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


What’s Going On

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

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

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

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

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

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

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

New Song: Lift Off

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

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


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

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

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

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

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

She’s Leaving Home

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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