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The Adventures of a Muse

2/14/2023

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What is a muse? Well, in Greek and Roman mythologies, they are nine goddesses, the daughters of Zeus and Mnemosine (Neh-MO-sin-ee), and they preside over the arts and sciences. In the modern lexicon, a muse is sometimes referred to as a person, or a personified force, who is the source of inspiration for a creative artist. I’d like to tell you about the daring and fickle adventures of my own muse. She is not a person in my case, but rather sort of a mercurial undefined feminine energy force that follows me around. 

A little backstory first. Some of you may know this, but for those who don’t, I’ve been a musician and creative for most of my life. I’ve been writing and recording original music since the late 80s (on and off), and I have been creative in other areas as well; I’m an occasional essayist and blogger (natch), and more recently, a woodworker. But it’s the music that is the really important part. 

When I first started to write music, my muse was an outgoing, chatty, and friendly lady. I would write music anywhere I was. A lot of my early songwriting actually occurred in my college Composition 101 class. Coincidentally (or not), this class is where I discovered that writing was something for which I had a natural knack. Because the teacher understood this right away, she had no problem with me taking out staff paper and writing music, as long as my journal was up to date (it always was). There I’d sit, song after song flooding my mind, and my pencil working as fast as it could to get them on paper before I forgot them, sometimes working on more than one idea at once. It was a heady, beautiful time, lush with the innocence of youth, and the excitement of what was to come. 

After college, I moved to Florida and set up shop. Interestingly, my muse forgot to get in the car when I left New York. I think she was practicing her scales, and I didn’t see her. So, she was upset. It takes a long time for a Muse to fly 1250 miles. In my case, she took a full two years to get back to me. In the intervening time, I was creatively dry as a bone; not a single song springing forth. By the time she made it to Florida, I had already set up residence, and my best friend, also a musician, lived with me. My muse found instant kinship with his, and together we churned out a song each every few days, but now we had the facilities to record them, so it was ever so much more satisfying. 

And then, I got married for the first time. My muse was confused and angry, and probably more than a little jealous of my new wife. So, away she whisked in a fit of pique, and she did not return. Not for nothing, but my best friend went with her, as he and my first wife did not see eye to eye on anything. 

After a couple of years, my first wife and I figured out that we’d made a mistake, and we parted on reasonably amicable terms. The day she left, my best friend was back. That’s what best friends do. My pesky muse? Not so much. She punished me for another 7 long years, even through the beginning of my second (and current) marriage. The fact that my new wife was much more supportive of my creativity meant nothing.  Oh, I was playing music again, I even got in a band for a while, but I wasn’t WRITING. It took a cataclysmic event to change that.

In 1999, my best friend passed away suddenly of a heart attack, at the tender age of 34. The shock of this event was every bit as profound as you might imagine. I still feel it today. But, I managed to find the good in it, and I resolved to use my gifts while they were mine to use. I joined a nascent online music community called MP3.com. There I discovered hundreds of fellow musicians looking to expose their wares to the world. The other thing I found there was my muse! She’d been sitting in the corner of one of the chat rooms, with a cigar and bemused sort of smirk. And I was off! Writing became natural again, and I started putting out all sorts of new material. The decade of the 2000s was fruitful; yielding 3 CDs full of material. It was also a fruitful decade in that we had Abby in 2003 (who yielded inspirations of her own!).

But then, something happened. I don’t know if she just got tired of me, or she didn’t like the music, but she left again. This time, she was gone four years. As always, I missed her. She finally came staggering back in, exhausted and maybe even a little hung over, but ready to help me move forward with a 4th CD. 

Once that came out, she’d had enough. She left a note on my desk that said “go suck it, loser!” and she vanished. I don’t know why. And she’s been gone a long time. Her Bohemian nature- loving cousin did come to visit me in 2020 during the COVID-19 lockdown, and because of that I now have a lovely new woodturning hobby that I enjoy very much indeed. But I’ve missed my original muse so. Every time the Stones come through on tour, she stops by for coffee, with a taciturn sort of look, and an uncomfortable hesitancy. Those fleeting visits have yielded me three new songs for a fifth album, but I’m not sure what her plans are moving forward. 

This tale doesn’t have a buttoned-up storybook ending. It’s a tale that still ebbs and flows. I wish I had the wisdom to deduce why muses are so fussy. If you have one, hold on to her dearly, because there are no guarantees she’ll be your lifelong companion.




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Kenny Loggins - At the Movies

12/16/2022

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Have you ever been to a concert where you knew every single song deeply and intimately? That’s what happened to me tonight at Ruth Eckerd Hall in Clearwater FL, where I saw Kenny Loggins: At the Movies. This two-day stop here is near the end of a lengthy run for Loggins and crew, with just two remaining shows in Cancun and Honolulu. 

