This blog has been dormant for quite a while, but my plan is to start putting up music reviews, and some longer-form pieces on learning, performing, and experiencing music.
Coming up very soon: A Tale of Two Mothers
This blog has been dormant for quite a while, but my plan is to start putting up music reviews, and some longer-form pieces on learning, performing, and experiencing music.
Coming up very soon: A Tale of Two Mothers
I previously stated that here in southern New England we have adopted the Bermudian “Dark and Stormy” as a regional favorite. My sense of local drink history tells me it started in Newport, RI and the south fork of Long Island, and spread out from there. This is the spicier version of the Rum and Coke, or more specifically the Cuba Libre (viva lime wedge!!!). I won’t belabor the point: it is a highball of rum and ginger beer, garnished with a lime wedge. You should be able to figure out how strong you want it and not need a recipe. Squeeze the wedge or don’t. Your call.
The Gosling’s rum people have a lock on the “Dark ‘N Stormy” recipe, made with their dark rum, their ginger beer, and your lime wedge. If that sounds excessive, think of it as a badge of honor traceable to the Bacardi Cocktail. Bacardi had a bug up their bung about Bacardi becoming generecized (kleenexed, if you will) and started policing bars to ensure that their rum was not being subbed out of a “bacardi cocktail” for some other, lesser, rum. (Please, no laughing) Goslings wants the same kind of respect, but it seems over the top. You now have to avoid the shorthand “‘N” and use “and” or “&”… I guess. The truth is that not only can you bypass the Goslings Dark entirely, you can bypass their ginger beer as well. Sure, prepared ginger beer is super convenient, but it is also super sweet. You can use crushed ice, or water, to dilute the drink, but you will also dilute the ginger flavor.
Enter Ginger Syrup. This could be the solution to the D&S issue, and it can add a kick to other drinks as well.
There are two paths to follow:
One involves using sliced peeled ginger in a simple syrup base, then straining. The drill is the same for many flavored syrups. You make a simple syrup at some ratio between 1:1 and 2:1 sugar:water, add your flavoring as the sugar gets fully dissolved, steep for a few hours, and strain. Hit it with a small dose of silver rum as a preservative and you are done. It will last a while and does have a ginger flavor.
But you will not be happy. You want a strong ginger bite with real ginger heat. You are always looking for stronger siblings in the already limited ginger beer family. Reed’s is kid stuff. D&G is as close as you have been to the ginger promised land. You, friend, need to get on the juice. No, not Barry Bonds’ juice. You need to juice that ginger, then use that as a base for your syrup. In fact, you can stop at the straight juice stage and blend with syrup to taste, but that might be overkill and involve taking a lot of notes and using a precision measuring device. You can go straight to ginger syrup by mixing one part ginger juice with two parts simple syrup. Either way it is better than anything you will buy.
I was introduced to straight ginger juice by my friends Sharon and Mike, who have Caribbean roots and know what is what. I get my ginger at the Indian market because it is better and cheaper than the regular supermarket stuff. Then I peel it (a spoon works great to scrape the thin skin off the rhizome) and feed it into my impeller juicer. Viola, juice. Blow ya head off if yer not careful.
Here is a more complete exploration from Summit Sips
The resulting juice will be super strong. Probably too strong to take straight unless there is serious cash prize money involved. But nailing down an exact ratio will be difficult because some ginger will be stronger and some juicers will be more efficient. Let’s start like this:
As usual I will not get prescriptive with your rum selection other than to say that the charm in this drink is the way a stronger rum flavor plays with the spicy ginger beer, with a little lime kick for balance. Using a dry white rum may not be horrible but it will miss the mark. It will be drinkable, just not delicious. Your usual dark rum suspects like Goslings, Meyers, Coruba, and El Dorado will do just fine. Likewise, Plantation 5, Pussers, Bacardi 8, Angostura 7… will be delicious. You want a big tasting rum to tangle with that big tasting ginger root.
