Author: zingblog

Birds of Fire

Lots going on on the music front these days.

First of all Gus, our drummer for LEFT HOOK, has fallen ill. We all wish him a speedy and full recovery, but sadly he’s not gonna be doing much drumming for a little while. We know a few other guys who play drums, and we’ve been having them sit in to see what kind of chemistry we can gin up. We had Dan from HSQ in a couple weeks ago and it went really well. Unfortunately he just started a new job and can’t commit to a second band right now, even as a sub. Meanwhile Ken and I have been looking forward to adding new songs to the set again, but it looks like we’re a long way away from our next gig.

OTOH here’s some good news: the jazz originals group, the Haven Street Quintet, has found a recording studio. Our friend Robert K has a studio in a building behind his house up in Katonah, a former garage or carriage house. It’s pretty much perfect for our needs, which is to record the group live. It’s a professional level studio with a nice live room, big enough for the whole group but still cozy. There’s a beautiful 7′ Steinway B grand piano, a nice bench of mics and preamps, and a proTools rig compatible with mine. (The plan is for Jay and I to mix it at my house.)

In rehearsal we’ve been sharpening our songs. At this point it looks like we’re going to record two of Gary’s songs, one of Jay’s and three of mine. This is about half our songs. At first we were thinking of trying to do one album side, maybe four or five tunes. Then Robert suggested as long as we’re going thru the trouble of setting everything up, we might as well play the whole day and evening. Now I’m thinking of getting a seventh song studio-ready and try and do a whole album in one shot. I must say the energy of the group has been very focused. We’re continuing to hone the compositions and find new things to bring out in the improvisation.

The evening Jay and I went to check out Robert’s studio we went on to see a jazz show: Christian McBride and his trio doing a tribute to legendary jazz bassist Ray Brown at the Ridgefield playhouse. I used to work in Ridgefield but haven’t been there in years and had never seen a show at the playhouse. Turns out it’s a great venue. The music itself was fantastic, mainly standards, very swinging and accessible, but at the same time full of hip and advanced ideas and and surprising mood shifts. The piano player in particular was amazing.

Then this last weekend we saw another show. As it happened it was the night of Lizzy’s 18th birthday. My little girl all grown up. Wow. We were in a celebrating mood.

This one was John McLaughlin at the Capital Theatre in Port Chester. I saw McLaughlin with Chick Corea last winter at the Blue Note, and he was great. I must say the Capitol is one of my favorite places to see a show, great sound and great vibe, and this night was a good one cuz I went with Jay and Gary and Jeannie.

The show itself was totally mind blowing. The opening act was Jimmy Herring, another jazz fusion veteran, whose band included a guy on Hammond organ and Clavinet and another on Fender Rhodes and violin. Great stuff, nice and funky. Next McLaughlin came on with his band, a quartet. The drummer did some tabla-style vocalizing, and the set was pretty Mahavishnuesque. This is McLaughlin’s last US tour so you got the sense it was special for the group.

Then for a third set both groups came out at once and did a whole set of Mahavishnu songs, strange modes, out meters and all. It really brought me back to when I listened heavily to that kind of music. We even used to do some Mahavishnu material in my old grup Event Horizon.

I must say the live performance sounded even better than the records. I always love it when a band has two drummers. It’s so hypnotic when they’re locked in to a groove, and there’s plenty of space for creative soloing. Even more amazing is I’ve never seen a group like this work with two bass players. They sometimes played the same part, sometimes one laid out, and sometimes two completely different parts. At one point they were dual soloing. Amazing.

All the soloists were superb and there was plenty of room to stretch out. The clav player was super groovy outta this world, and violin player great, and I usually don’t like jazz violins. Lots of group dynamics. They really built up a feeling of cosmic vibes. By the end the light show and everything was full on trippy. It was a long show, four hours of music. Wow.

Happy Hallowe’en

Hard to believe we’re halfway to the holidays already. This year Michelle provided the design for our pumpkin, and I did the carving. Michelle has been doing alot of drawing lately, particularly working on anime-style faces.

This year I did a Star Wars-Serenity mashup Wookie Jayne. A few weeks ago it was freezing in my office one day. They were still running the AC when they should have turned on the heat. I wanted something warm to wear sitting at my desk, and I chanced upon the wookie hoodie on sale on the internet.