I’ve been to lot of concerts, and  in almost every case the artist plays most of the songs you know and love, but then they will pull a deep cut or new piece out of their hip pocket. Not the case tonight; Loggins gamely paraded out almost every song from which he’s made a hit, and the boisterous sellout crowd appreciated every moment. These songs weren’t just familiar though; these songs were friends. They were family. There was a great comfort in that familiarity, and with each piece, Loggins constantly assured and reassured the audience on the joyful journey he led them on.

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The show scorched to a start with “Love Has Come of Age” from the 1979 album Keep the Fire.  Perhaps the least famous of the songs in the lineup, but it is nevertheless a fantastic song, energetic and syncopated, and perfectly placed as a show opener. It foreshadowed the monumental talents that would be displayed by the formidable lineup Loggins put together for his touring band. 

With the mood comfortably set after the fiery opener, Loggins settled in with stools for himself and the band and wove through some of his softer acoustic-driven hits from the 70s, including “Whenever I Call You Friend”, “Danny’s Song” (the entire audience in multipart harmony in the chorus was truly lovely), and “What a Fool Believes” (the charming arrangement from the 1993 gem Outside: From the Redwoods, for you aficionados). 

​At 74, you could imagine that a nimble singer like Loggins might have lost a bit of his vocal edge over time, but he demonstrated great facility, articulation, and warmth, with his power and signature sound entirely intact. Sure, a song or two had dropped a half step in key, or through innovative arrangements other band members tackled some of the highest notes, but absolutely nothing was lost here, and there was actually a treat in store; more on that later. 

PictureKenny Loggins and Wade Biery
Loggins’ stage presence is warm and inviting, and he told several charming and greatly amusing origin stories for certain songs, including "House at Pooh Corner", which he wrote as a senior in high school (!!!). Nitty Gritty Dirt Band had decided to record the song, but midway they had to stop, because Disney owned the copyright to a certain bear, and their legal team had objections. He told his then-girlfriend about the events that night, and she said she’d “talk to Daddy” about it - It turned out Loggins didn’t know he was dating the daughter of the then-CEO of Disney. Problem solved. 

Leaning further into his collaborations with Michael McDonald, the band galloped through “Heart to Heart” and “This is It”, the crowd swelling to a frenzy at the latter. Loggins’ demographic might best be described as “yacht rockers”, with most of us in our 40s/50s/60s; but the great part about that kind of crowd is that they are generally also grownups, and while wildly appreciative of everything (more than 2/3 of the songs receive standing ovations), they were also orderly and, well, respectful. It was really a warm treat. 

A big surprise was next in “Celebrate Me Home”. A downtempo piece, it felt like it was supposed to be a breather in the middle of the show, but no song got a more intense reception. The audience sang, and loved, and ovated for more than a minute at the end. You could see Loggins and crew really enjoying both the show and the crowd. The energy in the room fairly crackled throughout. 

After "Conviction of the Heart", the rest of the show was all movie songs, each of which was met with thundering approval: “Meet Me Halfway” (from Over The Top), “I’m Free” (from Footloose), and “I’m Alright" (from Caddyshack), which closed the main set and almost brought the roof down. After an extended and deafening standing ovation, the band came back and ripped through “Playin’ With the Boys” and “Danger Zone" (from Top Gun), and closed with “Footloose”. Not to be deterred, the audience howled loudly until a second encore was granted, which was a lovingly bare stripped-down version of “Forever” (From the short film Access All Areas). Well, the first half was stripped down anyway; the band came in near the end to punctuate the final chorus, an incredibly effective arranging tactic. We finally discovered why Loggins had been changing keys and farming out some of the vocal gymnastics –- he had saved the best for last. The final note of “Forever” is a high Bb, and for a moment I thought he might not quite get there considering the way he’d handled the rest of the show, but I shouldn't have had a moment's doubt - there it was in all of its trumpeting glory, held for a full 4 bars. Loggins planted it harder than a Simone Biles vault landing. Color me gobsmacked!