If you notice a trend, you are correct: I put a lot of stock into the mid-range of the rum world. Rum is, after all, relatively rough company. You can get some very amazing sipping rums, but they are hard to compare without spending a lot of money since they only come in full size bottles and run upward of $35 a piece. Cheaper than a scotch habit, but still, not cheap. In general I stick with a rule of avoiding sipping rums in highball drinks, and only using them in cocktails when they will stand out and I have the time to do a proper job of it. That rule is a money saver as well as allowing me to stretch my rum dollar further and get to know more good rums in place of many fewer great/expensive rums.
That’s it for now. Next up is a list of resources for rum information and tiki culture.
Just a quick warning that I will have a few observations from my recent trip to the Festival Moo Ah in Corby, England. Yep. Another Zappa-themed festival in a European location with its fair share of beer and elsewhere. Uncle Ian is a Corby resident so I will be kind: I like Corby, but at one point I was sure that it was not reciprocal. I wish I could have seen more than the view from the taxi or on my escape from The George… My feeling about England, and this was my first trip, was that it is lovely when you have lovely company. Conversely, when things go sour they do so in a big way.
First the summary version! I expect to have a few more on music, food, and a solar eclipse. My trip was based out of the Manchester area, so I will start there:
A great party was had in the Manchester area, and it was great fun to see my Zappateer/Mancateer friends in their natural surroundings. 🙂
A great road trip was taken to Corby! 🙂
I had to choose a room at the Inn, and I did not choose wisely 😦
The first night full of good friends and good music. 🙂
I returned to a hotel room that was a miasma of chip-fat (fryer grease) 😦
Booked a new room at 5:00am over a prehistoric GPRS connection 😦
New hotel was 2 miles away and gave us a 7:00am check-in 🙂
I still had not really slept in three days and my diet had been poor, at best 😦
Was able to attend a commitment ceremony for friends Steve and Susan 🙂
Was starving and ate a double burger at the UK equivalent of Applebees 😦
Second night of music was great, but I was in rough shape 🙂 😦
Actually slept some on Saturday night, took it easy with breakfast, but… damage done 🙂 😦
Ignored GERD-symptoms and had an epic drink-up with curry on Sunday night 🙂
Crazy Train grinds to a serene halt on Monday morning and much lounging around ensues 🙂
Fantastic family dinner with my hosts! Hard to beat that 🙂
Out the door at 6am on Tuesday to return home 🙂 Guiness and an egg sandwich at 6:30am in Manchester airport 🙂
All told, a really fun time at a really fun festival. I need to thank everyone including Ob, Mrs. Ob, the Oblings, Danny, Steffen, Bengt, the residents of Mancunia, Uncle Ian, Andy, Canadian John from London, YoungPumpkin, Ged, Eric, the Dutchies, the Vikings, Rupert and Kevin, some mad bloke named Rick, and a seemingly endless string of amazing people who I now count among my friends.
It has been a very shaky start to the new year. My groaner of a first 2015 post was symbolic of the way the year kicked off. And things may have been looking up until a mass murder in France took the lives of some of the greatest satirical minds of my generation, along with their friends, co-workers and protectors. Charlie Hebdo. I saw this weekly paper on my trip to France in 2011, and it stirred my desire to learn the French language a little. (I got carried away, and am still learning the language, albiet slowly, in fits and starts). The cover of an issue of Charlie Hebdo stood out like a beacon from a newsstand. Whatever that was, I wanted some. I was not disappointed. One reason for the fascination was that Charlie Hebdo destroyed my notion that the French people were not funny. Maybe I was blinded by their appreciation of Jerry Lewis, or the deeply un-funny Gerard Depardieu. Maybe I was just ignorant. But my highly-tuned cartoon radar saw immediately that these French were not only funny, they were hard-core funny. They were not fucking around. No punches pulled. You were being told to get the joke even if you WERE the joke. I was in France to pay homage to Frank Zappa, and he had prepared me well to appreciate the genius of Charlie Hebdo.
Until Wednesday, January 7, that was all there was to it. I sat at my desk, at work, at 7:30am and it was as if I was reading fiction. Two hours after the attack I was reading a headline in complete disbelief. How could this be true? …that kind of reaction. Then the churning stomach, the rage, the sadness, the confusion.
