Monday, December 31, 2012

Auld Lang Syne

Music Zombie's musical year in review:

2012 was fantastic!  I made the trip to Clarinetfest, explored the National Music Museum, attended an Aebersold jazz workshop, visited the birthplace of Glenn Miller, saw Dave Matthews Band at Alpine, and Hugh Laurie in Iowa City.

On a more personal level, I helped to launch a clarinet trio (with two of my clarinet students) and wrote three new arrangements that were performed publicly for the first time.  My debut as an arranger, if you will.  As a bonus, I learned an entirely brand-new musical in a week and sharpened my flute and piccolo playing skills.

I am learning some new technologies, and hope to start recording some things soon. There are plans for more arranging and perhaps some composing.

This Zombie is counting her musical blessings and looking forward to more great adventures in 2013.

Be safe out there!  And take care of your musicians!!

Catch you on the flip side.

Happy New Year!!!

Tuesday, December 25, 2012

Tree


A Music Zombie Christmas tree.

Getting a little carried away with the drawing program. 

:-)

Sunday, December 23, 2012

♪♫ On the 12th day...

...of Christmas, my Zombie gave to me: ♪

Dirty Dozen Brass Band
11 Beastie Boys
10000 Maniacs
9 Female rockers
8 Mile Marshall
7 minute music
6 ft. tall Grace Jones
Ben Folds Fiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits in a treeeeeeee! 

We've made it!  What an insanely lengthy carol.

Anyhoo.

The Dirty Dozen Brass Band is a horn-driven (obviously) brass band out of New Orleans.  It was formed in 1977, heavy on New Orleans inspired jazz.  They definitely make use of the rich musical heritage that comes out of New Orleans, but are just as adept at moving a little outside of the gumbo.  For example: I'm listening to a track featuring Chuck D (of Public Enemy) in a funky rendition of Marvin Gaye's What's Going On?

The result of this boldness is a rollicking, funky, brass band that you can't help but groove to.  And it is good!

Merry Christmas to all! From your friendly Music Zombie!

(As a side note, with regards to The Twelve Days: the 12 days of Christmas actually start on Christmas day and stretch into the new year.  Its seems more timely to do it this way, though.)

Friday, December 21, 2012

♪ On the 11th day...

...of Christmas, my Zombie gave to me: ♪

11 Beastie Boys
10000 Maniacs
9 Female rockers
8 Mile Marshall
7 minute music
6 ft. tall Grace Jones
Ben Folds Fiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits wailing in a treeeeeeee! 

I know, I know, there are only three Beastie Boys, but do you know how obscure the number 11 is in music history?

The Beastie Boys is a three-piece (originally a quartet) hip hip group formed in 1983 out of New York City.  Michael "Mike D" Diamond (drums), Adam "MCA" Yauch (bass, died May 2012) and Adam "Ad-Rock" Horovitz (guitar).  All three provide vocals as well.

"Beastie" is a backronym* for Boys Entering Anarchic States Towards Internal Excellence.  Some of their best-known, game-changing tunes include: Brass Monkey, and Fight For Your Right (to paaaartaaaay!)

*A backronym is an acronym that is created after the fact.  For example: Zebra Orphans Making Boring Inchworm Earrings is a backronym for zombie.

Wednesday, December 19, 2012

♫ On the 10th day...

...of Christmas, my Zombie gave to me: ♪

10000 Maniacs
9 Female rockers
8 Mile Marshall
7 minute music
6 ft. tall Grace Jones
Ben Folds Fiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits swinging from a treeeeeeee! 

I actually don't know anything about this band.  They were popular in the 1980s (and are still going strong, with a slightly different line-up) and one of their most famous members is Natalie Merchant, who left the band in 1993.  Mary Ramsey stepped in to fill her shoes, and from the reviews it seems that she's done well.

Some of the band's notable hits include These Are Days, More Than This, and Because the Night.

Monday, December 17, 2012

♪ On the 9th day...

...of Christmas, my Zombie gave to me: ♫

9 Female rockers
8 Mile Marshall
7 minute music
6 ft. tall Grace Jones
Ben Folds Fiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits tearing down a treeeeeeee!

As James Brown says, it's a man's world but it wouldn't be nothing without a woman.  Hence, here are 9  females that show us that women can rock the music scene as hard as any man:

1. Ann Wilson -and-

2. Nancy Wilson of Heart  The first women of rock to not only sing, but to write the songs and play the instruments.

3. Blondie Deborah Harry, really, and known for several new wave hits including Call Me, Rapture, and Heart of Glass.

4. Alanis Morissette Canadian rocker who gave us an ironic definition of the word "ironic."  She also played the part of "God" in Dogma.

5. Lady Gaga If you don't know who Lady Gaga is by now there is just no hope for you. And I am not apologizing for this pop star on a "rock" list.

6. Linda Ronstadt Started her career in the 1960s with a band called Stone Poneys.  She dominated in the 1970s as a solo act and is still rockin' today.

7. Grace Slick Singer for Jefferson Airplane/Jefferson Starship.  Proved that women could front a band and be more than just a sex symbol.

8. Janis Joplin Part of the "27 club": musicians who died at the age of 27, usually at the top of their careers, due to problems with drugs and/or alcohol.

9. Stevie Nicks Part of the heart and soul of Fleetwood Mac.

Saturday, December 15, 2012

♫ On the 8th day...

...of Christmas, my Zombie gave to me: ♫

8 Mile Marshall
7 minute music
6 ft. tall Grace Jones
Ben Folds Fiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits living in a treeeeeeee!

Eminem, AKA Slim Shady, AKA Marshall Bruce Mathers III is an American rap artist that got his start by hustling his self-made tracks to record stores.  He was discovered in the 1997 Rap Olympics (who knew that kind of thing existed?! Amazing.) in LA by producers from Interscope, who gave his demo disc to Dr. Dre.  Dr. Dre tracked him down and the rest is proverbial history.  In 2002 he starred in a semi-autobiographical movie called 8 Mile about a struggling rap artist. 

I've always had a bit of a fascination with rap music.  It isn't my go-to music on an ordinary basis, but it is interesting to hear the inventiveness from some of the best rap artists.  Their ability to free-form in rhythm and rhyme (all the while making their story coherent) is not unlike what a skilled jazz musician can do.  And Eminem is one of the best, for sure.

Friday, December 14, 2012

Drawing

As promised, I learned to use a drawing program.  So, here are two very poorly drawn clarinets.



The State of Pop Music

From the eyes (and ears) of a moderate pop-music consumer.

Lately I've been switching my radio station from the usual classic rock station (there's only so many times you can hear Brown Eyed Girl or anything by Steely Dan, regardless of quality) to the local pop music station.  I will admit that I picked up this habit while driving around Iowa and Nebraska this summer.  A change will do you good, says Sheryl Crow.  After listening to the output of the summer and last few months, these are some of my impressions:

Most of it is just bad.  Lousy hooks, uninspired lyrics, bad songwriting.  Also, as much as I try to listen with an open mind, everything I've heard from Justin Bieber is over-processed and unoriginal.  He has perhaps some moderate talent, but he is all engineered, bolstered-by-collaborations-with-other-artists, and clever marketing.

At some point over the summer months, stations decided to play Demi Lovato's one, and seemingly only, hit Give Your Heart a Break and didn't stop playing it.  Ever.  Honestly, this song irritated me from the very first time I heard it, and it just got worse when radio stations would play it Every. Single. Hour.  I wanted to kill my radio. Then she suddenly appeared on American Idol as a "judge", but, really, American Idol isn't really relevant anymore, and is hopefully in its death throes as a hackneyed, sensationalized vehicle for cliched emotional cloying for ratings.  It even fails as compelling reality TV.

Edit: I realized later that Lovato is a judge on The X Factor, not American Idol.  Simon Cowell is involved with both, hence my confusion.  However, I still stand by my sentiments.

