This was a really big year for me. They’re ALL big, but not only was it my 14th consecutive year, it was the debut year for the mighty Abby! I was really worried about her; whether she’d get the kind of experience I had, whether she’d succeed. I shouldn’t have been worried.

Abby came into the Gathering with the same sort of trepidation I came with on my first time. Would she like it? Would she be good enough? Would she find friends? As it turned out; Abby came to the Gathering with an open mind, and an open heart. As a result, she had friends in the first couple of hours, and settled into the spirit of the Gathering right away. A couple of quotes from Abby that best describe her feelings - On Sunday afternoon, after registration but before dinner: “I haven’t even been here two hours; it hasn’t started yet; and this is AWESOME!” On Wednesday: “If ‘pre-camp Abby’ could see ‘current Abby’; ‘pre-camp Abby’ would be like: “Damn, girl!” Abby made a great core circle of friends including Aron Stornaiuolo, Eli Yacinthe, John Maddrey, Ashley Owens, and more! She learned a lot in her classes with Adam Rafferty, but learned possibly even more outside of class with her friends. She cried many times at the Folk faculty concert, as did we all. She emerged from the week engaged, and with a new appreciation for everything that happens.

My experience was another amazing one. My classes were few, but effective. Adam Rafferty’s fingerstyle Beatles and Improve Your Groove classes were incredibly helpful. After 14 years, though, I have to say – classes have dipped into the minority in terms of reasons I come to the Gathering now. You people are my tribe. I come to see everyone, to jam, to play with everyone, to drink in the music.

Anyway, the first time I saw this video, I found myself crying, and I did not understand why. It had been a very long time since Mister Rogers had been in the forefront of my mind. As such, I hadn’t thought about him, or the effect he’d had on my life. Seeing the video of the song sent a lot of raw emotions crashing through, and I was compelled to figure them out.

With 40+ years of hindsight, it came to me fairly quickly after watching an episode or two. In watching, my grownup brain saw a man who lived a life of utter acceptance, of vivid imagination, and of purest love for his fellow humans. I realized though, that my young brain was seeing security, gentleness, a safe space, and the positive male role model that my life lacked at the time. Who knew that my young self was seeing and being influenced by what amounted to a surrogate father that was only in my life through the auspices of a television screen? He was teaching me to love people, to accept others, to face fears, and to be a good steward of the feelings of others, and I had no idea at the time. Also, his killer jazz trio doubtless laid the foundations for the love of jazz I would discover in my early teens that endures to this day.

When I see him now, I am profoundly touched by all of the gifts I got from him as a child, and I am thankful for the other things about him that I now perceive as an adult. I am wistful that he is gone, and I long for the safe place he provided, even though I know I must provide that for myself and my family now. I hope that his show lives on so that generations of kids can benefit from his impeccable influence. He fearlessly tackled difficult issues for young children like divorce and death with tenderness and compassion. He cradled souls, he softly and gently carved an indelible mark of kindness on our world. It is a mark I wish we could all see more clearly; it is a thing our world needs a lot more of.
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I hope that I can live my life in remembrance of and in practice of the lessons I learned from an amazing “father”, and the perfect neighbor. Thank you, Fred Rogers. ​

I haven’t been this happy about an album in a VERY long time. Leonid Vorobyev and his mighty intrepid band of friends have released what is perhaps the best tribute album in the history of rock and roll. Superlative? Perhaps. But I wouldn’t toss about such a platitude lightly. In short, if you’re a fan of Chicago; you’re going to believe me when you hear this record.

Most of the players hail from the Moscow area, others are from Kiev, in the Ukraine. They collaborate both physically and virtually in producing the most faithful and accurate covers of classic Chicago hits you are likely to hear. And you know what? Right now, in 2017, Leonid and Friends is performing Chicago tunes better than the real Chicago is performing them. Why do I say that? Well, it’s simple; the real Chicago has changed lineup pretty substantially over the years, through various means, and the new members have been contributing their own voices to the collective sound. And while they are all indeed world class, that collective influence has moved Chicago away from the sound that made them great.

Not so with Leonid & Friends; their mission is simple: fidelity to the original essence and the original sound. As such, I’m pleased to point out the Vorobyev spent what must have been countless hours painstakingly transcribing each of the parts from every song they perform. His accuracy is astonishing; for each player in the band executes what is essentially a note for note re-creation of the original studio album parts. If you are a long time and devoted fan, you will hear the utter craftsmanship in each and every part; you will recognize every signature riff, you will delight in breathtakingly accurate vocal parts.

