Waiting for the Sun

Been waiting for spring to begin, but still hoping to get one more ski trip in. I really want to start spending time outside, biking and skating and working on the yard. I’ve been feeling good so I’m going to go up in weight on my workout in the next few weeks. I’ve also added pull-ups to my routine.

It looks like the pandemic my finally be ending, so I’ve started looking to get out of the house and go see some jazz and other music concerts. Lots of interesting acts coming around the next few months. I also want to see about getting some gigs for my band. I haven’t played a gig since February 28, 2020 (wow, two years ago to the day). I really don’t know where to start. That group broke up and my new group has a different sound, although you can still call it jazz. I suppose I can start by calling up all the places we used to play.

We’re trying to get together a demo to play for the clubs, so we’ve been taping our rehearsals. We’re sounding really good overall, but you always compare everything you do to the best music you’ve ever heard, and there’s room for improvement to really live up to our potential. We need to focus on a handful songs for a few weeks to get them really tight, to have a really killer demo.

I’ve started the process of transitioning my website to a new host. I ran into issues with my current host not being able to host a Unity app, and their customer service was so terrible I decided I want to get rid of them. However, I’m doing it one step at a time, since I want to do some long overdue upgrades to my site’s architecture, deployment and other things. For one thing I want to deploy via git instead of ftp. So for now, I have a placeholder home page at: https://zingmanstudios.com

More to come soon, so watch this space!

It’s the Time of the Season

So last weekend we went skiing for the third weekend in a row, back up at Catamount in the Berkshires. We were able to catch up with our friends Seth and Cathy, whom we haven’t seen much since before the pandemic started. The conditions were good, and I’m getting more comfortable with my new skis every outing. And once again it was really cold.

Then we had a few warm and mild days, to the point where Saturday it was close to sixty degrees and full of sunshine, and most of the snow had melted. I took the Mustang out for a rare February ride, and after that got on my bike and cruised around the neighborhood. Then Saturday night it turned cold and snowy, and Sunday there was a fresh layer of snow over everything.

I recently read a biography of tenor sax legend Michael Brecker, who used to live one town over in Hastings, and passed away fifteen years ago. He was of course one of my biggest influences in the 80’s and 90’s, with his great big sound, killer chops and boundless imagination, depth and soul in his playing. Among many other things, Mike provided an example of how to apply John Coltrane’s ideas in a contemporary setting and in a rock and funk idiom and then go beyond. His first solo album from 1987 remains one of my all-time favorites. Unlike most biographies of famous musicians, this one gets pretty deep into his actual music, his approach to practicing, improvising and writing, and insights into how he achieved his monstrous technique and applied it in all kinds of different musical situations.

Meanwhile, in my home studio I’m in the middle of tracking three short, singer-songwriter style songs written on guitar. I’ve been be practicing to get my guitar chops up, and experimenting with sounds, phrasing, tone and effects. I think I have two of the three guitar parts in the can. I hope to have full arrangements sometime this spring.

And now that Bluezebub is finished, I’ve been bringing new material into my jazz group. I’ve been listening alot to jazz-adjacent jam bands like Snarky Puppy, Galactic, and Butcher Brown, and hoping to bring some of that kind of thing into our group. We’ve been experimenting with free-from open jams, which is promising and alot of fun, but not very efficient in terms of greeting material. One thing we did was to learn an old song of mine called (I Miss My) Baby in Bb, which has a sort of open funk jam in the beginning and end, framing a funky blues as the main part of the tune. Then Ken listened to Bluezebub, and told me really likes it and would like to play Sun of the Sun off that record. Like Baby in Bb, I wrote Son of the Sun for my 80’s fusion band Event Horizon. It’s a much more advanced song, largely in 5/8 and 7/8, with a long sinuous solo section in the middle.

