Amy Winehouse, known for her now classic 2006 album, Back to Black, was found dead at her London home.
She was only 27-years-old. Winehouse won five Grammy Awards and changed the face of modern pop with her take on classic soul and R&B. Despite her very public struggles with both drugs and alcohol, her passing has shocked the celebrity community and world at large. It's a sad day in music, and we send our condolences to those close to her.
For a great slide slide show
http://bit.ly/oCvIE2
Sunday, July 24, 2011
Saturday, July 16, 2011
Saxophone Repair Disaster
Okay, this is a story that would fit the buyer beware category.
First I live in Brazil , and as an American just gaining functionality in the language and on the ways and workings of a foreign country I was fortunate that my debacle with my soprano didn't turn out worse. (note I've been living in Brazil for 10 months and my language level is now functional which means I can hold a conversation, take the bus, shop, teach in Portugues if necessary, although Im far from being fluent or being able to discuss intellectual stuff.
In A Nutshell
Recently, I had my soprano saxophone repaired.
The horn I was having repaired is a Yamaha YSS 62, not a Mark VI, but a pretty good horn. I've had it for over ten years and I have had it overhauled completely about 3 years ago. Unfortunately, the case is a little roomy, so I have to put a small towel or t-shirt inside to keep it stable.
I had to get my soprano fixed, the alignment was off and due to intonation problems the horn had become unplayable. So what to do? I queried several of my Brazilian saxophone playing friends, and they all recommended repairman number 1. Anyhow I had some suspicions about this individual because he worked from home and he lived nearly 30-40 minutes away, outside of the city from where I live.
However, he came with good recommendations and actually he had helped me out back in Oct or Nov when I had problems with the Bis key.
He came over to my apartment and looked at it, and told me that it needed new pads, 3 years and new pads, suspicion 1?? > (My First Mistake)
The price of the repair would be 200 real which is more or less 100 bucks. (not bad)
Pads don't generally go bad in 3 years, Although I haven't been cleaning it as regularly as I should. I Am now. Now, he ordered pads from Sao Paulo, and it took me a month to get it back. A Nervous Month
Result 1
The horn was playable, intonation was improved but it was far from gig ready, and from low E down the horn leaked awfully bad.
Not a total disaster, but a wasted 200 real.
Lesson 1, Try to find a music store to do your repairs, unless you can meet with the repairman at his shop and see some of his work. In this case I did have recommendations but I didn't visit the guy and see what his shop or tools was like. this was going to be a major repair, not just one key getting adjusted.
Second, keep your horn clean and dry. Using the long fongo swab is a not a bad idea, but the swab must be washed regularly because it carries bacteria from your saliva. The pull through swab is probably a better choice.
Moreover, when I got it back the case smelled like cat urine. I think this repair guy had a cat, and the cat defined my case as his territory if you know what I mean. I was able to get the case cleaned at the local cleaners.
Result 2
About a week later I called the local music store and with my ever improving Portuguese I asked about a horn repairman. The word for repair is pretty easy, Reparar; and they gave me the guys cell number. Repairmen 2 came over looked at the horn and said the alignment was off and intonation( afinacao).
In 3 days I had my horn back, The intonation was pretty good, leak fixed. It still needs some small adjustments which repairman 2 made. But overall on a scale of 1 -10 I give repairman#2 a 8.5
Lessons learned
Music stores are better for repairs. You pay more, but you pay for what you get.
Recommendations can be good, but they don't always work out, especially sopranos which are really delicate.
Godliness is Cleaniness.
Not only does swabbing after every gig or practice session keep the horn clean, it saves wear and tear on pads and thus longer time between repairs.
Good luck and Happy Playing
First I live in Brazil , and as an American just gaining functionality in the language and on the ways and workings of a foreign country I was fortunate that my debacle with my soprano didn't turn out worse. (note I've been living in Brazil for 10 months and my language level is now functional which means I can hold a conversation, take the bus, shop, teach in Portugues if necessary, although Im far from being fluent or being able to discuss intellectual stuff.
In A Nutshell
Recently, I had my soprano saxophone repaired.
The horn I was having repaired is a Yamaha YSS 62, not a Mark VI, but a pretty good horn. I've had it for over ten years and I have had it overhauled completely about 3 years ago. Unfortunately, the case is a little roomy, so I have to put a small towel or t-shirt inside to keep it stable.
I had to get my soprano fixed, the alignment was off and due to intonation problems the horn had become unplayable. So what to do? I queried several of my Brazilian saxophone playing friends, and they all recommended repairman number 1. Anyhow I had some suspicions about this individual because he worked from home and he lived nearly 30-40 minutes away, outside of the city from where I live.
However, he came with good recommendations and actually he had helped me out back in Oct or Nov when I had problems with the Bis key.
He came over to my apartment and looked at it, and told me that it needed new pads, 3 years and new pads, suspicion 1?? > (My First Mistake)
The price of the repair would be 200 real which is more or less 100 bucks. (not bad)
Pads don't generally go bad in 3 years, Although I haven't been cleaning it as regularly as I should. I Am now. Now, he ordered pads from Sao Paulo, and it took me a month to get it back. A Nervous Month
Result 1
The horn was playable, intonation was improved but it was far from gig ready, and from low E down the horn leaked awfully bad.
Not a total disaster, but a wasted 200 real.
Lesson 1, Try to find a music store to do your repairs, unless you can meet with the repairman at his shop and see some of his work. In this case I did have recommendations but I didn't visit the guy and see what his shop or tools was like. this was going to be a major repair, not just one key getting adjusted.
