the Australian flag, instead of guessing New Zealand.

Tuesday we moved Michelle in. It went smoothly enough, except it was unusually hot the whole week we were up there, and her dorm does not have air conditioning. Her rooms is on the third floor, so it was alot of trips up and down the stairs. As we were moving in we met Michelle’s roommate and her family, who are from Long Island, and like Jeannie and me are UB graduates. After we unloaded everything we took Michelle shopping for all the stuff that we didn’t bring up with us. After that we went up to North Tonawanda to meet Lizzy at her work because Michelle was inheriting the fridge we bought for Lizzy when she lived in the dorms. Later that evening we all went out for dinner a burger place on Maple Road.

Wednesday Jeannie and I mostly hung around my parents’ house. We went for an epic walk in the morning, but by the time we returned it was already pretty hot. We had BLT sandwiches for lunch, with fresh tomatoes from their garden. It’s tomato and peaches season right now, and they’re having a bumper crop this year, so we ate lots of both every day. Brought some home too. Yum!

It seems like every time I go on vacation it aligns with a mini-crisis on the Global Jukebox, and this trip was no exception. There was a deadline with lots of last-minute design changes, so I ended up working that day and evening and doing a push to the live site the next morning. I had a chance to practice guitar too, and learned the Beatles song She’s Leaving Home, which Jeannie found very annoying for some reason.

Thursday I went rollerblading in the morning. My parents’ neighborhood is nice and flat, with smooth streets and very little traffic, so it’s perfect. I did two whole laps of the neighborhood, and found one street that was unusually smooth, so I went back and forth on it three times. In the afternoon we visited the Buffalo Museum of Science, which I had not been to for at least thirty years, and had been heavily remodeled. It made a big impression on me as a kid, and I was happy that my three favorite artifacts were still around: the skeletons of a triceratops and and allosaurus, and a giant globe with the ocean floors shown in relief, although they’d all been moved to different halls. There was also a hall of taxidemified animals and anthological stuff, like a mini version of the New York Museum of Natural History. Some of the upper floors were filled with newer, interactive learning exhibits, but it’s really the artifacts that interest me. Oh, and a Mastodon skeleton that I’d forgotten all about. Western New York is one of the world’s premiere sites for mastodon fossils, and, unlike Wooly Mammoths, they’ve never found a preserved specimen with its skin, so they don’t know if it was furry like a mammoth or bare like an elephant. They also had a pretty cool exhibit about the history of guitars, with lots of historic examples including centuries-old proto-guitars of various kinds, and lots of modern acoustic and electric examples.

That evening Jeannie and I took my parents, Lizzy, and Michelle to the Buffalo Hofbrau Haus, a big new biergarten right downtown, brought to you by the Munich Hofbrau brewing company. Lizzy had been there a few times before and thought my parents might enjoy it, since they were members of the local German club for years before it closed. Michelle was beginning to settle into her new situation, doing orientation stuff, making friends and all, although the weather was still unusually hot. The Hofbrau Haus was a good time, and pretty authentic, with live music featuring accordion, clarinet, cowbells, and lots of polkas. The food was Wiener schnitzel and bratwurst, and of course beer. It was alot of fun. Apparently the place gets pretty packed and raucous on the weekends.

Friday we had lunch with Larry and Jackie at a pub in Hamburg, and just talked for hours. What’s going on with all the kids, camping and bear stories, drumming, music, everything. Everyone is encouraging me to move back to Buffalo now, but Larry says the jazz scene is pretty small and there aren’t alot of really good players. It got me thinking about my old musician friends from the area, if any of them are still around and into prog rock.

Friday night was the King Crimson concert, the reason we stuck around a couple extra days. They’d played SPAC in Saratoga near Albany on Monday. Martin saw them there, and so did Mark from the Adirondacks. They played Bethel Woods near Yasgur’s farm on Wednesday, but at the time we were planning our trip we expected Wednesday to be move-in day for Michelle, so that wouldn’t have worked either. Anyway it turned out be a the right move. The venue was Artpark, which is semi-open theatre with lawn seating behind it, right on the shores of the Niagara River, between the Falls and Lake Ontario. I think the last show I saw there was Monsters of Jazz featuring Herbie Hancock, Pat Metheny, Jack DeJohnnette and (I think) Dave Holland in 1991 or so.