Some of the music is okay though, which is what probably keeps me tuning in.  Ke$ha managed to release a pretty good party song with Die Young, even though the accompanying video is kind of dumb.  Oh well, no one watches music videos anyway.  And, speaking of American Idol, Phillip Phillips (the Dave Matthews doppelganger and season 11 winner of American Idol), has released a nice song in Home.  Belgian-Australian Wally DeBacker, AKA Gotye, was also a pleasant discovery, with his 2011 song Somebody That I Used to Know (a song I like so much I am arranging it for clarinet quartet) and for a short time even that song was a bit overplayed, but it is nowhere near as irritating at the Lovato song.  Consider me a newborn Gotye fan.  I am also brave enough to admit my appreciation for LMFAO, as cornball as they can sometimes be.  I guess I'm a gooey dance-party fan wrapped in a jazz musician's crunchy layer.  Drizzled with a sweet classical coating. 

And that is just a few of the observations I've made through my probably very biased lens.  I know that many types of people make the musical world go 'round, but sometimes bad music should just be called out.  But, maybe I'm just getting old.  Maybe.  <End Rant>

Thursday, December 13, 2012

♪ On the 7th day...

...of Christmas, my Zombie gave to me: ♪

7 minute music
6 ft. tall Grace Jones
Ben Folds Fiiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits singing in a treeeeeeee!

 Most pop songs fit neatly into the 4 minute mark.  There are many reasons for this, not the least of which is our increasingly shrinking attention spans (but tradition is strong on this matter: the first recordable discs could only hold about 3-4 minutes of music).  There are many radio-friendly rock songs that run well over the typical four minutes, stretching to 7 minutes or more.  Here are just a few of them:

The End -- The Doors
Isn't It a Pity --George Harrison
Scenes From an Italian Restaurant --Billy Joel
Maggot Brain --Funkadelic
In-a-Gadda-da-Vida --Iron Butterfly
Free Bird --Lynyrd Skynyrd
Purple Rain --Prince
Cortez the Killer --Neil Young
Won't Get Fooled Again --The Who

Tuesday, December 11, 2012

♫ On the 6th day...

...of Christmas, my Zombie gave to me: ♪

6 ft. tall Grace Jones
Ben Folds Fiiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits swinging from a treeeee!

Grace Jones is a Jamaican singer, actress, and model.  As I write this, I'm watching a YouTube video of Jones performing Slave to the Rhythm while hula hooping throughout the entire song.  Impressive. 

She's not actually 6 foot tall, but she's close.  A statuesque and androgynous woman, she's created a following through outrageous outfits, live animals on stage performances, and creative personas.  Jones got her start as a model, then moved into acting and singing.  She appeared in Conan the Destroyer (1984) with Arnold Schwarzenegger and A View to a Kill (James Bond movie #14, 1985), among others.  Jones is a source of inspiration for many artists, including Lady Gaga, as well as for some male celebrities. 

Monday, December 10, 2012

Are you okay?

I will soon be getting re-certified for CPR/AED first responder and lifeguarding.  Thinking back on my first go-round with CPR training, I remember Resuscitation-Annie (or Anne, depending on who you talk to).  Resusci-Annie is the dummy-torso that is used when training for CPR (cardiopulmonary resuscitation).  It has a set of "lungs" and "trachea" that are set up to work like a real human adult so the trainee can learn and practice rescue breathing and chest compressions.

Thinking about Resusci-Annie brings up another Michael Jackson tidbit: in his 1988 hit Smooth Criminal, the lyrics ask "Annie are you okay?  So, Annie are you okay?  Are you okay, Annie?"  This is basically what CPR trainees are taught to ask the victim before they begin any assistance.  If the individual can speak, CPR is really unnecessary. 

Annie never spoke back to us in CPR class, so we would always proceed with rescue methods.

Sunday, December 9, 2012

♪ On the 5th day...

...of Christmas, my Zombie gave to me: ♪

Ben Folds Fiiiiiiiive
4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits singing about a treeeeeee!

 Ben Folds Five is an alternative rock trio out of North Carolina.  The group is made up of Ben Folds on piano, Darren Jessee on drums, and Robert Sledge on bass.  The band made the scene in 1995 with their self-titled debut album that featured their hit, Brick.  They released three albums before parting ways in 2000.

But it's okay!  After pursuing personal projects, the band reunited for one concert in 2008, then again to record three tracks on Ben's The Best Imitation of Myself: A Retrospective, and in early January of 2012, the group formally reunited to record and release a new album, The Sound of the Life of the Mind.  The first single from this album, Do It Anyway, features the cast of Fraggle Rock.  Any band that makes room for Muppets in their creative vision is okay in my book.

Friday, December 7, 2012

♫ On the 4th day...

...of Christmas, my Zombie gave to me: ♪

4/4 time
3 Pips and Gladys
2 Live Crew
and Tom Waits in a treeeeee!

4/4, or common, time means that there are 4 beats to a measure and the quarter note is the beat.

It's easiest to reinterpret the lower number in a time signature as a fraction: 1/4 => quarter => quarter note.

A quarter note.  Observe the filled in head and stem.  The stem may go up or down.
I promise that I'll learn some sort of Photoshop or drawing program someday.  For now, though, you get my low-tech drawings.  Zombies can only do so much at one time.  Braaaaaaaaainsss...
 When placed into a measure (which is really just a way to organize the sound into a readable, easily comprehensible format) you get something like this:

More low-tech music notations.
You will remember that "beat" is the pulse that you would tap your foot to.  Rhythm is the interesting stuff that happens over the beat.  Note (hehe) that there are 4 quarter notes inside this measure.  Four beats of music, with the quarter as the beat.  Tadaaa! 4/4 time!

There are other time signatures, but the formula to figure them out is always the same.  The top number (which can be anything, really) tells you how many beats are supposed to be in a single measure.  The bottom number can only be one of a few numbers (because there are is a set amount of kinds of notes).  So, with this in mind, we know that the time signature of 7/16 would result in 7 beats within a measure, with sixteenth notes as the beat.  We also know that music in this kind of time signature would be annoying, at best, and would be impossible to march to.

Wednesday, December 5, 2012

♪ On the 3rd day...

...of Christmas, my Zombie gave to me:  ♫

3 Pips and Gladys
2 Live Crew
and Tom Waits in a treeeeee!

Gladys Knight and the Pips.  A soul and R&B family group out of Atlanta, GA featuring Gladys Knight, her brother Merald "Bubba" Knight, and her cousins, William Guest and Edward Patten.  Berry Gordy, Motown founder, discovered them in 1966 in Harlem's Apollo Theater.  They were signed onto Motown's Soul label that year.

The group's most well-known hits include Midnight Train to Georgia (1973), Neither One of Us (Wants to Be the First to Say Goodbye), and an uptempo version of Marvin Gaye's  I Heard it Through the Grapevine

The group was inducted into the Rock & Roll Hall of Fame in 1996.  Gladys continues to perform, sometimes sans Pips.

Tuesday, December 4, 2012

You know you're a musician when...



You have a well-stocked closet of black clothing.  And, if your regular gig requires it, a second-hand black suit jacket to create the illusion of a tuxedo.  Because, you know, you're a broke musician who can't afford a real suit jacket.

You only know the first bit of a song, because then you have to start playing and can't pay attention to the lyrics.

You see the word "beetle" and have to remind yourself that there is also an insect with that name, and it is not spelled wrong.

You are familiar with the back entrances of venues and bars all over town.  You only occasionally get to see the lobby, and even then it's only to pickup a copy of the program.

You know every possible version of Brown Eyed Girl.  You also know that most drunken "guest" singers really don't know the words...but they think they do!

You can point out the girls (or guys) in the bar who are most likely to try to play one of the instruments on stage or try to sing into the microphone.

You keep music stands, horn stands, and stand lights in your car.  Just in case.

You know what "circle of fifths/fourths" means.

You know the difference between valve oil and rotor oil.  And the difference between valves and rotors.

