Back in action

Getting back in the swing of things after a fantastic tour with the Fatum Brothers Jazz Orchestra. Thank you so much to everyone who came out to see us play, who bought a CD, who hosted us, who helped in any way at all. We had appreciative crowds at every stop, and not one show could be called anything but a success. I was even lucky enough to hear Bob Mintzer play my arrangement of "On Green Dolphin Street". My hat is off to the Fatums; that a big band tour happened at all is impressive, much less an organized and successful one! I had a such a great time meeting and playing with such fun and accomplished young musicians, I'm really rooting for them to do it again next year.

Feeling antsy? Gotta vent some frustrations? Or are you just happy tomorrow is Friday? Come out to Rusty's Surf Ranch right on the pier in Santa Monica this Friday night to check out Orkestar MEZE, LA's Balkan funk band. We're headlining with some brand new tunes to groove on, and it's gonna be one big peasant party! There are a few bands before us, but if you get there early, make sure and tell them you're here to see MEZE.

Orkestar MEZE at Rusty's Surf Ranch
256 Santa Monica Pier
Santa Monica, CA 90401-3126
11:00pm
$7 gets you in ($12 if under 21, sorry)

Fatum Brothers Jazz Orchestra Tour Dates

Here's a rough tour date list for the tour I embark on in a matter of days. It will be with the Fatum Brothers Jazz Orchestra from Chicago, and I'm very excited to play with these great young players and hit some cool venues I've never played. If you are in town and ready for some big-band (or if you're not ready, whatever), come see us on tour!

Aug. 5th: Dizzy's Jazz Club (San Diego) --- 8pm, $15 ($10 students)
Aug. 6th: Day off
Aug. 7th: Travel and rehearsal in LA
Aug. 8th: Thousand Oaks Gardens of the World Summer Concert Series with guest artist Ira Nepus (Thousand Oaks) 5pm-8pm
Aug. 9th: Catalina's Jazz Club (LA) with BOB MINTZER (Grammy Award Winning Saxophonist & Composer) 8pm
Aug. 10th: SOHO Music Club (Santa Barbara)
Aug. 11th: Travel Day
Aug. 12th: NPR Radio Interview & In Studio Performance (Sacramento)
Aug. 13th: 24th Street Theatre CD Release Party (Sacramento)
Aug. 14th: San Jose Jazz Festival

I'll update the schedule as I get more specific details, and if you're on facebook, follow the tour here.

August

Gearing up for some fun times in August...

First, I'd like to thank the audience and the people at Liquid Zoo for a great time last weekend! I had a blast playing with Brandon Sherman, Derek Beach and John Shebalin, and the audience was one of the more receptive groups in recent memory. I feel that the average person is quite open to different and new types of music, but it is often a question of exposure to said styles. I hope to get back to the Liquid Zoo in Van Nuys soon and continue to spread the word of creative music.

If you didn't catch our set at Liquid Zoo (or couldn't get enough), the same quartet will be playing this Sunday evening, August 1st at the last Jazz and Improvisational Music Series at 2nd Street Jazz in Little Tokyo. Three bands from 9-midnight, one charge of $10 ($5 for a drink ticket, and $5 directly to the bands). Here is the info:

2nd Street Jazz
366 E 2nd Street
Los Angeles, CA 90012
Sunday, August 1st
9pm-12am
$10 gets you admission and a drink

In other news, mixing has been going fantastic for the upcoming trio album. Engineer John Aspinall and I are making speedy progress each meeting, and the sounds are incredible! The sound is pure, clean and raw, and places you right in front of the trio. More news as the project develops.

I will be travelling up and down California for the first two weeks of August with the Fatum Brothers Jazz Orchestra on their CD release tour. We are starting in San Diego at Dizzy's and going as far north as Sacramento, but Los Angelinos should keep their eyes open for our gig at Catalina Bar and Grill, as it will feature tenor legend Bob Mintzer sitting in! I will post all of the dates and venues here very soon.

Lastly, I am playing with the Alex Smith trio at the farmers market in Torrance this Saturday morning from 9am-1pm, for those in the south bay area. This is a special gig as one set will feature a brand new duo project my wife Ami Mull has put together with guitarist Joel Mankey. Alex will sit in on percussion on a few tunes, and they are gearing up for a performance at Cafe Metropol later in August. Check out some of their tunes HERE.

Two Gigs This Week

Good afternoon! I wanted to let you all know about a couple of gigs this week.