Unbeknownst to us until the day of the show, they’d closed the theater for the pandemic and built a new, smaller, all-outdoor venue on a hillside next to it, so we had to borrow some lawn chairs from my parents. It turned out to be a beautiful scene, a perfect summer evening with a view of the river, and idyllic ambient music of gamalan-like chimes and tones and the sweet smell of reefer wafting in the air as the venue filled up. We found a spot and Jeannie mentioned that there may well be someone we know was at the concert. A minute or so later I heard someone calling my name out of the blue.

It was my old friend Joe Q. At first I didn’t recognize him; it’s been twenty-nine years since I’d last seen Joe and he doesn’t look the same. But then I heard his laugh and it all came back to me. Joe was the bass player in the Cheshire Cat, probably the best band back in the late 80’s and early 90’s, when there was an incredible amount of talent on the local music scene. I fist met Joe when I was in tenth or eleventh grade, as part of the combined Kenmore East and West High Schools marching band, formed for the purpose of playing Buffalo Bills halftime shows, where we were both in the sax section. After high school, Joe and I were in a couple of bands together including Tafari, a mostly-reggae-with-some-Steely-Dan band with a horn section. I played the solo for Home at Last on the EWI. That band had half of Kenmore in it. Amazingly Joe is still playing music for a living. Rock on!

A few other people from Kenmore were three too. One was Mike M., the guitarist from Cheshire Cat. Apparently he got a bunch of free tickets because he and the drummer from the opening band were friends from Berklee School of Music. Another was Pete D., who was guitarist for the Automatic Man. Automatic Man were a jazz fusion band with Mike, Pat O. on drums, Jim W. on bass and myself on sax. We played every Monday night at Broadway Joe’s for about two years, unless there was a Bills game, and this group begat The Purple Connection which played every Sunday at the Inn on the River in North Tonawanda in the summertime. We did alot Mike Stern and Jeff Beck type stuff, plus the entire second side of the Abbey Road as an instrumental, although often the crowd would sing along to Carry That Weight.

Anyway, Pete was an excellent guitarist, one of the best in Buffalo. About halfway thru our stint he left the band and moved to New York City to try and make it on the music scene here. I moved to to NYC less than a year after that, and tried to find him but never connected. He told me he eventually returned to Bflo and hasn’t played guitar in many years. I thought that was too bad, since he was so good, so I told him about how I took a bunch of years of playing when my kids were little, but I’m really glad I returned to music. Then the show started, so our conversation was cut short.

The opening act was The Zappa Band. I’m not sure what connection they have to FZ, but they were at the least a flawless tribute band, possibly with some alumni from his groups. I thought I knew alot of Zappa songs, but I only recognized about a third of what they played.

King Crimson themselves were amazing. It’s the seven-headed monster lineup with three drummers in the front line, and back row consisting of Mel Collins on saxes, Tony Levin on bass and stick, Jacko on vocals and guitar, and Fripp on guitar and mellotron. It was pretty much the same act as four of five years ago when I last saw them: three songs off the first album, three off of Red, and smattering of songs from all the records in between, plus some later stuff too, and some epic drum solos. All very well done of course, often going well beyond what was on the original record, especially the stuff from the interregnum period. There were moments when the complexity of the various interlocking polyrhythms was just staggering. And I think the best Tony Levin is when he’s channeling Greg Lake.

Afterwards we went up the falls and walked around. Now we’re back home, making plans in our empty nest, hoping Michelle is doing well.

On with the Show

Another low key fun summer week. Jeannie and I went to the beach Saturday morning. I can’t remember the last time I got out to the beach more than once in a summer, so that was really nice. The waves and weather were quite moderate.

Sunday I took a bike ride in the local Nature Study Woods, and it started raining when I was out there. I didn’t notice it much under the trees, but got totally soaked the last few block coming home.