So now we have this old-school fusion energy in the group. I guess to be fair it was there from the beginning, as one facet of our set is songs by The Brecker Brothers, Weather Report, Grover Washington Jr., and that kind of thing, as well as jazz interpretations of rock song by groups like Steely Dan, Joe Jackson and The Police. And a good chunk of it is pre-fusion modern jazz. About half the songs are originals, mostly of mine, but they come from songs I’ve written for my last few groups and have adapted to this group.

But now I’ve written my first song specifically for this group. It’s called Dr. Pluto, and is a loping funk jam with some Monk-inspired changes and rhythm motifs. The lead on the head is designed for Ken to play on the bass with this auto-wah pedal he’s been fooling around with. It sounds pretty cool and deservers a showcase. Meanwhile I can explore a sort of contrapuntal role on the sax, something I rarely get to do. The arrangement is kept loose on purpose, to give the band a chance to stretch out on it and let it evolve and go somewhere. I’ll bring it to rehearsal this week, and we’ll see how it goes.

Winter Wonderland

It’s been a fun few weeks. A week ago we went skiing, me Jeannie and Michelle, at Catamount up in the Berkshires. It was a great time and we got in ten runs, most of them on Walther’s Way, a nice curvy blue trail with a long, strait run out at the bottom. Last year we hadn’t been skiing in seven years or so, and it was great to get back into it. We went once and it was amazing. Definitely a blessing to still be skiing in our 50’s.

Last season I bought new boots and demoed new skis. This year Jeannie got new boots too, and we both did a full-season demo/rental, where we can keep our skis if we like them instead of getting back our deposit. Skis have changed since we got our last generation of gear, getting on twenty years ago. The fashion now is for shorter, wider skis with a narrow waist. They’re better for carving, and better with some powder on the mountain, but don’t seem to hold a strait line as well, and don’t have much control on ice or scraped-off slope. I got used to mine and like them pretty well, although I can’t seem to go as fast. This fits okay with my current skiing style, which is more about cruising than hot-dogging. Jeannie isn’t digging her new slats. I’m still not sure if I’m gonna keep mine or try something else. I like the ones I demoed last year better than the ones I have now.

We went for the late session, starting in the afternoon and going into the night. On the was home we stopped by a restaurant called Four Brothers Pizza. They actually have four locations between our home and the ski slope, this was the third one. I must say it was great, better than I expected. The food was great, hot cappuccino and soup most welcome. Deep-dish Chicago style pizza; I guess we’re far enough out of the New York City Area. The decor was murals of ancient Greek and Roman temples, landmarks, seascapes and scenes out of mythology, very well done, over-the-top but nevertheless appropriate to the ambience.

During the week we went to Hades Town, a Broadway show. It was the first Broadway show for me in many years, although Lizzy and Michelle have been to a few the last several years. We met Jeannie at her office, a major book publisher, and they had some of their all-time best books on display in the lobby, including The Call of Cthulhu, and D’Aulaires Book of Greek Myths. We went to dinner and went to Yum Yum, a Thai food place in Hell’s Kitchen, one of our favorite lunch places back in the day when Jeannie and I both used to work in midtown. Good to know they’re still there and the food is as good as ever.

One thing that struck me about walking around midtown is how empty the place was. I’ve been in that neighborhood when it was wall-to-wall pedestrians and you had to practically elbow your way thru the crowd to move at all. This night you could move around with ease. Maybe five percent or less of the usual level of foot traffic.

The show itself was great. Hades Town is a retelling of the myth of Orpheus and Eurydice, set to the music of old time Appalachian folk, blues, country and jazz. The songs were great, clever and moving, and the performers were fantastic too, especially the actor who played Hades, but the trombone player stole the show.

Then this last weekend we went up to Buffalo to take Michelle back to school for her next semester, and we brought our skis with us. In the past we’ve been up there around Xmastime and brought our skis, but it’s early in the season and there’s a good chance it’ll be too warm or there won’t be enough show. I haven’t been to Buffalo at the end of January for many years, and I gotta tell you, neither of those things were a problem. There were two feet of snow on the ground all around, and the temperature was below 20 degrees the whole time. I grew up in Buffalo, but I’ve almost forgotten what a real winter feels like. Nevertheless, I was quick to adapt.