One place where the Friends deviate from stock just slightly in their sound is the one place where they have the least potential control; their accents. Clearly, everyone in the ensemble is an English speaker, or else they would not be able to sing these complex pieces so well. That said, their Russian accents creep through in many cases, but you know what? I find those accents incredibly charming. It is their way of making the performances uniquely their own, and it is clear that each and every member brings their love for and passion about Chicago’s music to their take on these timeless hits. I wouldn’t have it any other way.

MAKE ME SMILE
This one is actually my favorite cut on the album, and was my first exposure to the group. I love the split vocal duties between Vorobyev, who might be your tax accountant to look at him, and Vasily Akimov, whose more rugged countenance would fit in easily with any heavy metal band in the world. His gravelly tenor is a joy. The brass section OWNS this piece as well, with a micrometered solo section and taut crispness throughout the piece. Vorobyev plays the piano here, but is the bassist on most of the rest of the tracks.

25 OR 6 TO 4
Highlights of this energetic track are the soaring lead vocal of Kiev, Ukraine-based guitarist and singer Serge Tiagniryadno, and the note for note extended guitar solo from Sergey Kashirin, who on all these tracks looks like he’s having WAY too much fun, his joy is infectious.

WISHING YOU WERE HERE
This track shows the fearlessness of the band; this is a difficult chart to get right, and no effort is spared. Highlights here are the acoustic guitar work and the AMAZING backup harmonies; with added members Vladimir Popov (who adds flute to other tracks as well) and the truly luminous Ksenona. Special props to Vorobyev for nailing the difficult bass lick in the middle of the second verse! Lead vocals again split between Vorobyev and Akimov, to great effect.

SATURDAY IN THE PARK
Guitarist Sergey Kashirin is tapped for the lead vocal on this one, and he delivers an exuberant and playful performance. The inherent goodness of this track is best described by the fact that they got the groove right; this is a very specific pocket, and one in which it is difficult to land, and indeed the group lands it perfectly. A slight arranging twist on the ending from the original; a little callout to the Beatles, and it totally works.

WHAT’S THIS WORLD COMING TO?
Vocals on this indelibly funky track bounce between Kashirin, Akimov, and Serge Tiagniryadno. Incredible energy, and did I mention FUNK?? I need to mention drummer Igor Javad-Zade here. The aforementioned funk groove is largely his doing on this track, and he is a mighty, stalwart presence on every track. His rudiments are meticulous, and he is clearly a student of this music, because his playing serves it at the highest levels. A big shout out goes to keyboard player Vlad Senchillo here as well; he rips out a scorching organ solo that drives the piece hard.

BRAND NEW LOVE AFFAIR (PARTS 1 AND 2)
Vorobyev is back on keys and lead vocal on part 1 this piece. Vorobyev’s gentle baritone is pleasing and perfectly suited to this soulful section of the tune. As it shifts to the more bombastic part 2; Vasily Akimov’s guttural power takes the lead. I love this guy’s voice, and his presence. As before, it’s a great pairing. Shout out to bassist Dmitry Maximov.

DOES ANYBODY REALLY KNOW WHAT TIME IT IS?
This familiar favorite is rendered faithfully by Sergey Kashirin on lead vocals, and the brass section (Alexey Batychenko on trumpet, Alexander Michurin on trombone and Konstantin Gorshkov on tenor sax) speaks with breathtaking clarity. One of my favorite Chicago songs is brought to life with boundless energy. They even had the spoken word breaking into the 3rd verse courtesy of Robby Hicks (billed as “Phone a Friend”)!

WOMAN DON’T WANT TO LOVE ME
Another trip DEEP into Funkytown with the sounds of clavinet, wah-wah guitar and blistering brass hits. Serge Tiagniryadno once again glides through the stratosphere vocally. Dmitry Maximov on bass again, he has intricate and complex chops and a fantastic groove. Really cool enveloped guitar solo from Sergey Kashirin. Odd-meter craziness is absolutely planted by the entire band.

COLOR MY WORLD
I thought this was an unusual cut to include on an album like this because of the original’s spare and sparse arrangement; but Vorobyev has a spectacular surprise in store:–a charming full brass section arrangement, and a luscious, romantic, obscenely beautiful orchestration that in fact choked me up at its climax. Leonid Vorobyev is a truly gifted arranger, and his embellishment of this piece is nothing but glorious addition; it takes the relentless accuracy a step further and adds originality and beauty that did not previously exist. Vladimir Popov’s flute is smooth and romantic.