I would see the Charlie Hebdo covers on the internet, sometimes digging a little deeper, and I could understand enough to get the joke. But not being on the scene in France, specifically I am not French and furthermore not Parisian, I could only glimpse the joke. They were playing to the home team. I was watching from afar on a lo-res feed. In Paris, they are heroes. Not “were” heroes. Are Heroes. The French take their satire very seriously. Wine. Charcuterie. Satire. Charlie Hebdo. They were committed to not pulling punches. They were not letting their audience make editorial decisions for them. What is the point in that? Why bother with satire if you are letting the object of the satire tell you what is in-bounds? No. If Le Monde wants to play that game, there is plenty of game for Le Monde. But Charlie Hebdo is the prow of the free speech ship. Taking the brunt of the waves and the weather.
And that, of course, is what will be glossed over as this tragedy is examined by every hack with a microphone or a PhD or a blog (even I am glossing over something, I’m sure). The core concept of free speech, the concept that makes satire and critical commentary possible, is to be free from that kind of sensitivity. The existence of that sensitivity, when it rears its head, is a giveaway to where the next jab should be directed. Like a fighter covering up a bruised rib, that is where you direct the next blow. Charlie Hebdo walked the walk. Their mission was to occupy the deep center of free speech protections and put everyone else to the test. Does the government support free speech? Immigrants to France, knowing full well that they are living in the cradle of free expression? Foreign interests, who may or may not be aiding and abetting by giving quarter to extremist voices? They all stand in some measure as less free than Charlie.
I have made the point that Charlie Hebdo may not have been an outlier as much as the surrounding voices stepped back when called, leaving Charlie exposed and unprotected. The threat of extremist violence is no laughing matter. Not something to be taken lightly. Most people are not dealing with the threat that they will be assassinated for their latest blog post or news article. If you are thinking that I read Tony Barber’s piece in the Financial Times, you are right. When he writes “It is merely to say that some common sense would be useful at publications such as Charlie Hebdo, and Denmark’s Jyllands-Posten, which purport to strike a blow for freedom when they provoke Muslims.” Errrr… Tony, they are not purporting to do anything. It is actually free fucking speech, you imbecile. It is not up to the speaker to provide the common sense. Charlie Hebdo was not yelling FIRE in a movie theatre. The common sense is that they have a right to speak and draw and satirize. The offended must have the common sense to respond in kind, with a pen and not a kalashnikov rifle.
But all of that is conjecture. Cabu and Charb are gone. Wolinski, the same. Tignous, silenced. Honoré, snuffed out. This is not an academic exercise. It is the kind of reality we have avoided in the US by sanitizing so much of our public speech (and as Ted Rall points out, by getting out of the political cartoon business, almost entirely). We, Americans, the holders of the flame, stepped back when the call was to step up. We now pull punches as a matter of course, letting the offended set the rules of engagement. We are not alone, but we are a good example. Even the dimwitted David Brooks managed to not make a total hash of this concept in the NYTimes: “Just look at all the people who have overreacted to campus micro-aggressions. The University of Illinois fired a professor who taught the Roman Catholic view on homosexuality. The University of Kansas suspended a professor for writing a harsh tweet against the N.R.A. Vanderbilt University derecognized a Christian group that insisted that it be led by Christians.”
No. We are NOT Charlie Hebdo. And to maintain otherwise requires proof. What we did is let Charlie Hebdo take the heat while we relax in air-conditioned comfort. That is the truth. Do we want the lives of the good people at Charlie Hebdo, called by name to be slaughtered by maniacs, to mean something in the long term? Can we pay homage to their legacy in a meaningful way?
If the answer is yes then we need to reexamine our lives and our rules and our hysterical reactions. We need to ask ourselves if we are better off living as appeasers or dying as free men. Maybe we will not get all the way there, but if we try then we are at least learning from this sad episode and not just spackling over it like we do with so many other offensive acts. Can we bring ourselves to walk the walk in the face of this aggression? That may very well be the defining question of civilized peoples in the 21st century, and we can thank a group of French “cartoonists” for the lesson.
Image by Dave Brown, cartoonist at the Independent UK.