When attending concerts, you watch for things like hand positions and fingerings and listen for intonation and articulation.  Also, you start counting, through shear habit, when the orchestra starts to play.  Only about 8 measures in do you realize that you can just relax and listen this time.

You can't go see your friends' bands because you've got a gig that night.

You know all of the "fast, cheap, quick" repairs for on-the-job breakdowns.

You've continued a performance through a power outage or blackout.  The show must go on, dammit!

What did I miss?

Monday, December 3, 2012

♫ On the 2nd day...

...of Christmas, my Zombie gave to me:  ♪

2 Live Crew
and Tom Waits in a treeeee!

 2 Live Crew is a hip hop group from Miami, FL.  They are notorious for their controversial and sexually-explicit songs but are almost better known for the 1994 copyright case concerning their parody of Roy Orbison and William Dees' song Oh, Pretty Woman.  2 Live Crew's version was on the album As Clean As They Wanna Be, which was created and released with much less profanity and vulgarity than their normal output.  Their Pretty Woman version featured the same bass riff, but completely different lyrics.  The Woman of 2 Live Crew needs to shave, is bald, and is apparently a cheater.

The whole case was an excellent example of the Fair Use section of the existing Copyright Act of 1976.  Because the song didn't cause Orbison to lose fans, market-share, or his reputation as an artist, the 2 Live Crew parody was deemed as fair use, even though 2 Live Crew profited from it.


And that was that.

Saturday, December 1, 2012

♫♪ On the 1st day...

...of  Christmas, my Zombie gave to me:  ♫

TOM WAITS IN A TREEEEE!

I'm totally in love with Tom Waits.  He is an American songwriter known best for his raspy, gravelly voice (described by one critic as "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, then taken outside and run over with a car.") but also for his willingness to experiment with different styles, sounds, and instruments.

He's brilliant though!  His early career had a somewhat mainstream Tin Pan Alley/jazz style, but his later and most recent output can be described as a psychedelic Vaudeville show.  The lyrics are all cinematic imagery and lean, mean hooks.  His latest studio album, Bad As Me, was released in 2011.

Friday, November 30, 2012

Mmmmm...broccoli...

I just learned that for the last chunk of the third chorus of Michael Jackson's Wanna Be Startin' Somethin' is:

"You're a vegetable, you're a vegetable.
Still they hate you, you're a vegetable.
You're just a buffet, you're a vegetable.
They eat off of you, you're a vegetable."

Wow.

Thursday, November 22, 2012

Alice?! Who the hell is Alice?


There is a Thanksgiving tradition that is far more interesting than bird meat and mashed potatoes.  One I hadn't learned of until way too late.  Every Thanksgiving day, Arlo Guthrie's musical monologue Alice's Restaurant Massacree (1967) is played on the radio.  Probably not on all stations, as I can't see the local pop station that plays LMFAO's I'm Sexy and I Know It or anything by Justin Beiber also playing music from more than 10 years ago (though they do seem to be stuck on Eminem's Lose Yourself lately).  For those who feel like they've heard the Guthrie name somewhere before, Arlo is Woody Guthrie's son.  Yes, that Woody Guthrie.

Alice's Restaurant is a song-story based on true events.  It is about, as Arlo tells us from the start, Alice and her restaurant.  The catchy refrain, accompanied by a lone ragtime guitar, draws you in and  you are eventually encouraged to sing along, with feeling (and four-part harmony). After the business of establishing a legit song is taken care of, the monologue continues over the guitar accompaniment.

Launching into the song about Alice, Arlo describes an instance of littering.  He and a friend had been visiting Alice, who lived in an old church that had been turned into a house, and noticed that she had quite a bit of garbage piling up.  Being the kind gentlemen they were, they decided to collect the garbage and haul it away to the dump.  The dump was closed on Thanksgiving Day, so the fellows drive away, with tears in their eyes, to find another place to put the garbage.  The garbage is dumped over a cliff, on top of another pile of garbage, because "one big pile is better than two little piles."  He is subsequently arrested for littering.

Arlo sings the rest of the tune in a way that can't be beat, so I'll let him do that, but the saga rounds in on itself as he relates a second story about the military draft.  After being "inspected, injected, detected, infected, neglected, and selected" he is interviewed about any run-ins with the law where he relates to the sergeant his litterbug tale.  The song does a good job of pointing out that no matter how inconsequential the crime, anyone convicted of breaking the law could make the offender ineligible for the Vietnam War draft.  Oh, the irony.

Join me now, in four-part harmony and feeling:

 You can have anything you want
At Alice's Restaurant (excepting Alice)
You can have anything you want
At Alice's Restaurant.
Walk right in, it's around the back
Just a half a mile from the railroad track
You can have anything you want
At Alice's Restaurant!

Saturday, November 17, 2012

Humdingers

Several of my oft-visited websites are getting into the Thanksgiving Day spirit (the Thanksgiving holiday in itself is ultimately a slaughter sacrifice of an innocent bird followed by the consumption of way too many calories followed by sitting around on the couch watching an equally non-sensical sporting match all the while trying to tolerate family members you see perhaps twice a year who insist on repeatedly asking you questions like "well why aren't you married yet?").  One site offered not one, but TWO videos of animated turkeys doing something called "dubstep," and also included an MGM cartoon from 1940 called Tom Turkey & his Harmonica Humdingers.  These old cartoons always have the most interesting soundtracks.

This cartoon is about a turkey, let's call him Tom.  Not only is Tom wearing clothes (looking quite snazzy in a green suit and pork-pie hat) he's walking around a settlement run completely by barnyard birds who all, as will be seen, have great skill with musical instruments. I take some issue with this because birds lack lips with which to make a proper seal on a harmonica (or on a whistle, an instrument that pops up later) to produce a good sound, but no one asked me. Okay, so Tom is strolling around playing his harmonica, which I think is a chromatic harp because the music in the cartoon obviously changes keys.  A chromatic harmonica is much larger than a standard diatonic harmonica because there are literally more notes.  Chromatic harmonicas work the same way as a diatonic (that means organized by a scale, in this case a major scale), but they are larger and have a button on one side to shift a mechanism to close off certain holes.  In this way, the player can play in many keys, instead of just one.

Diatonic harmonicas have reeds that are tuned to produce a specific pitch when blown in and drawn out.  In other words, when you blow into a hole on a harmonica one pitch is produced, but when you suck the air back in, the reed produces a different note.

Anyway, Tom is playing his chromatic harp (harp is another term for harmonica) causing a bit of a stir to the other birds, and he wanders into a general store.  It isn't clear whether he knows the manager of this establishment, or even if harmonica playing is generally permitted in the store, but Tom walks (or rather boogies) right in playing a plucky version of Turkey in the Straw, which I think is a bit obvious, not to mention stereotypical, but what do I know about the inter-ornithological social and psychological workings of a town full of birds?  He manages to somehow offend a lady turkey on his way into the store.  It isn't made clear whether he knows the lady turkey or not.

The store is armed with a policebird, who is clearly more interested in shoplifting crackers than protecting the store from unseemly harmonica players.  I am tempted to play the "obvious" card again, but I can't tell for sure if the police bird is a parrot.  If he is, he is not very colorful or vocal, but that may be why he's working security in a quiet agricultural town.

Tom has a seat by the stove, announces his presence and dives into a spirited rendition of Darktown Strutters Ball.  The intro rouses the bird hanging around the storefront, who pulls out his own harmonica and joins right in.  Two birds playing checkers (loitering in a place of business, no doubt) hear the tune and leave their game to add some harmony.  Tom shows off his improvisation skills, then the ensemble collectively push the tempo, and throw in some super choreography.  The ruckus attracts the attention of an elderly gentlebird making his way past the store.  Harmonica music must have restorative properties, because he throws off his cane and ear-horn (the better to hear you with, my dear) and leaps into the store, armed with a whistle.  Entering the fray of harmonicas, the old gent is literally whistling Dixie.  The tune takes over the harmonica-ists (is that right?) and they fall in, marching along to Dixie.