We went to Holiday Valley, which is the mountain where I learned to ski. Lizzy joined us as well as Michelle. It’s not particularly high compared to the Catskills, let alone Vermont or the Sierras, but it’s enough to be fun. I haven’t been there in thirty years. They’ve made some improvements with more and faster lifts and more lodges. The day we went the high was 12 degrees, so we were hoping the cold would keep people away, but no such luck. We had to circle the parking lot three times to find a spot, and when we got to the base lodge the lift lines were pretty long. But once we got up on the mountain it was fine. Our friend Larry joined us, and he’s been skiing there alot and knew his way around. We went to the back side, to a lift called Tamarack or Tannenbaum. The trails there were beautiful, winding and woodsy with lots of good powder. Perfect soul skiing. We did run after run and went in for hot cocoa after a couple hours. Then we did one more session, up and down the Mardi Gras lift and trail, which was long and strait, mainly going for all-out speed. I think we did twelve or thrirteen runs in all. By the time we got off the mountain it was twelve degrees below zero.

Afterwards we went out to dinner at Ellicotville Brew Club, one of a growing number of craft beer places in the Buffalo area. While we were gone, there was a major snowstorm back at home. Jeannie set up a a little web cam so we could watch our yard fill up with snow. To our surprise, our neighbor Kevin across the street came over and cleared our driveway. He has a giant snowblower and I guess he doesn’t have a chance to use it that often. He’s done a bunch other kind things for us (remember project dirt last year), and the bar happened to be selling variety packs of their beers, so we picked one up for him as a thank-you.

Bluezebub by Buzzy Tonic is Released

Check it out, my new studio album of jazz/jam instrumentals is now out in the world for sale, streaming and download.

On Spotify: https://open.spotify.com/album/3aTsS3lkRloyHqOfvPD6eo

On the iTunes store: https://music.apple.com/us/album/bluezebub/1605176979

I even got a batch of CD’s printed up, although at this point that’s mostly just for fun and promotional purposes.

It’s kinda pathetic the state of album distribution these days. Big tech is making harder for artist than ever. There are no record stores any more for physical media, not even online. CD Baby seems to have gotten out of that business. iTunes charges on 99 cents for a song, regardless of length. Even though there are only six songs, it’s a full length album and should be priced accordingly. But those basterds make the rules, not me. And Spotify pays virtually nil as well, unless millions of you turn on to it. Ah well, at least y’all can stream or it download it into your music library, and listen again and again. Hope these become some of your favorite songs.

And of course, Go Bills!

Keep on Rockin’ in the Free World

It’s post-holidays deep winter. We finally snow got some snow, followed by a pretty good cold spell, solidly below freezing the last few days. Gonna get down in the teens tomorrow. At least the snow makes the sunshine alot brighter. We’re starting to think about when we can go skiing.

There has been no jazz rehearsal in a month. The studio has been closed due to the pandemic surge. This week they’re reopening, with new distancing and mask protocols. But now our drummer has covid and needs to isolate for a week. On the upside, I’ve gone from practicing piano twice a week to four times a week. It’s a amazing what extra boost that gives to the finger dexterity and muscle memory, not to mention being able to explore different material and ideas.

I’m still waiting for my new record Bluezebub to come back from the CD manufacturing and to work it’s way thru the system to appear on iTunes and Spotify. I’ve played the record for a few friends and the all like the songs and the playing, but have commented in particular at how good the mixes sound. At first I was thinking maybe this was a left-handed compliment, even if well intentioned. After all an album is supposed to sound good, that’s just table stakes. But I did put a good deal of care into the dynamic compression as well as the mix itself. The mastering FX chain is different than my previous records. I sought to make it much more dynamic than a modern pop record, but much hotter and more saturated than a classic jazz record without loosing any of the tone. I guess I pulled it off.

Meanwhile I dusted off my in-progress rock record. I have three completed songs from before I switched my focus to Bluezebub. One, The Story Lies sounds great as-is, but I’ve made updates to the other two.