I have a gig coming up and am taking time each day to get up to speed. Prepping for a gig can be as much or as little as you make it. Want to be uber-prepared? Get busy about two weeks ahead, daily work. If it is very charty, that would be 2 months. Metronome practice, and a lot of it. Until the metronome sounds like Zig. Or Danny Richmond. and so on.
Meh. Point is: at least I have a plan.
And the improbable situation I find myself in is that I have become a person who is all about planning. Planning in the sense of structuring activity and time in a way to get things done. I also find myself at the a very weird crossroads in life. A place where I have hit a lot of strong numbers. Turning 50. 21 years on one job. Two amazing nephews turning 21. 25 years with an amazing partner who was suggestible enough to agree to marry me, baggage and all. My main man Wylee kicking ass at 11 years.
There is a rising drumbeat reminder of how tenuous it is and how things change. How much change I have seen. Who, and how, and when, and occasionally why. Rarely why.
There is a certainty that the present is a testament to how well or badly we have measured the past. The successes and mistakes form the ripples and eddys. It might be that the most important human mental tool is that we learn from mistakes. If we are especially aware we can learn from others’ mistakes. The humor in the idea that we are better off learning from the mistakes of others is that it is just not the real thing. Yes, you can learn from someone else’s mistake. But you won’t learn as much.
Nothing will get worn smooth by your mind like rehashing your very own gnarly, craggy mistake. Don’t pass up that juice. I realize that I’m a big fan of mistakes on the simple premise that mistakes are an essential tool. Throwing their value away is a monumental waste.
Mistakes are a huge part of preparing for a gig. It is all about making the mistakes before you get to the gig. My wife just sat through a week or two of me working on audio mixes for a project. Essentially it is repetitive listening to eradicate mistakes or make incremental improvements. Nobody wants to hear that except one person. And that person is always looking for ways to have to hear less of it. The continuous quest is to get more efficient. Not that inefficiency is all bad, it just is not as good. Being inefficient is its own, lesser, learning tool.
And you would be wise to ask why someone would put themselves through all that. All those mistakes and slop and frustration… Simply: At any moment you either decide not to suck at something, or you decide something else, anything else. So the odds are stacked against that decision. To make it, and make it regularly, you have to be motivated by something. Formal education is all about someone else providing enough structure to make that work compulsory and fairly evaluated. Otherwise you would be going all Huck F. Finn on your schedule. Without that external structure you need to do it because you want to do it. Your plan depends on it. Internal or external, that structure is essential. Huck was not going to ride that raft forever. He had a plan.
You have a plan of attack. Good. You can treat it as a formula like I did up top in the gig prep. I need two weeks to make all those mistakes. It is an inefficiency, but like friction generates heat, actions generate a voice. In music there are many variables. How you listen. How you feel time. How well you read. How well you can translate your inner voice with your instrument’s voice.Your voice becomes a product of your process. Your product will bear the fingerprints of your plan.
You decide, you act, you observe, you hopefully learn, and you apply the lesson. Done.
In a few days I play some Miles Davis, and Herbie, and Nick DeMaria (fer crissakes) and the questions all get answered. Musical questions, and some others too. And there will be more mistakes to provide the grist for the mill.
Miles’ “It’s about that time” is in the setlist, and each time I hear it I laugh at Miles playing with the words in a way James Brown or Sly Stone would immediately recognize. It is all about “that time”. Miles was always the man with the plan.
[this post is dedicated to my nephews Nick Charlton and Chris Gonzalez]
My good friend and bandmate John Venter just shared this with me.
Read it. Read it all.
It sums up a lot of the feeling that I have had, and shared, for a long time. Sure I love the sound of a good jazz band. But the real deal is that when, in conversation, I have compared it to a Society for Creative Anachronism event, or to Civil War reenactments, Those statements bought me plenty of hairy eyeballs, but that is what I feel. As much as I love the music I could never throw myself into the act of learning jazz standards. Lord knows I have tried. I don’t have a problem with other people doing it, but I am not the man for the job. I want to act on my musical impulses, whether they are informed by jazz or not.