The marching starts to shake apart the building, much like military armies can do if they don't break step while crossing a bridge.  The shop-owner only now shows any concern for the musical chaos that is taking place in his store.  And who could blame him?  His livelihood (and a lot of costly inventory) is about to get the earthquake treatment by a bunch of rowdy chickens!  He implores the policebird for some help, but as before, the policebird is too concerned with eating the inventory instead of protecting it.  Hopefully, his behaviour is reported to his superiors.

Of course, the musicians completely destroy the store (insert musicians destroying hotel rooms joke), with no hindrance from the police bird (insert lazy, donut-eating cop joke).  Out of the wreckage, Tom rises up, calling his fellows back to play.  The music used here is from a tragic opera called Lucia de Lammermoor by Gaetono Donizetti, written in 1835.  The title, Chi Mi Frena in Tal Momento, translates as "what restrains me in such a moment?"  Nothing, apparently.

Segueing into an unapologetic While Strolling Through the Park One Day, Tom moseys away, satisfied with creating such a terrible mess, singing the tune this time (he should stick to the harmonica) when he passes a mannequin in the shop's window.  The mannequin is not birdlike, but a lovely female human figure in a charming purple dress.  Tom grabs the gal and begins dancing to a harmonica band accompaniment. 

The shopkeeper is at his wit's end, trying to get the policebird to do something about all the unruly behavior, when he finally decides to take matters into his own claws.  Storming over to the shop window mannequin-Turkey dance party, the shopkeeper begs Tom to take some responsibility.  I really feel for the guy, he's so upset.  His shop and inventory is ruined, and in this economic climate, that kind of devastation can be really hard to come back from (unless he has some really good insurance coverage).

Walking by the store, again it seems, is the lady turkey that Tom had managed to offend in some way before he did his bull-in-a-china-shop impersonation.  Maybe Lady Turkey is Tom's girlfriend or wife; it's difficult to know for sure because Lady Turkey's character development in this saga is seriously lacking.  Anyway, she notices Tom's shadow dancing with the mannequin's shadow behind the shop window screen and is visibly unhappy about what looks like some disrespectful behavior.

The ruckus had alerted the significant females of the other harmonica-ists (really, is that right? It sounds wrong.) and they all storm into the shop, carrying various forms of benign weaponry (umbrella, rolling pin, frying pan) and take back their men.  As far as I could tell, the guys were really only guilty of property damage, but the gals may be angry because this will now lead to paperwork, visits from insurance people, and claims adjusters, and most likely the police force (if they stop eating crackers long enough to ask questions and make the necessary citations) and, possible, some jail-bird time.

The moral of the story: no harmonicas unless you have really good business insurance and some better-behaved friends.

P.S. humdinger is defined as a person, thing, action, or statement of remarkable excellence or effect. These birds were certainly some effectual humdingers.

Wednesday, November 7, 2012

Sparkle, sparkle!

Random factoid of the day.  I have a fondness for PBS programming, especially when it concerns music and the performing arts.  On a recent program about the history of Broadway music and theatre, there was a reference to Broadway as "The Great White Way." Why is it called that?  What's up with the nickname?

Like any good Zombie, I researched it.

Broadway is a 12 block stretch in New York City.  It is bound between W 41st and W 53rd streets.  Four theatres are on the street proper, with many other theatres are situated east or west of Broadway.  This is the current configuration.  Theatres have been in this area since 1810, and the parameters of this entertainment district have changed a bit over the decades.

Lost of things have changed since then, actually.  Electricity had a huge impact on the district, so much so that the area looked completely different by the turn of the century with the hundreds of lights and shining marquees surrounding the playhouses.  All of these lights and sparkling billboard displays inspired a journalistic nickname of the "Great White Way."

So now you know that it has nothing to do with a large aquatic predator or racial disparity.  On with the show!

Thursday, November 1, 2012

The Man in Black

I am almost finished reading Johnny Cash's autobiography (written by Johnny Cash-with Patrick Carr).  It's a good read.  Autobiographies are fascinating to me because they help to push away notions about a person that is sometimes put on them by industry, fans or critics.  By that I mean: you think you know someone, but you are almost always wrong in some respect.

Mr. Cash had plenty of demons, which he addresses in his book.  His struggles with drug abuse and dealing with fame are fairly well-known (and this isn't his first book, Man in Black by Johnny Cash was published in 1975), as well as his TV show and public persona.  He is the Man in Black.  But he wasn't always in black.  When he wasn't on stage or in the public eye, he wore whatever he wanted.  Early in the autobiography, he addresses three big questions that he's asked most often, one of which is the man in black thing.  Much of the reason is explained in what you hear in his song Man in Black (written in 1971): he wears the black "for the poor and beaten down, livin' in the hopeless, hungry side of town," and "for the prisoner who has long paid for his crime, but is there because he's a victim of the times."  He wore the black for "the sick and lonely old" and "the reckless whose bad trip left them cold."  He maintained these sentiments right up until his death in 2003.

But the other reason he wore the black comes from when he started performing, way back before the recording and record deals and touring and fame.  He was in a band (a trio with Marshall Grant and Luther Perkins) and they were deciding what they should wear for their first show.  All the men had a black shirt and blue jeans, so that became the uniform of sorts.

See? You think you know someone and it turns out you know nothing.  But you can always learn. 

Sunday, October 28, 2012

Music Skeleton

I've got parodies on the brain.  A parody is any form of copying or mimicking of an existing work or person's style.  Parodies are used for satirical purposes, commentary, critique, or just to be funny.  What really defines the parody is the re-use of original material, and the art of parodying music has been around much longer than you may think, though not always in the now-prevalent humorous sense.  Early composers fused older works into their own, hybridizing the result.  It is hard not to just chalk this up as plagiarism, because the difference is subtle.  The difference is easier to see with humorous parodies.

"Weird Al" Yankovic built his career around the Fair Use (Section 107) of the Copyright law.  He takes popular songs and rewrites the lyrics, but keeps the spirit of the song intact (and usually everything else).  Under Fair Use, parodies are allowable because the parodied result does not detract from the marketability of the original.  Fans will still go out an buy the original music and not the altered version.  They may still buy the funny version anyway, but it won't take away from original artist's work because the original artist still created the work in the first place.

Another kind of funny parody is "genre parody", where a group reworks songs within a specific genre, such as rap or heavy metal and presents it in a radically different way, such as in Renaissance style or lounge music.  Think Pat Boone singing Metallica's Enter Sandman, among others.


Wednesday, October 24, 2012

Avenue Q follow-up

The writers of the music for the charming, puppet-filled, adult-themed musical that is Avenue Q are Robert Lopez and Jeff Marx.  The musical opened off-Broadway in March 2003.  It went on to win the Tony "Triple Crown" award for Best Musical, Best Score, and Best Book.

Lopez and Marx are also the composers for most of the songs in an episode of the TV show Scrubs (My Musical).  They are not, however, responsible for the masterpiece, Guy Love (written by Debra Fordham and Paul Perry), also heard within this episode.  In the Scrubs episode, a patient enters the hospital because she hears everyone singing when they should be talking.  It turns out she has an aneurysm, hence the brain wackiness.  The patient is actually a guest starring role played by Stephanie D'Abruzzo, who is a Muppeteer, singer, and the actor responsible for bringing Kate Monster to life. 

The Bad Idea Bears! And their handlers!


This was one of the most entertaining shows I've ever played for, and the reed parts are really fun!

Friday, October 19, 2012

Listen closely

I heard another interesting tidbit on the local radio station this morning:

For the song Riders on the Storm, by The Doors, Jim Morrison wanted to create a more eerie effect.  So, he layered his vocals over a recording of him whispering the lyrics.  You can hear the whispering if you listen closely, or listen through  good pair of headphones.  This song is also the last recorded effort before Jim's death in 1971.  According to one source, the whispering part is actually the very last thing he ever recorded.  Which just turns up the creep factor, I think.