Saturday night we went out to see my friend’s band at a sort of street fest up in Hastings. It was the first time we we’ve gone out on a Saturday night in a long time. The scene was pretty empty, but at least there was a restaurant across the street where we could sit and have a drink while we listened. The group was a jazz quartet led by Erik P. from my old group Haven street. This was actually first live music I’d seen since my last gig before the pandemic, on February 28 of 2020. The group also featured Rich P. from my old group on piano, and Rich W. on alto sax. Rich W. is a friend who sits in from time to time in the Wednesday jazz circle, and is one of the best sax players I know. I used to think he was way better then me, but I’ve leveled up a couple times over the last few years, so it’s probably pretty close now. Anyway, an inspiring musician. A standup bass completed the lineup. The sound was traditional acoustic jazz, alot of it out of the real book, very well done, with well honed arrangements. Only problem with a group led by a drummer is every second song has a drum solo. 🙂

Before the gig I was feeling a little down, remembering how the old group broke up abruptly, and lamenting that my new group got off the ground too late to get any gigs this summer. Ah well, so it goes. The fault line in the old group was pretty much that Erik and Rich wanted to do more traditional jazz, and Gary and I were writing originals and exploring new sounds. My new group has electric bass and synthesizers, and funk fusion in the mix, and it lets me push my writing in the direction. Meanwhile they’re doing their thing and everyone is happy. Anyway it was great to see those guys and catch up, and shocking to realize it’s been a year and a half.

Lots going on with work, and hardware and software updates to support mobile dev and deploy. More on that in another post.

Everything You Did

Summertime is going by fast. We had wanted to go the the beach this weekend, but Saturday when we woke up Jeannie and were both really tired from the work week, and decided to bag it. I ended up doing a ton a yardwork on Saturday, trimming hedges and my neighbor’s willow tree that hangs into my yard. Then Sunday we woke up and we were all ready but it was cold and rainy. Last night we had a fairly epic torrential downpour. So yesterday I had some found time, and I decided to get on my skates for the first time this season. My street used to be really bumpy and then one day the paved it and it was really smooth, perfect for rollerblading. But that was many years ago now it’s all bumpy again, as are many streets in the ‘hood. Plus there are alot of hills, and the busy streets with traffic lights all tend to be at the bottom of the hills. So the quest has been on for some time to find better skating territory nearby.

Last summer I found a local street, a dead-end behind the fire station and local playground, which is nice and smooth. It’s only a block a way, but to get there you have to cross a busy street with traffic, a pretty good downward slope, and some rough pavement, all in all not great for skating. This time I decided just to walk down to the playground and put on my skates there. Turned out to be a great move. The street itself is a good long block, about a half a kilometer long, smooth pavement and a gentle grade down the way out and up on the way back. You can go as slow or fast as you want in the downward direction and stay in control, and back up is not too steep but long enough to make it a good climb. I did four round trips, which is just about four kilometers. Next time I’ll see if I can go five.

One of my little projects during the pandemic was to organize the lead sheets for hundreds of songs I’ve printed out to learn, mainly to play in rock bands, over the last few years. I compiled them all into a tree-ring binder and began working my thru them around Xmastime, practicing three to five every time I played piano. Mostly these are songs I can sing and accompany myself on piano, and they sound good like that. The idea is to work up a large repertoire, and keep the songs in rotation enough to get to know them, kinda like your knowledge of jazz standards builds up over years of playing out of the real book.

Of course the songbook is somewhat idiosyncratic to my taste, but hopefully with broad appeal. Some songs were more interesting to play and I got into it a little deeper, working on voicings and arrangements, coming back to them for several practices. Others I played once and moved on, or skipped entirely, and some I ripped out of the book because if I never play them again it will still be too soon. And, some it turns out, are better suited for guitar. And along the way I noted a bunch of songs I know and want to add to the book.

So I just hit then end of the book and started again at the top. It took a little over six months. This time thru I’ll be pulling out the guitar songs and put them in a different notebook, and add in the missing songs as I get to them (alphabetically by group, although maybe I should alphabetically by song to break up big blocks of songs by groups like The Beatles or Steely Dan.) Hopefully the thing will evolve of time to be better and better.