Friday night (7/23) I am playing a solo saxophone set 7-9pm at the Novel Cafe in Koreatown. It is a "trial gig" of sorts for me, and hopefully will turn into a weekly gig of either solo saxophone, guitar/saxophone duo, or possibly trio playing. If you would like to come out, the food looks tasty and pretty reasonably priced, as well as a full bar and desserts/coffee for later crowds.

The Novel Cafe
3760 Wilshire Blvd.
Los Angeles, CA 90010
7-9pm

Sunday night (7/25) at 8:30pm, you can find me at the Liquid Zoo bar in Van Nuys in the company of a new assemblage of great young musicians. The gig will feature Brandon Sherman on trumpet, Derek Beach on bass, and John Shebalin on drumset. I will be premiering two brand new compositions penned for this group, a contrafact by Brandon, and two tunes from great altoists Charlie Parker and Ornette Coleman. Brandon is leaving town for New York in less than two weeks, so catch him while you can! We're playing one set only, and there is NO COVER, so come grab a drink and hear some brand new music by a brand new band.

Liquid Zoo
7214 Sepulveda Blvd.
Van Nuys, CA 91405
8:30-9:30pm

Bjork Videos

I love Bjork! Check out the wonderful combination of instruments on this video:

http://www.youtube.com/watch?v=_qGutbLI0xk&feature=related

Upright bass, tabla, synth, flute, turntables/samples, and wine glasses (harpsichord too?). Yet it is put together so naturally, and it feels "normal" and relaxed, not to mention it is a beautiful song on it's own. How about two classical/flameno style guitars and wrenching, phone-filtered vocals? You got it!

http://www.youtube.com/watch?v=6dJAnlG7nLc

Reminds us not to be afraid of sparseness, and of simple elements. The quality of the performance and composition will carry many, many orchestrational possibilities.

The Hammer Museum

Good Sunday to you. I had a great time yesterday going to the Hammer Museum to check out the artwork, as well as some musical happenings. Musical curator Chris Kallmyer provided a joyful atmosphere by encouraging each visitor to wear a bell around his or her neck, the instructions being simply "consider your surroundings". I felt that this lightened the mood of what can sometimes be an awkwardly quiet museum atmosphere in the galleries, and simply made me relax and smile walking the grounds.

The main attraction, as far as my wife and I were concerned, was a solo performance by Colin Woodford on a single cymbal. The cymbal was close-miced from below, allowing overtones/undertones and other intricacies of sound to emerge that a listener would never (or barely) hear otherwise. These intricacies could be highlighted or dampened with a volume pedal. Although Colin improvised the material for a cool 45 minutes, it was apparent that this was not an experiment taking place; the exploration was musical, not physical, and the performance was permeated by sensitivity and intent. Tones were treated with care, themes were stated and developed, and each phase of the performance seemed a comfortable length. All this, coupled with the sound of bells and the surrounding environment of people, made for a sublime experience that crossed intense musical listening with a light-hearted enjoyment of just being.

Keep an eye out for further installations at the Hammer, and I will definitely post about any further Colin Woodford solo excursions. I've got a gig with a new assemblage of musicians a week from tonight, so look for more details tomorrow or Tuesday in the form of a post......it will be FREE (the gig, not the post. Well, the post too).

Mixing and Orkestar MÉZÉ

Hello everyone! Keeping cool? .....me neither.

I've begun mixing for my debut trio album (to feature Ben Shepherd and Cameron Hicks) with engineer John Aspinall, and I'm pleased with the results so far. I've picked takes, and we've got a great rough mix on "Dirty Sugar". Tonight we will apply that general mix to some other tracks and start picking through the details and nuances of each song. This is my first top-to-bottom, self-produced, full-length (and other hyphenated phrases) project, and I am already having a blast putting it together. Make sure to check back here for updates on the album.

For about six months, I have been a part of an incredibly fun band, Orkestar MÉZÉ. Headed by pianist/keyboardist/composer Milen Kirov, Orkestar MÉZÉ is LA's only Balkan Brass Gypsy Funk Band, delivering infectiously groovy tunes from Bulgaria, Serbia, Macedonia and Romania with a healthy dose of funk. We had a great gig a few weeks ago at the Bootleg Theater, the crowd was digging it, and some video was captured...check these out!

Orkestar MÉZÉ at the Bootleg Theater 1

Orkestar MÉZÉ at the Bootleg Theater 2

Orkestar MÉZÉ at the Bootleg Theater 3 (yes, that's Ben Shepherd on the electric bass)

One more video of the band at CalArts this Spring:

Orkestar MÉZÉ playing "Sandokan" at the Wild Beast

There is a recording being planned for Orkestar MÉZÉ; more details as I get them. Until then, I'll post any gigs we have here. Bring out your inner peasant!