Fall Forward

Today is a wet, rainy day, perfect for catching up. It’s a good thing too. It’s been warm and dry the whole fall, and the grass everywhere is turning brown like California. Believe it or not we only tok our air conditioners out yesterday.

Last weekend Lizzy came home from college for a quick visit. As it happened we had planned on visiting Martin that weekend, so Lizzy took a bus and met us in Albany. It was a beautiful ride up thru the turning fall colors. The visit with Martin was pretty brief, but we managed to get in a little hiking along the escarpment in a local park and then dinner at nice German restaurant. Weiner schnitzel and potato pancakes, yum!

I also had a little time for drawing and playing with Martin’s kids. They’re all into mythology and mythical monsters right now, and so is Michelle. I’ve also been thinking of alt-tic-tac-toe variations as ideas for video games, and shared some with Charlie.

Lizzy rode home with us Saturday night, and was gone pretty much the whole day Sunday catching up with her friends. Was home again in the evening. Good news she’s enjoying college, engaged and doing well in her studies, making friends and doing stuff. Took a 6:00 AM flight back to Buffalo Monday morning.

Meanwhile Martin and I had alot to catch up on. We just published a major release of The Global Jukebox (http://theglobaljukebox.org). This one includes a major upgrade to the menu system, and integration of Choreometrics in to the app, and a lot of new content. Anna and her academic team are presenting it this weekend at a conference along new research findings.

Now we’re moving right on to the next development cycle, and we’re taking a moment to hit some purely engineering-oriented tasks. One is that we’re converting it to a single-page application, so that you can switch between the two main views, map and wheel, and keep your current song, playlist, journey or whatever. Next is we’ll be converting the whole thing to Typescript.

I’ve been converting my main project in my day job to TypeScript the last few weeks, as part of a larger effort to improve code quality and get things better organized. Coming from strongly typed languages like Java and ActionScript, it feels like coming home. Which is funny because I’ve spent the last few years making my peace with the lack of types in Javascript, and thinking of it more and more in functional programming terms. Now it feels like the best of both worlds, and kind of code you can write looks alot like say Scala.

Another thing that happened last week was I finished the manuscript for my Origami Airplanes and Spaceships book. I had been basically done for quite some time, but then when I went to print out the book for final proofreading I thought the diagrams were a but hard to read. This book is in an 8” x 8” format, where the previous on was 9” x 12”. The typical drawing was about 85% size. So went thru and pumped up the size on all the fold lines and arrows.

It’s particularly critical to distinguish between the valley folds and mountain folds. One is a straight dashed line and the other is alternating dashes and dots. I also made some minor corrections and wrote an introductory blurb to each models and a very nice introduction to the whole book. For a long time I didn’t think I had much to say, but when I sat down to do it the whole thing just flowed out from the first sentence “Since ancient times people have looked up to the sky and dreamed of flying through the air and traveling among the stars.”

Space Gallery

I’ve been super busy recently, but in a good way. We’re doing a major release for the Global Jukebox in the next few days. Tons of effort went into it. Martin did an amazing job with the Choreometrics data and views. Had a meeting today with Anaa and Gideon to discuss the future scope of work. Lots of big ideas in the offing.

Meanwhile I’ve also been hustling to complete the manuscript of my book Origami from Space. With the photos done the remaining tasks are to review the final diagrams and accompanying text. I decided to re-render the diagrams at a slightly higher resolution, since they were originally designed for a larger format then the ultimate size for the book. I want them to be as legible as possible at the correct size. This task is mostly done, but then I still need to proofread everything and write the introduction. Ah well, we’ll get there soon.

Meanwhile here’s a gallery of some of the pictures I shot a few weeks ago. Enjoy!

Running on Empty

One thing about having an old car is that random things break down that you wouldn’t expect on an ordinary car. The fuel gauge has been broken on my Mustang for some time. When it originally went I thought it would be a huge pain to get it fixed, so I just let it go. I started keeping a notebook of how many miles I put on the car, calculating how long until I needed a fillup. But apparently this is not an accurate method of tracking fuel consumption. I ran out of gas on day a couple weekends ago when I thought I had over a quarter tank left.