HOT STREETS
This underrated and complex piece seems to be a place of special comfort for Vorobyev and his crew; the odd meters and syncopation pass with casual elegance and calculated precision. Popov’s flute solo is frenetic and atmospheric. The brass gets a superb break in the middle and Igor Javad-Zade’s drums are a special treat on this track. 

OLD DAYS
What a way to close this amazing album out. We get one more taste of the towering vocal of Serge Tiagniryadno, the signature brass break, a full string section that made my breath catch in my throat when they entered (big shout out to members of the Caro-Bass Orchestra, and Chamber Orchestra Kremlin), tight and silky vocal harmonies, and the sheer beauty of hearing this tune brought once again to light by musicians of the highest order. 
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CHICAGOVICH is an absolute triumph. Leonid Vorobyev and the group of people he assembled have given the world a work of breathless beauty, incendiary power, and a powerful nostalgic trigger that will make any fan of Chicago ecstatic, and fans of most any genre excited to hear such a pitch-perfect tribute. It is important to note the love with which this album is executed; there are really no boundaries in the world. Music transcends borders, political and social ideologies, and geographies. I’m proud to live in a world that has Leonid Vorobyev and Friends in it. 

Buy this great album here!

When a band is packed with musicians who have chops and technique for miles, it's a good thing. When a band is packed with musicians who have fantastic groove and pocket and feel, that's even better. When you have a band that has BOTH of those things, you have Phil's Juke Joint.

Tonight at the Hideaway Cafe in St. Petersburg was a rare treat for me, as I caught PJJ in concert. Led by their namesake Phil Magallanes on keyboard, the ensemble poured out well over two hours' worth of unbelievable funk, jazz, pop, and even a few 70s TV theme songs (The Barney Miller Theme, and "Angela" - the theme from Taxi). Even better was the opening number; "Late Night", by Paul Shaffer and The World's Most Dangerous Band - which you might know as the theme to Late Night with David Letterman on NBC in the 80s.  

Everyone in the band is a musician of the highest order. Guitarist Geoff Jacob was a master at catching every nuance of the vintage sounds the band showcased, he played impeccable and tasty rhythm guitaer, and his solos were joyful, musical, and searing with emotion. SO many styles and influences in Geoff's toolbox! Sax/flute master Kenny Anderson was simply beyond belief. Passion, flames, and a mighty altissimo highlight the playing of a truly formidable musician. There wasn't a note he didn't have - everything he reached for, he hit. Boundless energy! Tim George, the bassist, was the perfect combination of chops and groove. Funkified, blistering speed, DEEP pocket, stratospheric soloing capabilities, good percussionist, too! He's forgotten more about the bass than I will ever know. Drummer Ric Craig was a veritable machine - perfect meter, focused and micrometered groove, powerhouse fills and solos, and just taste, taste, taste in every note. Phil Magallanes is a force of nature himself, a whirling dervish of musicality behind the keyboard. His musical direction was professional and sensitive; his playing is incredibly skilled, emotionally charged, and playfully irreverent. The versatility of this ensemble is inestimable.

Guest vocalist Joy Francis was a powerhouse as well. She was the vocalist in Miami Sound Machine before Gloria Estefan, and that pedigree was evident in her soaring vocals.

​Thanks to John Kelly and Hideaway Cafe for continuing to bring us the premiere listenign room in the Tampa Bay area!!

Settle in, kids, this one might go on a while.

1) Inattentive/careless/distracted/poorly skilled drivers. This one could be its own blog. When you’re in the car, you have ONE JOB. That job is successfully navigating from the place you started to the place you’re going. The number of way people manage to screw this up boggles my mind. One time, on I-75 near Ocala, I saw this, and I swear I’m not even exaggerating a little: a woman driving in the center lane, a hardcover book propped open on the steering wheel, held aloft by her more than ample stomach and bosom. Which she was reading. While eating. WITH A FORK, off a plate she held in her other hand!!! So, at best, only one of her four appendages and none of the necessary senses was committed to car control; and zero were if this event involved cruise control, which I can only guess it did. Needless to say I gassed it and got as far ahead of her as I could.