The whispering is supposed to allude to the "killer on the road" mentioned in the song.  Think murderous hitchhiker. 

Have a happy day!

Saturday, October 13, 2012

Mix Tape

I'm playing in a production of the musical Avenue Q.  According to the character Trekkie Monster, the Internet is for porn.  But, really, the Internet is for lists.  So here is a list of the songs listed within the song Mix Tape, sung by the characters Kate Monster and Princeton.

Princeton gives Kate a mix tape, and, because she's trying to figure out if Princeton really likes her or not, she tries to get an idea from the selections on the mix tape.  It is baffling, at best:

You've Got a Friend
The Theme from 'Friends'
That's What Friends Are For

She's not impressed.

But there's more:

A Whole New World
Kiss the Girl
My Cherie Amour

That's better, unless:

I Am the Walrus
Fat Bottomed Girls
Yellow Submarine

What?!

Stuck On You
Love Me Do
My Heart Will Go On

She's Got a Way
Yesterday
Goodnight Saigon

Through the Years
The Theme from 'Cheers'
Moving Right Along

And, finally, for Princeton's redemption:

I Have to Say I Love You in a Song

More Avenue Q fun to come!
 

Wednesday, October 3, 2012

The Castrati

The last post talked about a very popular piece of sacred vocal music.  But, actually, that post was a detour from what I was really interested in exploring: castrati.  (Apologies to any male readers, this may be a, ahem, sensitive subject.)

Castrati aren't around anymore.  Back in "the day" (by which I mean post-Rennaissance Europe) women weren't typically allowed to sing or act or do anything in the theatre beyond perhaps tailoring a costume or watching the action from the balcony.  They were especially prohibited by the Church from participating in sacred performances.  So, the aforementioned Miserere was intended to be performed by males, with all the higher parts (that female voices are much better suited for) sung by castrated men.

A quick physiology lesson: the vocal chords of a child are not fully developed; they are shorter, producing higher voices.  When males reach puberty, a greater supply of the hormone testosterone is released into their bodies (females have testosterone too, but in much reduced quantities) and influence all sorts of interesting bodily changes.  One of which is a voice change in men (again, women too, but to a lesser degree) brought about by the lengthening of vocal chords.  If a boy has an exceptionally fine singing voice, (we're going back in time now.  Please try to keep up.) his parents saw this as a way to escape poverty, so they subjected their son to castration. 

Castration is the removal of the testicles, or at least the severing of the ducts that lead out from the testicles.  (Ovaries provide testosterone in women.)  Testosterone is actually really important to the development of all bodies, not just those with a Y chromosome, but the effects on males is responsible for a whole list of critical developments that need not be discussed too much in a blog that is supposed to be devoted to music.  Additionally, the act of castration can actually be traced back to ancient times, but more for political or social reasons.

Okay, back to 16th and 17th century Europe.  Women weren't allowed to sing all of the pretty, high parts in church, so, often under guise of treating illness or injury, boys were castrated to preserve their high voices.  A few castrati were actually very popular and reached the equivalent of star status.  Most though were relegated to singing in smaller churches or less important services.  Some fell through the cracks of society, and, because they couldn't marry or start their own families or really do much else for society, there were reports of suicide.

But, the really fine castrati, with the voices of boys and the lung-power of grown men were capable of astonishing things and lovely music.  They were superstars in every sense of the word.  They had music written for them in operas and sacred music and many were capable of some brilliant improvisation. 

All things change though, and so do musical tastes, preferences and styles.  With Mozart and the Classical style of music, tenors were soon taking more of the celebrated men's solos.  Female sopranos were given more opportunities.  The heyday of castrati basically came to a screeching halt.  The are no more castrati.  At least not by method of maiming.  (It is possible to produce the same effects chemically.)  There are a few, poor-quality recordings of the few remaining castrati as the remaining, aging individuals entered the recording age.

The practice only truly became condemned in 1878.  The last castrato, Alessandro Moreschi died in 1922.

Tuesday, October 2, 2012

Miserere (and Mozart)

There is an interesting story about a solemn piece of music called Miserere that was composed by the Italian Gregorio Allegri (1582-1652) sometime before 1638.  It is a setting of Psalm 51 for nine voices that was a big hit in the 1630s Italy.  It was used during Holy Week, starting at 3AM, with 27 lighted candles placed around the church.  One by one the candles were extinguished until one remained, when the pope (who was reported to have participated in these services) would kneel and pray during the performance of the Miserere.  It was not the only setting of this Psalm, but it certainly became the most popular.

The piece was so valuable to the church, that it was forbidden for anyone to copy it or take a part of it or give it away.  At one point, only three copies of the piece were believed to be in existence.  However, in 1770 Mozart (yes, that Mozart) and his father, Leopold, arrived in Rome.  As any other tourist would, they attended a performance of the Miserere while at the Sistine Chapel (yes, that Sistine Chapel).  The ban on copying the Miserere was still in effect, but after the performance, the 12-year-old Mozart wrote out the music from memory.  That is interesting enough, but what happened after that is even more so.

While Mozart was meeting with Padre Martini while in Bologna, he met another friend of Martini's: Dr. Charles Burney, of London, England, who was a music historian and biographer.  Burney was touring France and Italy in research for a new book about the music in these countries at that time.   There is little evidence of what actually happened during this meeting, but there are some theories.  The main facts, though, are: Mozart's transcription of the Miserere hasn't been found, and after Dr. Burney's return to England, copies of Allegri's Miserere began to appear in Leipzig, Rome, England, and Paris.  The monopoly on the piece was subsequently destroyed.

There are a few theories about how this happened.  The obvious conjecture is that the piece was taken from Mozart during the meeting with Martini.  It is possible, however, that Burney took Mozart's transcription to compare it to Martini's copy (one of the three copies believed to have existed at that time) or because Burney wanted to study the transcribed improvisatory elements that Mozart captured in his version.  Burney may have then destroyed Mozart's copy to protect him from any backlash from the Church.  The world may never know the full story.

At any rate, it is a beautiful piece of vocal music that deserves some consideration and appreciation by all music listeners.

Friday, September 21, 2012

I'm going to bum you out now

It was "One hit wonder day" at the local radio station.  It's a classic rock station, so the selections skewed mostly towards hair band and hard rock of the 1980s and 90s, but they also played a few selections from the 1970s.  The music of the 70s is a varied lot.  Much of it is silly (Disco Duck, anyone?), danceable (more disco, sans ducks), wonderfully weird (Hocus Pocus, by Focus!), or ABBA.  At least it was, until punk music came crashing in.

But there are a few songs from that decade that are just depressing.  The Night the Lights Went Out in Georgia (1972), by Bobby Russell (sung by his then-wife Vicki Lawrence) tells a sad story about a sister who kills the cheating wife of her brother, but her brother gets hanged for the crime.  In a way, it's a commentary on the occasional injustice of the justice system.  Another song by David Geddes, called Run Joey Run (1975), tells the tragic tale of a father killing his daughter.  Told from the perspective of the daughter's boyfriend, who had come to her house after she and her father had a fight over what I presume to be a pregnancy by the narrator.  Ah, it's the classic story of girl meets boy, boy impregnates girl, father finds out, father beats up girl, boy tries to come to girl's rescue, but girl takes the bullet intended for boy.

Then, to make you even more depressed, there is the 1975 song by Gordon Lightfoot that describes the sinking and death of all 29 crew of the bulk freighter the Edmund Fitzgerald (The Wreck of the Edmund Fitzgerald).  The freighter went down in bad weather on Lake Superior the night of November 10, 1975.  And, if by now you don't already feel like burying your head in your pillow and sobbing, you can pop in a recording of Don McLean's ode to three freshly dead musicians: American Pie (1971).  The three dead musicians in question were, of course, Buddy Holly, Ritchie Valens, and The Big Bopper.

So, who needs a drink?

Monday, September 17, 2012

These keys are made for sharping

I keep thinking about something a bassoon teacher once said: keys are on (woodwind) instruments to raise a pitch, not to lower it.