Why Not Zed? has a new bari sax part to replace the tenor sax, since I liked the bari so much on Bluezebub. Now it sounds way hipper, darker and heavier, sort of a Morphine vibe.

Who Speaks on Your Behalf sounded a bit to sweet, even though I had some buzzy synths and fuzztone bass in there. So I added an electric guitar part with lots of thick distortion (preset #18 on my Vox box). Just the right touch. I was inspired after meeting Mike, the guitar player on the original Cheshire Cat track, at a King Crimson concert last fall. I had originally eschewed guitars on my arrangement, bringing in synths and saxes to fill out the sound. But then thought of an approach to guitar that I could play and would work with the song, focusing on contrasting staccato and sustained rhythmic figures.

I’m getting more confident writing and arranging guitar parts, exploring different sounds and feels. So in contrast the the jazz record, which has no guitar at all, I’m gonna try and get guitar on every track of the new rock album. The next couple songs I’m putting down are gonna be based on rhythm guitar rather than piano as the spine. One thing watching Get Back made me realize is I can do pretty much anything on guitar that John can. It’s not so hard if you don’t try and get too complicated.

Anyway, here are the new mixes. Enjoy!

https://zingman.com/music/mp3/bzvr/WhyNotZed24.mp3


https://zingman.com/music/mp3/bzvr/WhoSpeaksOnYourBehalf33.mp3


https://zingman.com/music/mp3/bzvr/TheStoryLies24b.mp3


New Year State of Mind

It’s been a little while since I last posted. Took some time off for the Christmas holidays. Both kids came home the week before Christmas for a whole week, which very nice. Lots of baking and gaming and listening to music and watching movies, and of course visiting with family. Lizzy’s boyfriend Tim came down too and spent a couple days with us. Mary’s came over on Christmas day and we had a great big feast. On boxing day we went up to Buffalo and visited with my parents and Martin for a few days. It’s been a while since I’ve seen them, and Martin’s kids are getting big fast. Charlie is thirteen now. Martin and I stayed up late talking, alot about music and software and things, but there’s never enough time to get into everything there is to say. We saw our friends Steve and Scott up there. Haven’t seen Steve in some time, so it was good to catch up. Both have been going thru difficult times. We did not see my friend John due to the the threat of heavy weather, nor Larry and Jackie due to the threat of covid. Nor did we see any of the extended family from Canada. Ah well, we’ll be back in a month, hopefully with our skis.

Over the break I read C. S. Lewis’s Out of the Silent Planet and the rest of his planet trilogy, regarded as one of the groundbreaking classics of science fiction. (Earlier in the pandemic I tried to read Jack Vance’s Dying Earth saga, but I had to put it down because, you know, dying Earth and all that.) The planet trilogy is fascinating and very well written, but not what I expected. The first book is about a journey to Mars, in which the protagonist meets some wise aliens, including ones made of energy. The second takes place on Venus, and goes deeper into similar themes. The third book takes a sharp left turn and is set on Earth, in postwar England, and involves sinister research institutes, strange conspiracies, Arthurian legends, the Numinor, reanimated talking heads, and a pet bear, among other things. A surprisingly well executed combination of science, mysticism, philosophy, mythology, action and adventure and even terror. Still mulling it over.

Before the kids came home I wound down and wrapped up the year’s work. The last half of November into the first half of December was super busy. There was a big push of new work for the Global Jukebox, to support a talk Anna gave at a conference. Improved playlist and lots of other stuff.

I’ve also been looking for other consulting and software gigs, with an eye toward getting into web 3D, three.js, and Unity, with the long term goal of developing my own independent games. I’ve been working on my own but there’s alot to learn, so I’d like someone to pay me to get deeper into it while leveraging my existing skill set.