Luckily it was easy and pretty quick to get it towed to my local garage. Then the real fun began. My mechanic said he’d fix it but I’d have to find the the part myself. Again it’s amazing what you can find on the internet these days. I think pretty much any part for a ’67 pony is available either as a refurb or and O.E.M. So I was able to order a new gas float unit. After the part arrived I had to wait a whole week to bring the car back to my mechanic cuz it was rainy every day. Finally last Friday I got the work done, quick and easy.

Nice to know how much fuel I have again. Hope to get a few more rides in before the winter comes.

Shoot the Moon

Another milestone for my upcoming book Origami from Space. Once all the graphics for the paper had been approved by all parties my publisher asked me to submit the photos. So I printed out all the graphics and folded all the models, taking extra care. Along side I have most of the models folded at exhibit quality with non-printed paper, mostly the kind Origami Shop calls “tissue foil” or “shiny”.

I have basically a homemade mini-studio setup for photography, which is how I did the cover for my last book. I set it up and got to work.

The major limitation was the lights. I used to have a pair of really bright white halogens, originally meant for industrial use like in a shop, and I’d put frosted lexan in front of the lamp to serve as a diffuser. Some time ago the switch on of the units burned out and I was down to one.

So I filled it in with some other lights I had around, but when the publisher got the pictures he said there were some harsh shadows and bright hot spots which they didn’t like. I kinda do like this look, as it brings out the texture and shape of the models, especially for the non-printed paper. But I think they’re after breakfast-cereal-television-commercial bright.

The other limitation of my setup is the depth of field was low in some shots, so things we’re as in-focus as the could be across the z-plane. Again something I thought was cool but they didn’t go for. I figured it was time to get a new lighting kit.

It’s amazing what you can find on the internet these days. I went with pretty much the cheapest one I could find that seemed decent. It contained three tripods and light setups with diffusers and a stand to shoot against for a little over $100. Back in the days of film it would have been thousands of dollars for something like that.

The tripods were aluminum and plastic, very lightweight but fine for indoor use. And the diffusers were just cloth and a bit of wire, like an umbrella. The big innovation was the lighting units themselves, which took for compact fluorescent bulbs each, equivalent to 150 watts from a regular bulb, for a total of 1800, but with a pure white light and giving off no heat. Amazing. The huge amount of light let me dial down the aperture and open up the depth of field on my camera. Light in photography is equivalent to silence in audio recording. The level determines the absolute noise floor and dynamic range you can get.

It took a while to put the whole thing together, but the shoot when smoothly enough and the publisher seemed satisfied. I imagine I’ll have to do some pick-up shots pretty soon. Then I had to find a place to store the kit so I could set up my new synthesizer. So we had to get rid of some old junk, which led to cleaning out the wizard closet and the garage. Projects beget more projects.

Now I’m in the process of putting together a gallery of some of the pics, but first I have to upgrade my photo processing software.

The One that Goes “Bweeee”

I can’t remember a September that’s been nicer weather since we left California. Been super busy with stuff. Back into a routine with work and band rehearsal, and Michelle is off to a good start in high school. Already the weeks are flying by.

I recently bought a new synthesizer. It’s a Moog Sub 37. This is a new modern analog synthesizer from the venerable Moog corporation, based on the design of one their classic models from back in the day. The main difference being that in addition to all the analog knob-twiddly goodness, it’s fitted with a digital control module that lets you save and recall presets and communicate with a computer via MIDI and USB. And supposedly it stays in tune better.

As far as the synth itself goes it has everything you’d hope for and expect. Great rich warm sound produced by two oscillators which be either stacked or parallelized into duophonic mode. And the sweepable filters, LFO, ASDR, portemento, modulation, all routable and configurable, and even a programmable arpeggiator for the lazy.

Shopping for it was a pretty cool experience. I had had my eye on this synth for a while but wanted to play it before I bought it, and none of my local music stores had it in stock. Then my friend Rich turned me on to a place called Three Wave Music out in New Jersey. They specialize in new and used keyboards. One the way out I got go over the new Tappen Zee Bridge, which looks incredibly futuristic.