I had a fun little side project at work this week. My company makes a little electric musical instrument called the Orba, and we’re putting together a “vinyl” (apparently that’s what the kids these are calling a record album) featuring songs played on the Orba and using tones from the Orba. One side is music from fans and customers, and the other is form people at the company. So they asked anyone who wanted to to contribute a piece, with a focus on an ambient vibe. I must it was fun and interesting. The Orba is a flexible and powerful instrument, with drum, bass, lead, chord and looping capability, but it’s pretty different from anything else you might have played. I’ve fooled around with mine a bunch but never really got deep in trying to express anything specific or master much technique. So this was a good opportunity for that. I came up with something called Orba Jam Five, mainly because it’s in 5/8 time and made up of five-bar phrases. I copped this idea from a song I’m currently recording called Bluezebub (The Devil You Don’t Know). But other than sharing a click track the Orba Jam is completely different. Anyway, here it is, enjoy!

The Man with the Horn

I had to put my old horn in the shop. It got knocked over at a gig a while back and the main tube was bent. It’s an old Selmer Mark VII tenor from the early 1970’s, a pure classic and in excellent shape, the damage notwithstanding. Around that time I acquired a used (but much, much newer) Selmer Reference 54, and that became my main horn. But the time had come to get the old horn back in shape.

My new repair guy is Chuck Pomeroy and he’s out in New Milford, Connecticut, famous for it’s new milfs. Chuck was recommended to me by Rich, the alto player in my Wednesday group, and Charlie Lagond, the owner of the studio where we rehearse. Charlie has on old Selmer Balanced Action tenor from the 1930’s, the first modern designed horn, almost ninety years old, virtually priceless. He got it completely rebuilt, and Chuck did the work. New silver plating and everything. It’s totally beautiful, totally amazing. So I was inspired to get off my lazy ass and get my own vintage Selmer fixed up.

Chuck, as it turns out, is a really nice guy, and not too surprisingly really into saxophones. He’s also an excellent guitar player in the Joe Pass style. We, uh, talked shop for a little while, after I told him used to work repairing saxes and other band instruments when I was a teenager. I learned the basics and turned around the school rentals at my local music store. I can spot a leak, replace a pad or cork or piece of felt, and that kind of thing, and have generally maintained my own horns. But there’s lots more advanced work I never touched. Like, for example, straightening out a bent body.

So Chuck showed me some amazing vintage horns he was working on, including a very old curved soprano. And he had pics of Charlie’s horn all taken apart. He told me an amazing thing, that this is the second time he’s rebuilt that horn. The first time was in the 1970’s almost 50 years ago!

Anyway, a few days went by and I drove back to New Milford to pick up my horn. In addition to straightening it out, he put new pads and corks on pretty much the whole upper stack, and replaced a few choice pads on the big low notes around the bow too. I gave the horn a quick toot, thanked him and was on my way. I must say, he gave me a great price for all that work. In fact, it was so low he asked me not the tell anyone how much he charged me!

After that I drove upstate to visit my brother Martin. I hadn’t been up to his place in almost a year, and it was great to see him. He has a new pool but right around the time we started talking about taking a swim, the weather turned cloudy and soon it was pouring rain. Anyway it was a great hang. We talked music and played a really fun board game called Labyrinth. His kids are all very smart and good-natured, with a sharp sense of humor. Lots of fun. Drove home in a rainstorm, which was … let’s say it was an adventure.

So this week I played my horn at the rehearsal band Wednesday and with my own group on Thursday. And, wow! Not only did Chuck fix it, but it plays better than ever. The action is adjusted, and everything is tight, and it’s literally faster. You can blow softly and easily and get a huge sound, and especially on the low notes. And the tone! The sound is a bit less edgy than my 54, especially in the upper register, but overall more focused, with a particular warmth in the lower register. One of the songs we did Wednesday was ‘Round Midnight, and well, let’s just say I’m gonna use this as my main horn for a little while.