There have been many efforts to adjectivize the art form. The New Thing. Electric Jazz. Hard Bop. Smooth Jazz. Euro-Jazz. Afro-Jazz… For more than 60 years the focus has been on “modern jazz”, and I think there is a case to be made that “modern jazz” is/was a label to keep the form from truly advancing, or was instantly an extinct idea. Maybe both. I still use “jazz” and “free jazz” when tagging my music when I publish on sites like Bandcamp. I use the label cautiously, but I use it because it is a known concept and can be helpful for listeners. But when you listen to one of my tracks, brother, it ain’t jazz, free or otherwise. I am informed by Jazz, and educated by jazz. But the music is hopefully a music of the present.
My exposure to Jazz goes back to infancy, if not the womb, and much of that early exposure was crossover jazz, like Bird with Strings, or Jamal at the Penthouse. Name players in front of a string section. It was a lot safer for suburban whites to consume than something like Monk or Art Tatum. When I started to check out “jazz” I immediately gravitated to the harder-edged, bluesy, emotional music of the early 60’s. The Hard Bop scene, especially Mingus and his circle of players and composers, has been a huge influence on me. Much of that was recorded from 1960 onward, and that is at least an anecdotal support for Payton’s premise. These musicians were taking jazz forward by bringing it back to the roots of blues. Moving the forms away from the conceit of advanced european harmonic concepts (i.e. “birth of the cool”) and toward the I-IV-V, the funky cousin of the ii-V-I. This pushed open the doors for modal approaches, and other less restrictive platforms on which to improvise. Jazz was dead, but there was no stomach for a new genre or label. They would be marketed as jazz, then as now as forever.
There is an even darker side to that exposure. The more I learned about Charles Mingus, and how he was “angry” and “volcanic”… the more I was convinced that the roots of his mania were planted in being shut out of being a classical cellist as a youth. He could have been one of the greats in American classical music. Why wasn’t he? There was no place for a black classical cellist in 1940’s Los Angeles (and there was no other venue for cello, truly). He switched to bass, and focused on Jazz, because it was accepted. While he had an amazing career full of powerful music, I can’t help thinking that his stature as a “third stream” artist is a way to put a happy face on the racism that pushed him into “jazz”. Jazz may have been dead much earlier than 1959. It could have been dead in 1941 if you want to push the concept.
The argument about what, and who, is “jazz” stretches into the Jazz-purity quest of Wynton Marsalis, and the sneering of Stanley Crouch. They want the body kept alive by any means necessary. They have the right, and they have the platform, and even the funding, to pursue that goal. But the story as seen in an objective light might accurately be that they were performing CPR on a corpse. Crouch lambasting Miles for not making more Kind of Blue is an apex example. Miles was not an observer, he was a participant, and had been present at the funeral. He knew it was dead. Crouch was looking to preserve his domain at the expense of an artist. “Sell Out”, he hissed.
The deal is that the 20th century is chock full of artists who have tried to use jazz as a launchpad and not a crashpad, and they have been routinely marginalized and misunderstood on purpose. Monk. Ornette. Sun Ra. Cecil. Pharaoh, Roland. They were all held up to the light of Pops, or the Hawk, or even Bird (who was punk to the core, trying to blast jazz free by brute force). They were never allowed to occupy the next plateau, the next “jazz”. They were tethered to a pyre no less real than Jean D’Arc. And all the while jazz has been dead.
Name the most successful “jazz” artist today. Where can you hear their music? Where can you see them play? Is it truly the fault of an entire society that jazz has lost its relevance? Can it be, in an age where music and information are more available than ever, that this American art form from the cusp of the 20th century could be so roundly ignored and unprofitable? Or is it like trying to sell crystal radios to the iPhone generation? An anachronism, as beautiful as a tintype and about as relevant.
Enjoy jazz. It isn’t going away. I spent some time digging Angelo Debarre playing gypsy jazz in his hard-hitting and direct style just last night. It was beautiful. It still is today. It still will be forever. But it isn’t new. It is a photo of a corpse. A beautiful, romantic, hard-won, photo of a corpse.