Now, beyond criminal levels of distraction; there’s the “left lane bandits”. You know who you are. You’re the ones who think “Well, I’m going the speed limit, I shouldn’t have to change lanes”. Well, you’re wrong. You are contributing more to the accident rate than speeders, and you’re causing all the bottlenecks that are keeping you from getting where you’re going sooner. Here. Watch this video:

2) Incivility - especially that which occurs from behind a keyboard. Social media and the internet has been great at connecting us with each other, but the dark side of that connection is that it has emboldened people to show only the worst versions of themselves. When I see the way people treat each other on Facebook, Instagram, and other places, I am repulsed. I’m by no means perfect, but I try hard to abide by the following rules:

- Don’t say anything so someone on the internet that you would not say to their face, and

- Don’t say anything on the internet that you wouldn’t want either your worst enemy or someone who might hire you for a job to read.

​I could really go on, but the longer I go, the more of a self-righteous twit I sound like. So, I’ll stop here.

What are YOUR pet peeves? Tell me in the comments!

Thankfully, this challenge didn't say anywhere in the rules 31 CONSECUTIVE days, because I'm 5 days behind now! I'll try to catch up by the 31st, but no promises. 

This one is actually harder to do the older you are. There is a lot of music to sift through when you’re over 50. Some of these are in no particular order, just in the order I thought of them. Others are, in fact, in their appropriate spots in my rankings.

This song is appearing for the 2nd time in this blog, and it is indeed my #1 of all time. For a lot of reasons, not the least of which is Karen’s otherworldly voice. But this song, which started life as a Crocker Bank jingle, was penned by the mighty Paul Williams, and bears all the elements of his amazing style. Also, it has Richard’s micrometered harmony arrangements, and features some Wrecking Crew players. For me, that’s a home run combination. 

2) More Today Than Yesterday - Spiral Staircase

This one is just simply the happiest song I know. From its bouncy lilt to its ever-uplifting theme, it is the ultimate pick me up. No matter what mood I’m in, if this song comes on, I’m smiling by the end. 

3) Chase The Clouds Away - Chuck Mangione

I love this song for a lot of reasons. First, it’s Chuck, man. That said, I’ve been a big fan of Chuck’s long-form style for a long time. The melody soars simply over a lovely chord progression that applies the concept of tension/release in exquisite ways. Plus, Chuck’s wonderful orchestrations add further to the beauty. Further, this song holds a lot of personal memories for me, as my late best friend also loved Mangione's work and this was one of his favorites, too. 

4) Brite Nightgown - Donald Fagen

This song galvanizes everything there is to love about Fagen (and Steely Dan). Wry, sardonic lyrics, dark subject matter, and a meticulously clean yet unbelievably funky groove. Fagen's craftsmanship is in no better evidence than this ridiculously catchy tune. 

5) Sowing The Seeds of Love - Tears For Fears

I wouldn’t have thought of this one, but I went into iTunes and sorted my list of over 14,000 songs by number of plays, and this song was at the top of the list, having almost 3x as many plays as the #2 song on my list. So, I must really like it; and indeed I do. Powerful lyric, bombastic Sgt. Pepper era influence in the arrangement, soaring vocal performance.

6)  Scenes From an Italian Restaurant - Billy Joel

Just an EPIC piece of songwriting and performing. 7 minutes plus of vintage Joel imagery. The top of my bucket list would be to play this song on drums with Billy and his band in concert at Madison Square Garden. 

7) Lullabye - Chuck Mangione

If More Today than Yesterday is the happiest song I know, then this is the saddest. Aching in its beauty, Lullabye paints a haunting picture of familial loss through the eyes of an innocent child. What drives it home even more is the understanding that this particular performance was captured at the moment of the song’s conception. Chuck sat at the Fender Rhodes very late at night in the studio; the clarinet player and vocalist were sight reading, and the final take was in fact the first take. Strings were overdubbed later, but the essence of the performance is its own innocence; being captured forever on its very first performance. 

8) James - Pat Metheny Group

This is my favorite Pat Metheny song. It also makes this list because of its high play count in my iTunes. It has a lovely melody, an even lovelier chord progression, and monumental solo work. Plus, it feels like a story; with a distinct beginning, a middle, and an end. 

9) Why Not? (Manhattan Carnaval) - Manhattan Transfer

This is another “instant happy” song. Filled with exuberance, and some truly stratospheric technical playing and singing. 

10) My Ecstasy - STILL

I would be remiss if I didn’t include one indie song. I have amassed many friends in the music biz over the years, and also have curated a truly massive (400+) collection of CDs that were recorded by these friends. A few of those friends make truly world class music; stuff that belongs in the “massive seller” pantheon in terms of quality, but lacking label backing for reasons passing understanding. Of all the indie songs, I esteem this one highest. Wade Biery, under the musical pseudonym STILL, crafts some incredible rock and roll. This song grabbed me so hard when I first heard it in 2000 on MP3.com. It has every element of a great song – powerful lyrics, masterful playing, a killer groove, perfect structure, and that intangible X-factor of likability. I’ve been a big fan of Wade’s music ever since, and we’ve become friends over our shared love of the art. 