The Three Wave Music showroom had everything going back to the beginning of time. Lots of old Moogs, Oberheims, Rolands, you name it. Taurus pedals, an original 808 drum machine, a Hammond B-3 with a pair of Leslies, a wall of Keytars, even a Theremin. Amazing. I bought a used Fender Rhodes way back in 1990 or so for $125. The ones they have there are a few thousand. And while I was there I was able to get something I never even imagined — a replacement for the little knob that holds the supports for the legs into the bottom of the cabinet. I’ve been using a bolt and a washer all these years!

The guys were really nice and synth was a couple hundred dollars less than I’d seen it anywhere else, so it was a worthwhile trip. I’m really looking forward to getting a chance to learn it and use it some future records. I played with it for a while at the store but haven’t even had a chance to plug it yet in at home. The main reason being that my studio was full of photography equipment. More on that next.

Life in the Keys of Songs

I recently wrote a song called Atonement Blues. It’s in the key of C, although it passes thru all 12 7th chords. It got me thinking about whether I favor different keys in my song writing. So I went and made a list of all the songs I’ve written and performed or put on a records.

It’s interesting because different keys have different sounds. To me the higher keys and the sharper ones tend to sound brighter and the lower ones, as well as the flatter ones, darker. When you’re in a given key your mind and hands tend to run in certain patterns, especially on sax. Sometimes when you’re writing a song, changing its key can alter the whole character dramatically.

It turns out I have a pretty good spread:

C: 3 Cm: 4 7
Db: – Dbm: 2 2
D: 2 Dm: 2 4
Eb: – Ebm: 1 1
E: – Em: 2 2
F: 3 Fm: 1 4
Gb: 2 Gbm: – 2
G: 2 Gm: – 2
Ab: – Abm: – –
A: 3 Am: 4 7
Bb: 1 Bbm: – 1
B: 1 Bm: – 1

It looks like I favor the keys of C and A (both Major and minor). C generally sounds neutral to me, while A is bright, although A minor sounds neutral too. There are some gaps in the low major keys and high minor keys.

C is the default key for writing on piano and a good jazz key. Of the seven songs I have in C and C minor, most are jazz numbers, or jazziod rock numbers, and only one, Touch the Ceiling, is a straight-ahead rocker. It was co-written with my drummer Mark who chose the key. Three of these are recently written numbers I’m doing in my jazz originals group.

I have two songs in Db minor. Both are kinda funky/jazz and both began in C minor or D minor and I shifted them a half-step. For a while I really got into writing on the piano in keys that use alot of black keys, after noticing that guys like Stevie Wonder and Donald Fagen tend to do alot of that.

D is a pretty versatile key, low but bright, good for jazz or rock. I have four songs in D and D minor. All of them are strident and uptempo.

Eb minor is a fun and weird key, very dark. I have one song in that key, Ghost in the Machine. I don’t have anything in Eb major.

In my mind E is the default rock key. Interestingly, both of my songs in E-minor are non-jazz instrumentals that have a single chord and mostly are about exploring out time signatures.

F is another versatile key, higher but darker than C. Of the four songs I have in F, two are uptempo and two are ballads.

The two songs I have in Gb is actually in F#. F# is higher and brighter then E. Both are rather cosmic sounding. One, Angel or Alien, was and was written on the bass and is mostly a ballad with an uptempo middle section. The other, Seventh Sea, is a jazz ballad that spends alot of time in other keys and plays with the idea of shifting tone centers.

I have 2 songs in G but none in G minor. Both are are up and bright

I have no songs in Ab. Maybe I should try writing one.

I have seven songs in A and A minor. Most of the A minor ones were written a long time ago for Event Horizon. Of the ones in A major, Rocket to the Moon is one of the few songs I’ve written on guitar. Black Swan was written mainly on bass, and moves thru several keys, including a big part in E minor.

Bb sounds lower and darker than C to me. Great jazz key. The one song I have in Bb, Your Dancing Shoes, is a soul/funk/blues number that I’ve done both a rock and a jazz version of.

The only key that’s brighter than A is B. My only song in B, Heat Wave, is very uptempo and in 7/8. It modulates to G# minor for the verse.