A few gigs and a project

Happy 4th of July weekend to you all. I'm playing a quartet gig at a party tonight with Milen Kirov, a great composer/keyboardist. We're playing some killer Bulgarian and Macedonian funk jams, ornaments and odd time signatures, but always funky. If any of you are going to be in the South Bay tomorrow morning (Saturday), come check out the Alex Smith Trio featuring Alex Smith on drums, Emilio Terranova on bass, and myself on saxophones. Yes, this is JAZZ THUNDER under the leadership of Alex!

Close friends of mine know that I have been a long-time fan of Meshuggah, a metal band whose music centers around intricate, "over-the-barline" rhythms set over a deep groove. Meshuggah holds various points of interest for me, but I am finally getting to a little project of transcribing some of the incredible guitar solos by lead guitarist Fredrik Thordendal. I've only got one down so far, but several more planned for the coming weeks. His solos are both frantic and skillfully constructed, and each solo yeilds a different, highly creative approach, something not often found in the rock/metal world. I will post some pdf files here for reference and (hopefully) discussion once I've compiled a few solos. In the meantime, if you haven't checked out Meshuggah yet, DO IT!

Music vs. Title Survey

A Happy Father's Day to all you awesome pops out there!

I was talking about composition with my friend Steve Blum a month or two back, and the topic of titles came up. Turns out, Steve often starts with a title, whereas I rarely produce a title until near the end of the composition process. Everyone approaches composition a different way, and that includes the use of a title. I thought it would be interesting and enlightening to send off emails to some of my favorite composers in the jazz world asking them about this topic, and compile the answers here for y'all. I'd like to thank everyone listed for their time and great responses!

The question was:
"When you write a piece of music, what usually comes first, the music or the title?"

Here are the answers I received:

"Usually the music comes first in my case. The best titles for me do come when I'm at the beginning of the writing process however and am still feeling that initial inspiration. It's harder after the tune is complete to go back and find a title that fits the initial feeling for me."
--- Donny McCaslin, saxophone 

"I almost always conceive the music first and titles comes later."
--- Edward Simon, piano

"Without hesitation the music comes first. Some titles come soon after finishing work on a tune, but many don't happen until I'm forced to come up with names of tunes for a record. I'll occasionally come up with a title I like separate from writing music. Then I'll add it to a list of potential tune titles that I'll reference if I'm not coming up with anything for a particular tune. Just like a lot of things, it either comes easily or it takes a while."
---Steve Cardenas, guitar

"For me a mood will come to me when composing and usually a title will follow. Other times a composition will surface at roughly the same time an event of notice occurs in my life."
--- John Fumo, trumpet

"The title either comes first or during the process....it usually helps me maintain a direction in the writing."
--- John Hollenbeck, drums

"Almost exclusively, the music happens first but sometimes on rare occasions a word or image will spark something to happen. I remember reading about Mathew Sheppard and that was one of those rare moments where I started working on lyrics and the music followed."
--- Alphonso Johnson, bass

"I don't think I've ever written a tune to fit with a title, although that might change with a few potential commissions coming up. What I do have is a list of potenital titles for tunes that I can match with new pieces, but only after I've written the music. So I guess technically sometime I do have the title before the music, but it's usually correlation rather than causation."
--- Gary Fukushima, piano

"The music almost always comes first. The only exceptions are when I come up with what I think is a clever title and I need to write a tune as an excuse to use it, but that usually doesn't work. I don't often write tunes based on specific places or events - they are mostly just explorations of musical ideas, so titles are sometimes hard to come by."
--- Ben Monder, guitar

"The music comes first."
--- Darek "Oles" Oleszkiewicz, bass

"For me, it's usually the music first but occasionally a title will inspire the direction. 'Boxer Rebellion', inspired by our 2 dogs, is an example of a 'title first' composition of mine. More often, I will have a person in mind, which I find more inspiring. This was the case with 'Message From Art' (Art Blakey), 'Kind of Bill' (Bill Evans), 'Bella Luce' (Conte Candoli) and 'For Gillian' (my wife). 'Sixth Sense' was inspired by an exercise on the drum set and 'Native Land' is a homage to planet earth. In each of those tunes, the music came first."
--- Joe LaBarbera, drums

"The very first thing that comes to mind is who is the music for, then sometimes the title comes first and the music is written but often what i write is concieved for a group or individuals and then the title is added, so I would say...maybe its 30 percent title first, and 70 percent music, then title. That said, I do keep a bag or lists of titles for every occasion."
--- Vinny Golia, multi-woodwinds