Think about that for a moment.

I don't mean the pads or levers that close and cover the tone holes, as they are clearly meant to lower the pitch of the tube (sequentially cover all of the tone holes on a clarinet, and the pitch goes down); long tubes make lower pitches.  Basic physics kind of stuff.

But the keys that don't cover the main tone holes are where they are to allow the player to play all of those chromatic notes that the basic instrument could not play if it only had the tone holes.  For example: the Eb key on the right hand side of a clarinet (and operated by the right hand first finger) is used to raise the already fingered note D one half step.  We refer to the key as an Eb (E flat) key, but in reality, it is raising the D to a D# (D sharp).

It's the same story an octave up (still on a clarinet) to the Eb/D# key on the right hand (operated by the right hand pinkie finger).  To play the note, the clarinetist must cover the tone holes for D, they open the Eb key to raise the pitch by one half step: to D#.

This is profoundly simple, but I think it isn't recognized right away because we often refer to those keys in their enharmonic flat names.  There are a few anomalies, like the G# keys on saxophones and flutes, but their half-step-raising-D mechanisms are still usually referred to as Eb keys.


Wednesday, September 12, 2012

Off the Shelf: Bob Dylan

Sorry for the hiatus.  My non-blogging life got a bit out of hand.  But I'm back with a long overdue Off the Shelf installment: Bob Dylan (told you it was a chewy one). 

I randomly selected from Ye Olde CD Shelfe The Best of Bob Dylan, a disc I picked up while going through a mild Bob Dylan phase (actually I picked up at least 3 Dylan discs during that time).  I've touched on the genius of Dylan already; very briefly in one of the Billy Joel/We Didn't Start the Fire variations, but I think I can give you a bit more.

The Best of disc features many of the greatest hits (as you would expect from something with "best of" in the title) from Dylan over the course of his career.  The liner notes are quick to tell us that it's impossible to put all of Dylan's greatest songs onto one single disc, which is true, but this one is still a good representation his work, starting with Blowin' in the Wind, passing through All Along the Watchtower, and briefly into his more recent work. 

Dylan made waves with a stream-of-consciousness, politically charged, confessional style of folk music.  One the songs that really caught my attention was Hurricane, co-written with Jacques Levy in 1975.  The song describes, in true folk-song narration, the accusation, trial, and imprisonment of boxer Rubin "Hurricane" Carter, who was a friend of Dylan.  Carter was accused of robbery and murder, in accomplice with two other accused men.  The initial trial gave him a guilty sentence, but Dylan, among other supporters, felt that the trial was racially charged, and so, in protest to what he felt was an unfair trial and sentence, wrote the song.  He was forced to re-record it to avoid potential lawsuits concerning the details about the actions of the other two men in the trial.  The song eventually stirred things up enough to get Carter a second trial.  In 1988, all charges against Carter were dropped.

I couldn't help but notice how many Dylan songs end up as hit cover songs by other artists.  Watchtower has been covered countless times, from the "definitive" cover by Jimi Hendrix to my favourite cover by the Dave Matthews Band.  Knockin' on Heaven's Door was covered most notably by Eric Clapton, but also by Guns N' Roses, Booker T and Ladysmith Black Mambazo.  Blowin' in the Wind was made a hit by Peter, Paul & Mary (not to mention all the renditions sung around campfires, by church groups, and by protesters protesting anything.)

Truthfully, this entry will not be as complete as I'd like it to be.  The story of Bob Dylan is just too big for me to take in right now.  But I'll keep turning it over in my brain, like a rolling stone.

Sunday, September 2, 2012

Team Elphaba

I have finally gotten around to reading Wicked: The Life and Times of the Wicked Witch of the West.  As usual, I'm about 6 years (more or less) behind the trend.  The book is a "parallel novel", written by Gregory Maguire, that tells the story about the events in the land of Oz, from the point of the view of the Wicked Witch of the West. It uses many references from the Baum books and from the 1939 film.

In the L. Frank Baum novels, the Witch isn't given much development, beyond being the antagonist of the story, chasing Dorothy or terrorizing the civilians of Ozland.  In fact, she isn't even given a name.  In Maguire's telling of the times of the Witch, she is given the name Elphaba (a phonetic derivation of L. Frank Baum's initials), and one is led to reconsider what it means to be "wicked" or "good."  Is being wicked really an absolute quality, or do circumstances and outside forces play a larger role?  If anything, the reader is led to be more sympathetic to the Wicked Witch of the West.  I'm certainly looking at the storyline of the film a little differently now.  Anyway, the 1995 book was reworked into a Broadway musical.

Wicked: The Untold Story of the Witches of Oz, (book written by Winnie Holzman, and music lyrics by Stephen Schwartz) changes several details from the book, but remains a convoluted story about the friendship between Elphaba, the Wicked Witch of the West, and Glinda, the Good Witch of the North.  The book explains how both characters become what they become, in a really elegant way, actually. 

Stephen Schwartz has composed many acclaimed musicals.  He wrote the music for Godspell, Pippin (one of my favourite musicals and one he started writing music for while still in college), Children of Eden, and The Magic Show.  He is one of only four composers to have a three musicals run over 1000 performances on Broadway (Wicked, Pippin, and The Magic Show).  The other 3 composers are Andrew Lloyd Weber, Jerry Herman, and Richard Rodgers.

You can also hear his work in movies.  He collaborated with Alan Menken to write songs for Disney's Pocahontas and The Hunchback of Notre Dame, and wrote music for The Prince of Egypt.  Again with Menken, he wrote lyrics for Disney's Enchanted, resulting in 3 songs from that production earning nominations from the Academy Award for Best Original Song.

Schwartz certainly defies gravity.

Wednesday, August 22, 2012

Look Hugh's Talking, 2





I've blogged about The Hugh Laurie before (check out the post called "Let Hugh Talk"), and I've told you how incredibly fascinating and obscenely talented the man is.  Well, I had the very fortunate fortune of seeing him perform in person.


If you've read that post, you know that Laurie is an accomplished musician (and an actor, novelist, comedian, and all around smart person), and earlier this year he released a blues album.  The concert I attended featured Hugh and the fantastic Copper Bottom Band.  It was a sold out show at the Englert Theatre in Iowa City.


Laurie is a natural showman, ready with a joke or wry comment, and equally adept on piano, guitar, or shot of whiskey.  I was, admittedly, a bit star-struck at being so close to someone I truly admire.  The Englert is a small theatre, in turns a movie theatre and live theatre, and I had a great seat (I could see that he was wearing a plastic, green watch).  The show was sold out and the audience was very appreciative, though I wondered how many people were there just because Hugh is a TV star, and if they even knew that he was a blues musician.

The man himself.  :-)

The musicians played many songs from his album Let Them Talk, and several more.  The band did a great job of staying within the blues style, which is a big deal for me.  It's sometimes discouraging to hear otherwise wonderful players try to play more than the music asks of them.  He had the typical rhythm lineup, with a bass, drums, and guitar, plus an organ/accordianist and a man that Hugh introduced as "the master of all things blowy,"a reed player who played all saxes, clarinet, and harmonica.  At one point, he was even playing two saxes at once.  That takes talent!

Along the way, he gave the audience interesting tidbits of information about the songs and the blues musicians who wrote them, so I can count this as an educational concert, too.   The band also took a brief break to enjoy a bit of whiskey.  While we watched.  Funny stuff.

It was one of the most enjoyable, non-DMB concerts I've ever attended.  What a great show!


Friday, August 17, 2012

Clarinetfest 2012

"Let the clarinet games begin!"

Over the week of August 1-5, I attended the International Clarinet Association's 2012 Clarinetfest in Lincoln, Nebraska.  Clarinetfest is the annual gathering of clarinet professionals, teachers, amateurs and enthusiasts.  It moves around the globe (as it is an international organization); held at different locations each summer.  The Lincoln Clarinetfest was my second one; I'd attended the one in Kansas City, MO about four years ago.