I know where and when I was hit broadside by the realization that I was a bass player. I was taking bass guitar lessons at Creative Music in Wethersfield, CT. It was a big deal for me. Bass was the only instrument that I enjoyed playing. I had washed out of playing both guitar and drums, but it was pointed out to me that I played guitar like a bass. After taking some local lessons with a guitar player/teacher I got a chance to take a block of lessons at Creative Music in Wethersfield, CT, which was where you wanted to study if you were into jazz, and especially electric jazz. I had been playing a bad P-Bass copy for a year or so, and had a loaner double bass from the school system. Creative was a great shop with great teachers, but next-door was Integrity ‘n Music, an amazing record shop. It was there, waiting for my lesson slot, that I saw the self-titled Jaco Pastorius album. I knew his name because he was on the credits for my favorite Weather Report album “Black Market”. That album blew the top of my head off.
Within a month I had ripped the frets out of my bass, filled the slots with glue (aided by the use of a heatlamp), and I have been playing fretless bass ever since. That was about 1979 and was as close to my predecessor’s “saw the Beatles on Ed Sullivan” apocrypha as I will ever get. I had a similar experience with Mingus’ music but I had neither the skill or the patience to do more than listen to those compositions. But Jaco, there was a cat you could get down with. I still have not a single Jaco-like lick in my bag. I never learned PoT, I never developed a harmonics workout… but I knew that you could play fretless electric bass and make it somehow your own.
Lately there is news afoot that bassist Robert Trujillo is producing a biographical film about the life of Jaco Pastorius. I am totally behind that concept. Recent movies like Standing in the Shadows of Motown have been heavily influential on both me and the music world at large. I just saw the HBO film about James Brown, Mr. Dynamite, and it was as good a 2-hour course in funkology as you will find. If a Jaco movie does nearly as well it would be a huge success. Jaco is undeniably a one-man genre and deserves this kind of recognition in spades.
My issue is not with the movie, but with Robert Trujillo’s place in the pantheon of bassists. He has been remarkably successful as a musician. He has played with the top names in heavy rock, and is immediately identifiable by look of not by sound. But he was at the center of one of the great scandals of modern rock history, and I can’t help thinking that it damages the concept of a homage to Jaco.
In 2002 Trujillo was the bassist for Ozzy Osbourne, and the event was the 20th anniversary of the Blizzard of Ozz and Diary of a Madman albums that put Ozzy back on the map after leaving Black Sabbath and then not having much to say. Ozzy was never much of a songwriter. He may have had a few lyrics to his name but he was a rock frontman first and forever. While the Sabs were inventing the power-ballad with Ian Gillian as vocalist (Born Again, underrated jewel), Ozzy was looking for a new band. What he had was guitar prodigy Randy Rhoads, and bassist Bob Daisley who were working on writing songs and finding a drummer. They found Lee Kerslake, a journeyman who fit like a glove. The albums they produced are still staples of rock-radio airplay. Randy Rhoads became a guitar superstar. Ozzy was back, with albums that were successful beyond his wildest dreams. You would think that he would have been kissing Bob Daisley’s feet…
No. When the 20th anniversary of those albums came out, Ozzy, with his wife Sharon holding the whip, decided to photoshop Bob Daisley and Lee Kerslake out of the picture in both artistic and financial terms. Robert Trujillo along with drummer Mike Bordin recorded new bass and drum parts for both albums, effectively eliminating the contribution of Daisley and Kerslake, and with Randy Rhoads dead, left all the credit and royalties to Ozzy/Sharon. Unsurprisingly the oblivious Ozzy can’t even decide if he knew about the decision. Sharon Arden Osbourne thinks she was at the Blizzard recording sessions, when she wasn’t, and denies making the decision to do this while everyone else says it was her idea/mandate. Her father was rock promoter/magnate Don Arden, so you can be forgiven for thinking that she has a feel for the darker regions of the music business.
I am not a huge fan of that genre, and have never been a big fan of Ozzy, but I feel like I know a good rhythm section when I hear one. Those albums had the power and swing to match heads with any Iron Maiden track or any Van Halen, Black Sabbath, etc… That band had a great sound. It was due to some excellent songwriting and excellent execution by the band. For Trujillo to have knowingly taken part in shanking a fellow bassist is, to me, unforgivable. In what should have been a victory lap for the songwriter behind two of the biggest selling rock albums of all time, it was a deeply shameful episode in a business full of shameful episodes.