A while back I applied to a place that makes casual card and board games, looking to get into the online gaming space via Steam and Jackbox. It seemed like a perfect gig for me. However, between the time I made first contact and the time they set up the main interview, the job morphed from full stack engineer to Unity dev. The company wanted me to do an all-day Unity coding challenge. Normally I’d tell them to get lost, but this looked like a good opportunity to get up the learning curve faster than I otherwise would. In the end they didn’t want me for the Unity role, but the full stack role is still in the offing.

Meanwhile I’ve been working on my own little game, called Rock-Tac-Toe, so I plan to finish that up, both as a Unity application and as a web/mobile app, so I can compare the pros and cons of each approach.

Another area I’ve been trying to get deeper into is music software. Out of the blue I got a call from these guys from Switzerland. They’re academic researchers in computational musicology, and fans of the Global Jukebox. They have a database of 20,000 classical music compositions as midi files, and some kind of software tool to do statistical analysis on the corpus, and they’re looking to build a web application to publicly showcase their work. They seemed really eager to work together. I submitted a scope of work proposal, but unfortunately they were not clear about their budget, so it came in high. I submitted another, scaled back proposal, and am waiting to hear back.

In music, I finished my fourth Buzzy Tonic studio album. Unlike previous records, this one is all jazz instrumentals. I titled the record Bluezebub [Pandimensional Jazz Tesseract], after the song Bluezebub, the Devil You Don’t Know. It should be on Spotify, iTunes and Amazon any day now. I even got a small batch of CD’s printed up.

Now it’s on to the new rock record. More on that soon. For the moment I’ll remind you that I had three songs in the can before I switched my focus to the Jazz Tesseract, and several more in various stages of writing and recording. I started by dusting off the completed songs, and decided to add some new overdubs to two of them.

One of my goals for 2021 was to increase the amount of weight I lift when I work out. For bench press I went up 15 lbs., and am back up above 200 lbs. for the first time since six years ago, when I suffered a rather severe injury to my left shoulder and pec. For curls and most everything else that uses dumbbells I went up a similar amount, from 100 lbs. to 115, and from 50 lbs. to 90 for the light weight exercises. For 2022 I aim to add another ten pounds to every set.

The global pandemic looks to be entering its third year, with still no end in sight. We keep making and cancelling plans. We were supposed to go out to California last fall, then were thinking of going to Arizona this winter break. Now we’re thinking of going on a ski trip instead, somewhere more local were we can drive instead of fly, and spend most of our time outdoors.

And lastly, Go Bills!

Bluezebub by Buzzy Tonic

I’ve pretty much finished mixing and mastering my new jazz record. Which is to say, I’ve been listening back on different sound systems and making ever-smaller adjustments to the mix until I think everything is balanced in terms of tone, dynamics and energy, it’s as good as I can make. And I must say it sounds pretty darn good.

I’m going with Buzzy Tonic as the name of the artist/group, as with my previous studio records, even though the sound of this one is different than the ones before. I’m going with the title Bluezebub [Pandimensional Jazz Tesseract]. Even though the cover image of a Stellated Dodecahedron, it’s a related to a Tesseract as a Pentagram is related to a cube. That would be alot to explain, but I like the word Tesseract and it’s evocative of a higher dimensions even if the precise meaning isn’t clear to everyone.

Next is finish the album artwork and get it up on iTunes and Spotify. Then it’s back to my rock record, which has three songs pretty much done and two more in-progress, enough for a side and then some.

Meanwhile, here are the tracks. Enjoy!

https://zingman.com/music/mp3/bziv/HeavyWater42b.mp3


https://zingman.com/music/mp3/bziv/Bluzebub41e.mp3


https://zingman.com/music/mp3/bziv/Mobility32d.mp3


https://zingman.com/music/mp3/bziv/AutumnEyes34c.mp3


https://zingman.com/music/mp3/bziv/LiftOff55c.mp3


https://zingman.com/music/mp3/bziv/SunOfTheSon55b.mp3


Channeling Ringo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Anyway here it is. Enjoy!

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


New Song Preview: Bluezebub Bari Sax Demo

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

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

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

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

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

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

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