This year's festival was wonderfully diverse and had a good range of lectures and recitals to attend.  The evening concerts alone are worth price of admission, featuring many world-renown clarinetting artists, including bass clarinettist and electronica genius Michael Lowenstern, Klezmer artists Corrado Giuffredi and David Krakauer, and jazz clarinettist Allan Vache, to name a few.

Attendees could attend lectures, demonstrations, and masterclasses, or simply listen to new music from attending recitalists.  I attended a lecture about teaching young beginners music (beyond the clarinet, but also how to integrate it), a masterclass led by Fred Ormand, a couple of Klezmer/Jewish clarinet workshops, and several pedagogy lectures (how to teach, or different traditions and methods of teaching).  The theme of the convention was "Heritage to Horizon", which meant a bit of looking back to several influential teachers within the discipline of clarinet playing and a look forward to what clarinet playing can become, and what the clarinet can do.  With regards to the heritage aspect, some legendary teachers were discussed, including Daniel Bonade, Robert Marcellus, and Kalmen Opperman. 

A panel on the teaching methods and contributions of Robert Marcellus.
Tim Puwalski, demonstrating Klezmer music.  He taught us a tune, by ear, and eventually we were marching around the room, Pied Piper-style, playing a tune.
Allan Vache and his band.  An outstanding evening of jazz music.

It was a great week, overall.  I picked up some new ideas, met up with some old friends and teachers, and have a stack of music and information to start sifting through.  A terrific way to recharge the clarinet batteries!  Now, I must go practice!

Saturday, August 4, 2012

In the Mood

It should be clear by now that I am not opposed to driving waaaay out of my way to visit musical landmarks.  On the way to Lincoln, Nebraska to attend Clarinetfest 2012 (more on that later) I left the Interstate to visit Clarinda, Iowa.  Clarinda is important to Music Zombies because it is the birthplace and home of Big Band Era superstar Glenn Miller.

Clarinda is a small town in the southwest corner of the state.  There isn't much else to see, unless you like farmland, and if you keep driving south for about 15 minutes, you'll end up in Missouri.  When you get into town, that is remarkably unremarkable, watch closely for the small signs directing you to Miller's home.  Once you get close to it though, it's evident that you are in the right place.


This museum is sort of a temporary one.  There is a scale model inside of a new planned museum.

Pennsylvania 6-5000!

One of the band's stand fronts.



The ubiquitous big band anthem.

Awarded posthumously in 2003.







One of Miller's trombones.  The horn only survives today because he didn't have it with him on the  flight to Paris.  He was traveling without the band because he was planning to make preparatory arrangements for a European tour.  The plane disappeared over the English Chanel in December of 1944.

The mouthpiece has Miller's name engraved on it.

His birthplace and home.

Glenn was born March 1, 1904.  Many of the items in the house did not belong to the family (they took their stuff when they moved away from Clarinda) but this calendar is authentic.


His piano, where he did his arranging.  The picture shows him working at it.  The curators have recreated the scene in the shot, down to the blue Wedgwood orb on the right corner and the Chesterfield cigarette on the left.

The front porch.  Cute little house.  Glenn was born in one of the upstairs rooms.  After the Miller's moved away the house was purchased by someone else, who had it completely renovated and remodeled.  Only recently was the house de-remodeled back to its original state, which is what you see now.

Because Miller's body was never recovered, there is no official grave site for him.  There are memorial sites to him, though, and a headstone can be found in Arlington National Cemetery (he had served in the Army).  He was only 40 years old at the time of his death, and the music world lost him much too soon.

Friday, July 27, 2012

Elwood Blues

With some help from IMBD.com, today I'd like to feature the speech that Elwood Blues gives the rest of the band when they all want to give up and go home before making the trip into Louisiana to audition for Queen Mousette so they can play in the battle of the blues bands.  The speech comes from the second movie of the Blues Brothers franchise.  The original 1980 movie is by far the better of the two, but the 2000 film has its merits, too.

Take it away, Elwood.

ELWOOD: [addressing the rest if the band] You may go if you wish. But remember this: walk away now and you walk away from your crafts, your skills, your vocations; leaving the next generation with nothing but recycled, digitally-sampled techno-grooves, quasi-synth rhythms, pseudo-songs of violence-laden gangsta-rap, acid pop, and simpering, saccharine, soulless slush. Depart now and you forever separate yourselves from the vital American legacies of Robert Johnson, Muddy Waters, Willie Dixon, Jimmy Reed, Memphis Slim, Blind Boy Fuller, Louie Jordon, Little Walter, Big Walter, Sonnyboy Williamson I and II, Otis Redding, Jackie Wilson, Elvis Presley, Lieber and Stoller, and Robert K. Weiss.

DONALD "DUCK" DUNN: Who is Robert K. Weiss?
[the rest of the band shrug]

ELWOOD:  Turn your backs now and you snuff out the fragile candles of Blues, R&B and Soul, and when those flames flicker and expire, the light of the world is extinguished because the music which has moved mankind through seven decades leading to the millennium will whither and die on the vine of abandonment and neglect.
[he walks off, followed by Buster, Mack and then the rest of the band]

 And, scene.
Nicely spoken, Elwood.

P. S.  Robert K Weiss was the producer for the original Blues Brothers movie, and the reference is given as an inside joke when Weiss told Dan Aykroyd and director John Landis not to give up on the film.  Don't give up on the film and don't give up on the Blues.

Thursday, July 26, 2012

Art & Paul down by the schoolyard

I'm still gnawing on the most recent Off the Shelf selection (it's a chewy one), so I don't have that worked out yet.  But, I did visit a local thrift store yesterday and picked up a few good music CDs.  Among them: Miles Davis & Quincy Jones Live at the Montreux Jazz Festival (one of Davis' final performances before his death), a couple of Count Basie albums (including a reissue of the April in Paris album and a collection of Neal Hefti arrangements performed by the Basie band), and the Simon & Garfunkel Central Park Concert.

Officially titled The Concert in Central Park, the recording is the first live album from the folk-rock duo.  The concert took place in Central Park, New York City on September 19, 1981.  Over 500,000 people were in attendance and the proceeds from the concert went towards improvement of the park.  Paul Simon and Art Garfunkel had been friends since they were kids and were a big part of the music scene and environment of the 1960s, channeling the turbulent emotions of that time in American history.  They admit to being influenced by the Everly Brothers, as evidenced by the close-harmony vocal style and folk tendencies.

After some disagreements about which way they should go artistically, they officially broke up as a duo in 1970.  Paul Simon went on to have a very successful solo career (he is the songwriting powerhouse between them).  Art Garfunkel wanted to pursue work in acting.  Their final duo album was Bridge Over Troubled Water.

Of course, Paul Simon is talented and interesting, but after doing a bit of research on Art Garfunkel, it's possible to see why these two musicians could have had artistic disagreements.  They are radically unique people.  Garfunkel is known to be a voracious reader: on his website you can find a list of every book he's read since 1968.  He also writes poetry and has walked across America several times between 1983 and 1997.  Simon is completely focused on his music career.

The Central Park concert was a reunion of sorts.  The concert was a success and they did a world tour 1982-83.  The subsequent album, to be released as a duo work, was scrapped and reworked by Simon, who released it as a solo album.  The two didn't speak for a while after that.  There was a lot of troubled water, apparently, and the bridge had been hacked to bits.

In 2003, they performed The Sound of Silence to open the Grammy Awards.  They also accepted the Grammy Lifetime Achievement Award.  They still occasionally perform together, most recently at the New Orleans Jazz Fest in 2010.

The Central Park concert still sounds pretty good to me.

Friday, July 20, 2012

Off the Shelf: Boots Randolph

I was delighted with my random shelf pick this week!  Saxophone extraordinaire, native of Paducah, KY, icon of the "Nashville sound": Homer Louis "Boots" Randolph III.  (I researched the "Nashville sound" and it refers more to an era-late 1950s to 1960s-and style of music than an actual sound, but the impression that I get is that it is a sort of country/pop music blend with a touch of Dixieland jazz and a generous dash of honky-tonk swing.) 