SO while I think a Jaco movie is a great idea and hope for the best, I can’t help feeling that the project is tainted by this backstory. I have had feedback that Trujillo was just doing his job, just earning a paycheck, just a sideman, just, just, just… But he had a decision to make. He took the paycheck at the expense of the original artist. It makes me queasy just typing that. I hope the project succeeds, but while Trujillo is out looking for crowdfunding dollars to float the project, he won’t be getting penny-one from me. I should be breaking my wrist getting my wallet out of my pocket to help fund this, in the same way that I have for other projects ranging from the recent Wrecking Crew movie to a time many years ago when I contributed to a fund for Rocco Prestia’s health care (a situation that is re-appearing after many years, and I am sure I will help again). But I am reluctant, actually refusing, to support the producer of a project I would otherwise be all-in for, and it is not a good feeling. Jaco deserves the recognition, but I still think he deserves better than this.
A quick update on the adventures of Fuchsprellen. If this band is wrong I don’t wanna be right…
We secured a date at Cafe Nine in New Haven, on very short notice, and played a double bill with Light Upon Blight on November 9. LUB is Jeff Cedrone’s project, and I have been playing bass along with Peter Riccio on drums. Normally we would have Neil McCarthy on alto sax but he couldn’t make it for this gig. This means that the Fuchsprellen rhythm section opened as a trio under Jeff’s direction, then we switch back to Fuchsprellen mode with the Fuchsprellen Horns. This could go horribly wrong, but so far it has not. Jeff’s concept with LUB is heavier, darker, and more brutal than 90% of anything Fuchsprellen does. The result is improvised “doom jazz” in power trio format.
Note: this is an expanded version of the “Mother’s Day Debacle” show where LUB and Fuchsprellen played trio sets in the same way: LUB trio, followed by Fuchsprellen trio. Just as a musician can train for sight reading, or chord chart reading, or soloing over set forms, there is a strong New Haven area improvisational tradition that has New Haven Improvisor’s Collective at its core. All of the musicians I have been involved with through NHIC have improvisation backgrounds and ambitions, but the formalized work done at NHIC has helped with both vocabulary/skill building as well as providing context for musicians to launch their own projects, like LUB, and Fuchsprellen, among many. But I Digress…
We had a trio of reeds for the Fuchsprellen set: John Venter on tenor sax, Richard Brown on Alto, and Steve Chillemi on bass clarinet. The rhythm section is there to provide support for the horns, and keep them flying for the entirety of the set. One thing is for sure, these guys are ready to rock from the downbeat. The hardest thing we face is giving the rhythm section a chance to settle in before the horns get down to bid-nezzzzz. We did a great job at finding balance at this gig (audio to come, real soon now, and maybe video too).
Huge thanks to Michelle and the good folks at Cafe Nine, and all the people who turned out for the gig. We had an excellent crowd for a Sunday , and I expect that we will be back at the Nine over the winter. Hooo-Yeahhhhh!!!!
As the results trickle in from Connecticut’s 2014 midterm election I can’t help but wonder if the process can get any worse. It was impossible to find substantive discussion on either side. Republican candidate Tom Foley apparently spent the past four years in cryogenic suspension because he was less informed about every issue that he was when he ran four years ago. He either refused to answer questions about actual state policies, or admitted ignorance but made references to his problem solving skills, and gave no example of them but trust him they are impressive. Incumbent Democrat Dannel Malloy fell into a trap of taking the bait on nonsense issues. His record might not be the kind of thing that voters are thrilled about (sheparding a state back from a global economic meltdown without making things worse) but it is his record. His approach has worked, but it required state tax increases and a slower pace of deficit reduction in exchange for shielding the state’s 169 towns and cities from funding cuts. Since all property taxes are assessed locally this means that the citizens of Connecticut were spared mil rate increases that impact the poor and working poor especially hard.
Asleep yet? I wouldn’t be surprised. Malloy has stayed true to his “good government” blue collar roots. In return he has been largely tuned out by the electorate.