Now that I have two excellent working tenor saxes, I think I should get a second mouthpiece so I can have one for each horn. My current main mouthpiece is a Dukoff D9, a big bore metal for a huge, edgy tone good for rock or jazz. Think Clarence Clemons meets John Coltrane. I’ve also played am Otto Link, Berg Larson and some others. I wonder what the cool kids are playing these days. Someone at my studio mentioned a Jodi Jazz. Might check that one out.

Meanwhile my Thursday quartet continues to improve, both expanding and focusing our sound. I’ve started to reach out to some local jazz joints to try and get a gig, although we’re probably too late for the summer, and once the weather gets cold it’s not clear if these places will be able to continue doing music indoors. In any event, we’re working up some of our set to the point where we can record a rehearsal and have a really good performance. Tonight I was fooling around on some blues riffs between songs, and this led to a spontaneous rendition of Led Zeppelin’s Moby Dick, played in a funk jazz style reminiscent of The Dream of the Blue Turtles. It was really cool, and instantly became part of our repertoire.

Firecracker on the Fourth of July

Someone once told me the 4th of July is the best holiday because there are no expectations. If you want to spend it with family, you can. If you want to spend it with friends, you can. If you want go off on vacation, you can. If you want to just do your own thing you can. We often go upstate around the 4th but this year we stayed close to home, and it was a mellow family party vibe. Jeannie’s brother and his family came to town, so we when out Long Island for a party on Saturday and her sister’s house, and next day everyone came up here for a barbecue. Oh, and it was my father-in-law’s 80th birthday. Woo-hoo!

I decided to make a playlist of 80 favorite songs from the 80s for the party. The idea originated a few weeks ago with a conversation I had with Ken, the bass player in my jazz group, in which I put forth the proposition that Purple Rain was one of the all-time great albums of the 80’s, and he said he was never particularly into Prince. Josh, the piano player chimed in saying saw Prince on the Purple Rain tour, and it was one of the best shows he ever saw, and I related that I saw Prince a decade and a half later, and it was one of the best shows I ever saw. Santana even sat in.

One reason I really dug Prince’s early stuff was his approach to drum machines and synthesizers. I was really fascinated with synthesizers back then, and in the early 80’s suddenly you didn’t have to play like Keith Emerson to do something the would work in a band and sound cool.

Anyway, this led me to try and make a list of the 80 best albums of the 80s. I got off to a good start but once I got past 40 or 50 there was a long tail of maybes, and it started to feel kinda arbitrary. I went so far as google Rolling Stone magazine’s list of top 80’s, and let’s just say it’s … idiosyncratic.

To me a great album has to have more than a few great songs. It has to have two great sides that flow from one song to the next without a clunker or weak spot in the mood and story that record is telling. So for example Ghost in the Machine is clearer a better record than Synchronicity. Even though Synchronicity had some great songs, it also had a few that you kinds wanna skip on repeated listening. Whereas GITM is a great journey from start to finish. Plus it has a great album cover.

Maybe 80 songs would be easier. There were lots of great songs on the radio, and some came from great albums, some not, but it wouldn’t matter.

The songs are a mix of genres including classic rock, prog rock, heavy metal, synth pop, jazz, Canadian content, early MTV, and others. I didn’t put much planning into it, but I made a rule not to repeat the same artist, and I put the songs in chronological order. There was also a bias toward summertime party vibe. The list contains some are one-hit wonders, some huge smash hits, some deep tracks that have stuck with me over the years. Many I’ve learned to play and sing of the years, and have done in bands. All made an impression on me of kind or another at the time.

As you can see, things kinda started as a continuation of the 70’s, then seemed to to really heat up and get creative in ’81-’84, and maybe jumped the shark a little around ’85. After that the center moved over toward jazz, and when it swung back in the late 80’s the sound was pretty different. Or maybe my tastes just changed. I was only 11 years old when the 80’s began.