"It's very rare that I have a title before I write. Most often, I have to think of a title at the last minute when a recording is about to be released! Usually I start composing with a mood in mind, but since music is expressive in a way for me that's beyond words, often it's hard for me to think of a specific title that accurately captures that mood."
--- Chris Potter, saxophone

"To me, the title is important - it conveys a feeling and intention about the music before a listener even hears the first note. I often write the title BEFORE I discover the musical ideas. It is one of the many parameters that I use to get started writing, and can bring a sense of unity and focus to a composition.
"The relationship between a title and the composition can be very abstract and hard to define, or it can be more literal and even programmatic. But there are many compositions that first attract a performer's or listener's attention because of an effective title. If I complete a composition without a title, it can be difficult to find a title that is 'as good as' the music, and sometimes feels like a compromise (which is disappointing...). The goal is to complete a composition that tells one focused story, and the title can be very helpful in communicating that story."
--- David Roitstein, piano

"It is not a matter of a title or the music coming first, as both processes happen, as well as co-created titles and pieces that come together simultaneously.
"Some examples would be pieces of mine such as 'Frozen Ropes', 'Drifter', and 'Ceilings' where an entire piece had been completed and needed to be titled. Therefore, whatever popped into my mind--that evidently reflected current circumstances or situations I was immersed in--became the titles.
"Another avenue of construction is exemplified by pieces such as 'Dresden Moods', 'A Tree Frog Tonality', and 'Hydrofoil', where the titles came first and informed the content of the musical composition amply--in these particular cases, an historical event and its aftermath, the inspiration of nature's fine non-human musicians, and a dedication to the spirit of the late Fred Hopkins.
"Lastly the co-created dynamic where a title arises as the music is written. An example of this amongst my works would be 'Nature, Time, Patience'. I realized around half-way through composing the commissioned work, that the aforementioned three elements were going to be essential to the success of the piece, so I simply titled it that."
--- John Lindberg, bass

"When I write music the music always comes first. It starts as a small impulse and melody is almost always the generator. Melody contains so many elements in microcosm (it implies harmony, form, phrases, meter, etc.) and it also has a forward momentum through its storytelling. I just need to get my self out of the way and find what is contained or implied by that first impulse (more and more I'm convinced it contains all the information including the ultimate length of a piece). The title comes much later for me. I think the process would be less abstract and more stilted if I had word associations from the beginning."
--- Larry Koonse, guitar

Osby and Turner

Hello again,

I'm back from a 5-day trip to Maui with my wife. It was a fantastic trip in a beautiful place, and I'm sure I'll be writing some music reflecting on my experiences. Fish, urchins, sea turtles, hiking, volcanoes, and tons of great food!

Youtubing this morning - I thought I would share a few videos and a few thoughts. First, check this one out: Franco Ambrosetti Sextet playing "Sidewinder" by Lee Morgan. Swiss trumpeter Franco Ambrosetti is sounding great here, and surrounds himself with a killing band: Greg Osby on alto, Mark Turner on tenor, Jason Moran on piano, Lonnie Plaxico on bass, and Billy Drummond on drums.

I want to focus on the former two sidemen, Osby and Turner. In my opinion, these are two of the most important saxophonists on the current scene. Both have an amazing technical mastery of the instrument and have developed personal, beautiful tones. Their approaches to improvising on the saxophone, however, are what I feel makes them such important figures in jazz today. Nobody else sounds like Greg Osby; he has found a way to filter the often angular melodic, rhythmic and harmonic content of 20th-century classical music through the jazz tradition. Like Eric Dolphy's playing, one can always hear a deep underpinning of "the blues" in Osby's improvisations, despite the far-reaching harmonic implications and often fragmented rhythmic phrasing. Similarly, Mark Turner's even-toned explorations hold a solid footing in the "feeling" of jazz, without using old material. Turner, a Tristano/Marsh/Konitz enthusiast, is a masterful architect, building an improvisation one step at a time and treating each note with care. His expansive range, balance of wide and close intervals, and extraoardinary use of space are unlike any other player.

I find it revealing and exciting to listen to these players in the context of jazz standards. While both of these saxophonists are notable composers as well, standards serve as a more immediate reference point to the listener and help us to more easily identify some of the players stylistic nuances. This is one reason I particularly enjoy the "Sidewinder" video posted above; listeners don't often get to hear Osby or Turner play this tune!

Here are a couple more examples of these masters playing standard tunes. Enjoy!

Greg Osby playing "Jitterbug Waltz"

Mark Turner playing "All The Things You Are"