PictureForm top and L to R: Dave Salinas (drums), Scott Bernard (lead guitar), Rick Cowling (rhythm guitar)
The show was meticulously designed, executed flawlessly from a technical perspective, and performed by one of the most gifted musical ensembles I’ve ever encountered. Drummer Dave Salinas (Don Felder, Melissa Ethridge, John Fogerty, Rita Coolidge, Chuck Berry, Donny Osmond, more) has a pocket a mile deep, a finely honed feel, flawless meter, and crisp, micrometered rudiments. Bassist Wade Biery (Glenn Frey, Joe Walsh, Christopher Cross, Joe Cocker, Roger Daltrey, LeAnn Rimes, more) brought a precision of feel, fantastic tone, and a deft style that was both melodic and chordal while at the same time laying down a hefty, inexorable groove. (Side note - Biery is a truly gifted singer/songwriter in his own right,  see http://www.stillmusic.com). Rhythm/utility guitarist Rick Cowling was versatile, funky, musically sharp-witted, and also quite gifted vocally; his top end rivaled or even matched Loggins and his pure, distinctive tone was especially noteworthy. Lead guitarist Scott Bernard (Michael McDonald, Blue Sky Riders) was an absolute force. He combined the finesse and melodic sensibilities of a Larry Carlton, Tommy Tedesco, or Jay Graydon with a gritty, machine gun-like fierceness that revealed his Louisiana roots. Not a single note issued from his guitar that I did not completely love. Keyboardist Carl Hergesell, a Christian artist and songwriter himself, painted beautifully evocative soundscapes, while also doing a more than serviceable Michael McDonald vocally, and evoking both McDonald and Sean Hopper of the News in his soulful and intuitive keyboard work. 

It brought me great joy to see Loggins still able to keep the fire burning, if you’ll pardon the inside pun; and it was an even greater joy to look around the room and see the love in everyone’s eyes and hearts. This concert was an event I will remember for a very long time. 

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My 2018 Swannanoa Gathering Experience

8/11/2018

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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.

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I’ve been very fortunate the last few years, in that I have “broken the glass ceiling”; and have started playing in the faculty concerts. That people the caliber of Jon Vezner, Don Henry, Tom Paxton, Vicki Genfan, and now Amy Speace have asked me to accompany them, that they trust me to support them capably; well that is absolutely incredible. I am honored beyond explanation. I hope to continue that tradition going forward for whoever will have me.

BeatleScream™ was another great one. It was even more satisfying to look up while playing and see my daughter with her guitar, chunking through the tunes in the early going, and dancing like a fool with her friends in the later going. 52 songs in 3:14 with no break. (Well, I did take a bio break during one guitar only tune, but that hardly counts).

There were lots of great jams, including Sunday night with John Tosco, Aron, Eli, and Abby and some others singing; one down by the food truck with Vicki Genfan, Abby, and an assortment of others filtering in and out. Hitting them with Vicki’s “One By One” was a magic moment; and a great jazz/swing jam Friday night with Adam Rafferty, Aron, Abby, Jay Witham, and many others – it’s a great feeling reading tunes out of the Real Book, looking up, and seeing your daughter playing along like she’s been there for years.

But my “Swannanoa Moment” of the week came Tuesday evening, rehearsing for the Wednesday faculty concert with Don, Jon, Tom, and Amy. We were playing a Don Juans song, so Tom wasn’t playing, but he was sitting there just watching me. Sorta squinting. I wasn’t sure what he was thinking, but I started to get a little self-conscious, like I was doing something wrong. We finished the song, and Tom said to me “You know, I could listen to you play bass all night long.” I’m never gonna forget that one.

Plus, I got to cap off the week by going to the Don Juans/Tom Paxton concert at the Isis Music Hall in Asheville; knowing I'd be going up to play a song or two, but ending up doing the entire 2nd set! Doesn't get a whole lot better than that.

Swannaloha, friends.

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Fred Rogers -The Essence of Humility and Love.

3/5/2018

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I’m sitting here, watching an episode of Mister Rogers’ Neighborhood on YouTube, and my eyes are full. If you’re over the age of 25 and younger than 60; chances are that at least some of your childhood was touched by this incredible man. I used to watch him all the time as a child growing up in the late 60s and early 70s, but his importance in my life was not revealed to me until fairly recently. A few years back, PBS released a marvelous remix of him in a vignette called “Garden of Your Mind”, in which they used Autotune to turn his words into a compelling and lovely song:
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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. ​
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Leonid & Friends - Chicagovich

3/15/2017

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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 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, in my humble estimation..

Not so with Leonid & Friends; their mission is simple: fidelity to the original essence and to 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 at least to some degree, 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 Ksenia Buzina. 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 (and the two followups) here!

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Phil's Juke Joint at The Hideaway Cafe

1/7/2017

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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!!


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31-Day Blog Challenge - Day 23: My Pet Peeves

12/29/2016

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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!
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31-Day Blog Challenge - Day 22: 10 Favorite Songs

12/27/2016

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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.
1) We've Only Just Begun - Carpenters
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!
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31-Day Blog Challenge - Day 21: Something I Miss

12/22/2016

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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.
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31-Day Blog Challenge - Day 20: Where I Want to Be in 10 Years

12/20/2016

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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. ​
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    Sometimes, I essay. Occasionally, I rant. 

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