There’s a few songs I wanted to add there were not on spottily such as Electric Avenue by Eddy Grant, High Speed on Ice by Talas, and Got a Match? by Chick Corea Elecktric Band. Ah well. Of course there’s lots of other great songs I left out; once you start you realize 80 is not that many for a whole decade. If I were to put more time into this, I’d probably drop a few and add a few others. So if you don’t agree, go ahead and make your own list. Anyway with out further ado, here’s my playlist of …

80 Favorite Songs from the 80s

https://open.spotify.com/playlist/7DQq0mGUzBfCjmPXSDcHEB?si=ac7ea145a2a9484d

1. Gaucho – Steely Dan (1980)
2. (Just Like) Starting Over – John Lennon
3. It’s Still Rock and Roll to Me – Billy Joel
4. Turn It On Again – Genesis
5. Back in Black – AC/DC
6. Battle Scar – Max Webster
7. Mr. Crowley – Ozzy Osbourne
8. The Electric Co. – U2

9. Once in a Lifetime – Talking Heads (1981)
10. Three Views of a Secret – Jaco Pastorius
11. Stone In Love – Journey
12. The Voice – The Moody Blues
13. Burnin’ for You – Blue Öyster Cult
14. Fight the Good Fight – Triumph
15. On the Loose – Saga
16. I Can’t Go for That – Hall and Oates
17. Lunatic Fringe – Red Ryder
18. Elephant Talk – King Crimson
19. Waiting on a Friend – The Rolling Stones

20. Run to The Hills – Iron Maiden (1982)
21. Rio – Duran Duran
22. Steppin’ Out – Joe Jackson
23. Take It Away – Paul McCartney
24. Dance Hall Days – Huang Chung
25. Africa – Toto
26. Rock The Casbah – The Clash
27. Somebody’s Baby – Jackson Browne
28. Sirius / Eye in the Sky – Alan Parsons Project
29. Subdivisions – Rush
30. She Blinded Me With Science – Thomas Dolby
31. Always Something There to Remind Me – Naked Eyes
32. Sole Survivor – Asia
33. Eminence Front – The Who

34. Billy Jean – Micheal Jackson (1983)
35. Photograph – Def Leppard
36. Gimme All Your Lovin’ – ZZ Top
37. Let’s Dance – David Bowie
38. Pride and Joy – Stevie Ray Vaughan
39. In a Big Country – Big Country
40. Other Arms – Robert Plant
41. One Thing Leads to Another – The Fixx
42. Synchronicity I – The Police
43. Road Games – Allan Holdsworth
44. Rockit – Herbie Hancock
45. Relax – Frankie Goes to Hollywood
46. City of Love – Yes

47. Hot for Teacher – Van Halen (1984)
48. I Want a New Drug – Huey Lewis & the News
49. New Girl Now – Honeymoon Suite
50. I Would Die 4 U – Prince
51. The Last In Line – DIO
52. Magic – The Cars
53. She Bop – Cyndi Lauper
54. One Night in Bangkok – Murray Head
55. Take On Me – A-ha
56. Perfect Strangers – Deep Purple
57. Boys of Summer – Don Henley
58. Just a Gigolo / I Ain’t Got Nobody – David Lee Roth

59. We Are the World (1985)
60. Walk of Life – Dire Straits
61. Guerilla Soldier – Gowen
62. Something About You – Level 42
63. Dream of the Blue Turtles – Sting
64. Freeway of Love – Aretha Franklin
65. Miami Vice – Jan Hammer
66. Human Nature – Miles Davis

67. Big Time – Peter Gabriel (1986)
68. Song X – Ornette Coleman
69. Trains – Steps Ahead
70. Billy’s Saloon – Gamalon
71. Master of Puppets – Metallica

72. Never Gonna Give You Up – Rick Astley (1987)
73. My Heart Declares a Holiday – Bill Bruford’s Earthworks
74. Minuano (Six Eight) – Pat Metheny

75. When We Was Fab – George Harrison (1988)
76. In the New Age – King’s X
77. Bonin’ in the Boneyard – Fishbone

78. Fight the Power – Public Enemy (1989)
79. Subway to Venus – Red Hot Chili Peppers
80. Wicked Game – Chris Isaak

81. Epic – Faith No More (1990, bonus track)