Through with Buzz

I want to take a moment to acknowledge the passing last week of one of my musical heroes Walter Becker of Steely Dan. He was a big influence on my sound and by all accounts a great guy. I saw Steely Dan live three times, going back to their first tour in the 90’s and twice more at the Beacon in later years. Each show ranks up there with the all time best shows I’ve ever seen. I’ve been taking time this week to work my way thru the Steely Dan songbook, concentrating on the more advanced stuff in the back half from the records The Royal Scam, Aja, and Gaucho.

In my own musical world things are happening again after the summer hiatus. The LEFT HOOK is back in rehearsal. We did a bunch of Steely songs just to jam, including My Old School, a bit of Babylon Sisters and Hey Nineteen, as well as Kid Charlemagne and Rikki from our regular set.

We’ve been adding in new songs at about the rate of one a week before we went on break and are back at it. We’re up to twenty-five songs or so, almost enough to play a whole show. We’ve started adding some of my rock originals. Everyone in the group enjoys playing them, which is a good sign.

We’ve also been dusting off the whole list to get them back into working muscle memory and see how they sound as a quartet. Overall really sounding good, even things we haven’t played in six months or more. Only downside is because I’m singing alot more we had to drop a lot of the sax songs. I’ve gone from playing sax on about half the songs to about a quarter. So I’m looking for more sax songs that we can do with our setup. In the weeks ahead we’ll pick four or five songs to record to use as a new demo so we can get back to playing out.

In jazzland the originals project has broken off from the jam sessions to become its own thing. It was clear for some time that our old Mike wasn’t really into it, and everyone was getting pretty frustrated with the situation. We got a new drummer Dan, who fits right in and has the sound we’re looking for, as well as the technical precision, versatility and imagination, and a great guy to hang around with. He cites Bill Bruford and Tony Williams among his influences. So now we’re back at it, crafting our arrangements and the goal of making a record is back on.

I’ve brought in two new songs. One is actually an old song called Son of the Sun, that I used to do in Event Horizon. (I had a lot of songs from Event Horizon and I brought a few into this group, but most didn’t really work so I started writing new songs instead.) It’s mainly in 5/8 with the bridge in 7/8, so it wasn’t even worth attempting before. Of course with the new group I expect it’ll sound pretty different.

The other is an all-new song I’m calling Atonement Blues. It’s based on the idea of a tone row, which is something I’ve been playing with for a year or so since Michelle came home from school one day having learned about them and all excited. The idea of a tone row is to construct a melody using all twelve notes of the chromatic scale without repeating any until you’ve used all twelve. Technically this isn’t so hard, the real trick is coming up with something anyone would want to listen to!

In my case I applied the idea to a chord progression rather than a melody. It came about almost by accident. I was playing around with another songwriting idea, trying to make a blues/soul number that used only dominant seventh chords a la Sgt. Pepper’s Lonely Hearts Club Band. I got a fair way along and noticed I had only repeated one chord, and I wanted the turnaround to reverse the harmonic motion, essentially wrapping around the cycle of fifths. A couple tritone subs and I was there. Here is the progression:

C7 | E7 | F7 | D7 |
G7 | B7 | F#7 | A7 |
Bb7 Eb7 | Ab7 Db7 | Cmaj7 | (Cmaj7) |

It turns out to be a great vehicle to solo on, reminescant of Giant Steps.

And Then There Were Three

Just got back from another road trip upstate, this time to drop Lizzy off at college. Major life milestone, hurray! The whole thing went pretty smoothly, and all of Lizzy’s planning paid off moving in. She’s off to a good start in the dorms, making friends and learning her way around. Jeannie and I went out with Larry and Jackie and Nick and Lisa after the move-in, so they finally got to meet. Amazingly, they both independently went down south to see the eclipse last week. Both said it was a fantastic experience but the drive home, eleven hours long, sucked. While we were up there we got a visit from my cousin Tom and his family, who were on their way home from New York City. On the way back we stopped by Martin’s. He and Kathleen just ran a 5K race. This is a pretty big deal for Kathleen, who just a year ago broke her leg pretty badly. Their kids are all into Greek mythology these days so we spent some time drawing mythical monsters. I came up with a beast that head seven heads, including those of a bear, antelope, Komodo dragon, giraffe, and two snakes and a chicken as tails!

Overall a relaxing trip and nice weather for driving. Now we’re home again and the house feels large.