Foley had one pitch: “that stuff you don’t like, I wouldn’t have done that”. See. Easy to digest. No policy angle. You can go on with your day unencumbered by facts, figures, data, policy details, or anything else that can vaguely be pulled under the heading of “reality”. His track record is either sketchy, hazy, or negative. Six months heading the Provisional Authority in Iraq, where U.S. lucre was hauled away by the wheelbarrow load by… well, nobody knows who. But billions of dollars were unaccounted for. This was also over a decade ago, and the entire venture was largely undocumented. And he is a corporate guy. A business guy. All we really know about his corporate ventures is that he made millions upon millions of dollars and played hardball with labor.
But they had debates.That should have proved edutaining! Errrrr, No. The debates were like mud wrestling without the charm, and the voters found out nothing the really needed to know to make an informed decision. Nobody seemed to care. They were too busy staking out some imaginary high ground. There is no high ground. There is only swamp land.
So you have a showdown between a sitting Governor who was not that able to frame his policies in a way that appeals to voters, and a guy who has never held any elected office and who couldn’t remember his running mate’s name with three weeks to go before election day. Surprised that the election will be a nail-biter?
Good Night. Good Luck. Good Grief.
Digital cameras have become ubiquitous, to the point where it is almost impossible to be somewhere out of reach of someone’s camera. It has reached the point where Panasonic has announced a cellular phone with a 1″ sensor camera (actually, a camera with a GSM chipset), replete with Zeiss optics. Whether that appeals to you or not it is a sign of the widespread commodification of technology that was only available in specialized camera gear just a few years ago.
With that backdrop it has become truly rare to see an advance that changes your mind about where the technology will be in two years from now. For me, that happened when I watched this video:
Nice video, yes. But it was shot on a Sony A7s mirrorless camera, with a full moon as its only light source. Yes, f/1.4 optics and dizzying ISO numbers are employed. The author states that the bulk of the video, apart from the opening two scenes were shot at 1/30th, f/1.4, ISO 12,800 (I’m assuming that 1/30th is based on 30fps video). That is “bonkers” as we say in my neck of the woods.
Sony release their own video showing a dawn campfire scene, with similar dropping of jaws:
“Bonkers” aside, it points to a benchmark for the next generation of sensors that will be in cameras like my Oly E-M10, and not just in a $2500 USD Sony body. Not that $2500 is astronomical money. You would spend much more on the pro offerings from Nikon or Canon, and the good folks at Leica will gladly take 8,000 Tricky Dick Fun Bucks in exchange for a bare M8 body. None of those cameras will do what the A7s does in this video. The implications of this kind of high-ISO performance: Setting Auto ISO with an upper limit of 12,800 and actually using it, not paying a brutal price in terms of noise and digital “grain”, and not needing a shutter speed that would make Edward Weston weak in the knees… That is where this video points.
And as nerdly as that idea is, it has real implications for those of us who shoot primarily in available light. I might shoot with flash once a year. Maybe not even once a year. So rarely, in fact, that I started practicing with a flash for no reason other than I didn’t want to completely forget how to use one. It has implications for me personally as I shake down my E-M10 and compare images to both the geyser of images on the internet taken with similar mirrorless systems, and my archive of images taken with my Nikon D300.
Every camera system is a web of trade-offs. Your parameters are physical size, resolution, focus speed, max shutter speed, low light performance and other dynamic range considerations, firmware/processing/raw specs, and overall ergonomics. I’m sure there are more but those are the big ones that come to mind. Accessory issues like lens selection, flash system, compatibility with legacy lenses… those also play a part. But if you shoot in low light and want to be able to use normal shutter speeds without suffering with noisy images, then you really care about dynamic range and noise, and as long as you get a few good lenses you can call it a day.
So there it is. Sony, the company known for horrible user interfaces, worse software, and even worse tech choices (minidisc, beta-max…) kicks sand in the face of the cool kids over at Nikon, Canon, and Leica. Sure, those guys all use some of Sony’s sensors. But they don’t have this kind of performance. I give them a huge amount of credit, maybe enough to put their camera on my wish list (I still have PTSD from some earlier Sony purchases).