What are YOUR favorite all time songs? Let me know in the comments!

I miss a lot of things. But the one I want to focus on here is the magic of Christmas. There's been a generational shift, I think. When I was young, there was a tangible sense of anticipation; a yearning. We watched the animated specials when they came on TV. We decorated the trees with enthusiasm. We hung lights, cooked, baked, did all sorts of things. And this was even when I was an older kid, and even a young adult.

It's different now. Kids are more savvy, and more cynical. The magical mythos surrounding Christmas fades into obscurity much sooner. I want to blame technology and stuff but that's not what this is about. I just miss it. It doesn't feel the same to me anymore. I think some of it is that time itself moves so much more quickly when you get older.

I try to recapture it by going bat crap crazy with outside lighting and multiple trees, but it doesn't rub off. Do you guys feel this too, or is it just me? Let me know in the comments.

I can answer this one with one word - RETIRED. I want to make enough money in the next 10 years that I can retire early and enjoy myself while I’m young enough to still enjoy things.

​I want to see my beautiful daughter launching herself into her adult life, living the life she wants with the job she wants, and the love she wants, knowing that her mom and I did the best we could do for her and that she learned the things she was supposed to. I want to be comfortable and healthy so Bonnie and I can grow old together doing the things we love to do…

Plus, you know, being alive will be good. ​

OK, this is getting brutal, all the self-examination. But the hell with it, I know who I am, I’ll fess up.

I am smart, and I know it; and it gets the better of me sometimes. I interrupt people, I talk over people sometimes; I can be an insufferable know it all. In my defense, if I don’t know something, I’ll readily admit it, I’m not one of those jerks that pretends to have all the answers when I don’t, but I’m sure it probably seems like it to others. All the interrupting and “answer knowing” and all that is done in the spirit of trying to be helpful, but I know for sure it’s not always seen that way. I’ve been trying to peel that back a bit over time.

I’m not very adventuresome. I don’t have a good working relationship with the outdoors. I don’t like camping, or traveling very much, so I by habit avoid that if I can (I like BEING places, I just hate GOING places). I also resist trying new foods and dorky stuff like that. I like what I like, and I’m sure I miss out on stuff because of that.
I can be too strict in my habits. This is the OCD and introvert in me peeking through; but I’m an incessant nail clipper, and I like things to happen at the same times each day.

I hold myself to a pretty rigid standard of behavior; which is OK in and of itself, but I also catch myself holding OTHERS to that standard; and that’s not fair. I’ve been working on this one a lot. I have gotten a lot better at this at work than I was years ago, thankfully.

I can be intolerant. I guess that is an outcropping of the last paragraph, but when other people make what I see is “bad decisions”, I don’t have a lot of mercy on it in my mind. I mostly keep my mouth shut, but if the person asks me about it, I’m frank and honest. Some may see that as a good, but it’s not always. If I can deliver that honesty with sensitivity and tact, it’s better; but I think I don’t always get there.

That intolerance extends to the road. I’m not a full tilt road rager; I’d never leave the car or run someone off the road or anything violent like that, but I’m impatient with people who go slow in the left lane, people who text while driving, or otherwise do distracted stuff. I do my share of yelling in the car. I sometimes with for a roof rack of Exocet missiles.
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How about you? What are YOUR bad habits? Tell me in the comments! 

Hoo boy, more self-examination. I’m not gonna give you the “guy” answer that I fear nothing, because I do fear things.

As I apparently discovered right here in my blog two days ago, I’m apparently too afraid of being broke to try a dream job out.

I’m afraid of failure. Most specifically, of failing my family. Which I guess ties into the being broke one. I wonder how many risks that fear has prevented me from taking?

I’m afraid of becoming infirm. I fear my body giving out and me not being able to physically do the things I want to do. If I were to become paralyzed, I would not want to live anymore, I think.

I fear falling. It’s not heights so much as the notion of falling from one, and the sudden stop at the end. No force in the universe would get me to jump out of a plane.

As a dad, I fear the future for my daughter; I fear that I haven’t adequately prepared her yet. I’m sure that one is unfounded, but that’s probably true of most fears.
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I guess most of those are common and rational; but some of them bummed me out to discover. The question is what, if anything, will I do about them?