Boots' most famous tune is Yakety Sax, a catchy little tune that he wrote with James Q. "Spider" Rich.  The song is original material, with blends of fiddle reels woven in.  It's sometimes referred to as "The Benny Hill Song," because it was popularly used by the Benny Hill show during funny chase scenes.  It was the success of Yakety Sax, actually, that took Boots "out of the hills of Kentucky and put me in the hills of Tennessee" (to use his words).  It's also one of the first solo sax tunes that really captivated me as a young Music Zombie.  I managed to track down the sheet music in high school and performed it for a talent show.  I played it well enough, and I'm sure that I can play it better now, but I will have to work on it a bit more to make it sound anywhere close to Boots' version. 

Boots learned a variety of instruments as a kid before settling on the tenor saxophone at age 16.  He went on to play with the U. S. Army Band until 1946, after which he decided to put his playing to professional use.  He was the first ever saxophonist to play on an Elvis Presley record, and the only saxist to solo with him.  He enjoyed a busy career as soloist and session musician in Nashville (and all over the country), then decided to open his own dinner club in 1977.  It ran for a successful 17 years. 

The disc I pulled off the shelf is another cheap reproduction, opening with Boots' Yakety Sax, but also includes some nice renditions of King of the Road, Stardust, Smoke Gets in Your Eyes, and a charming two-beat tune called Mountain Minuet.  He really could make the horn sing.

Friday, July 13, 2012

Off the Shelf: Blues Traveler

Ah!  Fond memories from the latest random CD pick!  Four, the breakthrough album by the New Jersey jam band, is a representative disc for the sound of this great group of musicians.  It was not their first album, but their fourth (hence the album's title, I suppose), released in 1994 . 

My copy still has evidence of being a used disc I picked up in a CD store somewhere (remember when stores sold CDs?).  I probably got it for the first track, Run-Around, a song that got lots of radio play (it is one of a handful of songs that define the 1990s for me) and remains a major hit for the band.  Front man John Popper is amazing.  He has the kind of voice that is almost impossible to imitate and he can do things on a harmonica that many guitar players can't pull off.

They are a blues band of sorts, and the "traveler" part of the band's name comes from the demon Gozer the Traveler, from the movie Ghostbusters.  During an early jam session, and black cat happened to wander by, and it was decided that a funky black cat should be the groups insignia.

Other notable tracks from this album include Hook, The Mountains Win Again (that I seem to recall wound up in a beer commercial), Price to Pay, and The Good, the Bad, and the Ugly (not the one you're thinking of.  Same title, different tune).  And for some reason, my memory links Blues Traveler with the 1996 movie Kingpin.  After some checking into the soundtrack, they do indeed appear on the credits with one of their first major hits, But Anyway.  Interesting how the mind makes relationships.

One of the funniest memories I have in relation to the music of Blues Traveler involves one of my friends at a talent show.  He recited the lyrics to Run-Around in the style of a dramatic poem reading.  Funny stuff. 

Tuesday, July 10, 2012

Anyone can improvise

Last weekend I attended the 2-day Jamey Aebersold Jazz Improvisation Workshop held at the University of Louisville in Kentucky.  This workshop is taught by Jamey Aebersold himself, which I think is great.  If you've ever used any of his play-along CDs (or LPs, if you've used them for a very long time) you've heard his voice, counting off the tempo.


I must say, he's a monster of a musician, demonstrating his points beautifully on both piano and saxophone.  The first morning session didn't have much in the way of theoretical information, but it did serve to get everyone into the "be creative" mindset.  As a teacher, I was interested in ways of introducing improvisation to some of my students, and the first day afternoon session gave me some helpful tips.  For example, instead of having the student try to solo over a progression, have them try over just two or three chords, using only two or three scales.  This keeps the amount of intimidating choices down to a manageable number and allows the player to experiment with actually trying to make up a melody on the spot.

Day 2 dealt more with some theoretical aspects of jazz music, like ii-V7-I progressions, scale usage, and ear training.

He did address the interesting question of whether or not analyzing or talking about jazz diminishes its spontaneity.  To paraphrase Aebersold: The greats may have not known whether or not they were playing diminished scales or tritone substitutions, or even if they played them intentionally (some did, Coltrane and Miles Davis were known to use modes and scales in experimental ways) but that's what they were doing.  And it's interesting how much you can learn about soloing by analyzing a solo from one of the great players.  We looked at couple of transcriptions, one from a Jimmy Forrest solo and one from Sonny Stitt.  By comparing note choices to the chord symbols, it's possible to see how they followed the progression.  It's really illuminating to see how a great soloist builds their melodies.

Some other interesting points: 
  • Rhythm is at least as important as the correct notes.
  • Imagination provides FREEDOM.  Develop your creativity.
  • Music doesn't care who plays it.
  • TV kills imagination. 
  • LISTEN! All of the answers are in the recordings.
  • Charlie Parker practiced 11-15 hours every day for 3-4 years.
  • Get some music in your head (and in your fingers).  Don't rely too heavily on books and written music.
  • Use your ears and memory.
  • Try first improvising by singing.  Your voice can go places you may not be able to easily find with your instrument, and it helps to get ideas moving.
Also, Jamey can circular breathe.  It didn't hit me right away, at first I only noticed that he never stopped to take a breath when he played his saxophone.  Circular breathing is a technique where the player breathes in through the nose while exhaling into the instrument.  It requires practice; few people can do it naturally. 

Overall, it was a useful two days.  I picked up some new ideas to try with my students and new ways of practicing and developing my own playing.  Maybe in a year or two I can return for one of the week-long sessions to learn more.

After the final session, Jamey was so kind as to autograph my book!

Sunday, July 8, 2012

So Damn Lucky

A friend and I made the trip to Alpine Valley in East Troy, WI to see the Dave Matthews Band show on July 6.  The venue allowed cameras this year, so here are some pictures from the concert.  People attend Dave shows for lots of reasons: some go for the party, some go to them because it's tradition to attend one or more concerts every summer, and some go simply for the music. 

Almost there!

YAAAAAY!!!

The venue.  All seats will be filled and the upper lawns will be filled with fans.  Right around 40,000 people.

Somehow managed to get a glimpse of Dave pre-show.  Those are his twin daughters with him.  Their tour buses are behind them.

The Eco-Village had some nifty things, like a couple of these listening stations.

Listening to a track from the new album, due for release in September.


This is Brandi Carlile.  The opening act.  She's really good!  Go buy her music!  She has a Johnny Cash/Sheryl Crow/bluegrass vibe.  Solid vocals, strong guitar/piano work.

Hard working stage crew.  Setting the stage.

Look! Boyd's violin!

He has the best seat in the house.

Stage Left Solidarity.
Stefan Lessard, Rashawn Ross, Jeff Coffin.  Bass, trumpet, saxes, respectively.  Of these three, only Stefan is a founding member, Jeff was brought in after LeRoi's death to cover the sax parts, and Rashawn adds so much to the sound of the band.  Always tasteful, always musical.  The musicianship here is just incredible.

Boyd Tinsley, Tim Reynolds
 It was a hot night.  98-103 degrees.  But the band delivered three hours of solid, non-stop, energized music.  A good mix of old and new songs, including some of my personal favourites.  I try not to go into concerts hoping to hear one song, or expecting them to play certain songs.  They'll play what they want to play.  However, it was great to hear Seven as an opener, The Song That Jane Likes, You Never Know, and All Along the Watchtower.  Closing the show with Tripping Billies was perfect.

Dave, Stefan.


Carter is hidden behind his drum set.  He has a very busy style of playing, but it's never in the way.  Good drummers know how to add to the music without overwhelming it.


A great concert.  Despite the heat, the (very large) crowd seemed to be in good spirits, and the band was appreciative.  It's so great to be a part of something so big and so positive.

Rock on.
 :-)