Second, keep your horn clean and dry. Using the long fongo swab is a not a bad idea, but the swab must be washed regularly because it carries bacteria from your saliva. The pull through swab is probably a better choice.
Moreover, when I got it back the case smelled like cat urine. I think this repair guy had a cat, and the cat defined my case as his territory if you know what I mean. I was able to get the case cleaned at the local cleaners.
Result 2
About a week later I called the local music store and with my ever improving Portuguese I asked about a horn repairman. The word for repair is pretty easy, Reparar; and they gave me the guys cell number. Repairmen 2 came over looked at the horn and said the alignment was off and intonation( afinacao).
In 3 days I had my horn back, The intonation was pretty good, leak fixed. It still needs some small adjustments which repairman 2 made. But overall on a scale of 1 -10 I give repairman#2 a 8.5
Lessons learned
Music stores are better for repairs. You pay more, but you pay for what you get.
Recommendations can be good, but they don't always work out, especially sopranos which are really delicate.
Godliness is Cleaniness.
Not only does swabbing after every gig or practice session keep the horn clean, it saves wear and tear on pads and thus longer time between repairs.
Good luck and Happy Playing
Friday, July 15, 2011
Thursday, July 14, 2011
Liberation Through Music Therapy
Liberation Through Music Therapy
Great Day
This mornings blog is about the power of healing through music therapy.
I have found a wonderful set of videos on youtube posted by mountainmystic9.
They were created by a company called Unisonic Ascension.
The idea of sound healing is not new, but has become very important with the advent of technologies that are bombarding our aura and electronic fields. The principle is that since the body is made up of over 70% of water; then through vibrational frequencies we can change, heal and reprogram the DNA structure of our bodies using specific pulse frequencies (referred to as Binaural) and music.
Alas Music Therapy
I had the opportunity in 2005 to spend a week at the Monroe Institute. There I studied a Sound Healing technique called Hemi-Sync.
Robert Monroe was formerly a sound engineer for a TV Company and discovered that he could synchronize and facilitate more efficient use of the brain through sound, particularly using sound frequencies (binaural) to better align the left and right hemispheres of our brain.
Weekly I will feature some aspect of healing through the use of examples from Unisonic Ascension. If you are interested in buying the mp3 samples.
The website is http://unisonicascension.com/
Today's feature is Liberation. Just click on the video above to hear the sample.
Great Day
This mornings blog is about the power of healing through music therapy.
I have found a wonderful set of videos on youtube posted by mountainmystic9.
They were created by a company called Unisonic Ascension.
The idea of sound healing is not new, but has become very important with the advent of technologies that are bombarding our aura and electronic fields. The principle is that since the body is made up of over 70% of water; then through vibrational frequencies we can change, heal and reprogram the DNA structure of our bodies using specific pulse frequencies (referred to as Binaural) and music.
Alas Music Therapy
I had the opportunity in 2005 to spend a week at the Monroe Institute. There I studied a Sound Healing technique called Hemi-Sync.
Robert Monroe was formerly a sound engineer for a TV Company and discovered that he could synchronize and facilitate more efficient use of the brain through sound, particularly using sound frequencies (binaural) to better align the left and right hemispheres of our brain.
Weekly I will feature some aspect of healing through the use of examples from Unisonic Ascension. If you are interested in buying the mp3 samples.
The website is http://unisonicascension.com/
Today's feature is Liberation. Just click on the video above to hear the sample.
Monday, July 11, 2011
An Evening With Joe Henderson
Amsterdam, Holland. Bimhuis Circa 1985.
this was one of the great moments and days in my life. Can't recall the exact day.
I believe it was a Saturday and Joe Henderson was playing with Joanne Brackeen on piano, Keith Kilgo on Drums, and maybe the expatriate Wilbur Little on Bass.
Having been one of my alltime favorite Saxophonists; numero 2 for me behind Coltrane, I wasn't going to miss a night hearing Joe. At the time I was living in Amsterdam not far from the Bimhuis which is near the center of Amsterdam. I had played there several times with FraFra Sound (an Afro-Jazz group composed of Surinamese,Dutch and American musicians), and even had the chance to substitute for the wonderful saxophonist Courtney Pines at the Bimhuis when he was making his debut as a young lion from England.
Joe's set of course was blazing, Joanne's ethereal forays and lush voicings were a perfect complement to Joe Henderson's saxophone gymnastics...playing across the bar line, rhythmic patterns and just incomparable technique.
The biggest surprise was seeing Keith Kilgo on drums. He had graduated from Howard by the time I got there in 1975 and was making a name for himself with Donald Byrd and the BlackByrds.
Keith Kilgo more than held his own that night and after the gig I rushed backstage to congratulate him and renew our acquaintance. He was as surprised to see me as I him.
He introduced me to the band, and everybody was warm and gracious especially Joe.
Keith then invited me to come over to the suite were they were staying since they had a day or two lay over. The hotel suite had a kitchen as well and Keith had planned to cook chili for the group the next day. Music, vittles and Joe, cmon what aspiring saxophonist could turn that down.
I arrived promptly in the afternoon. We talked shop for awhile and I played a couple tunes on saxophone to get some critique from Joe. He liked my ideas and reminded me to keep working at mastering the entire instrument, especially the bottom of my horn.
I will never forget his kindness and moreover his intellect. I remember him saying that when he was coming up, he made cats nervous, cause he was a saxophone terrorist.
This was years before the term was used infamously. This reminds me also of the late trumpeter Webster Young who really pushed me to study Joe's solos and compositions.
I will always cherish you Joe Henderson and Webster Young. RIP
this was one of the great moments and days in my life. Can't recall the exact day.
I believe it was a Saturday and Joe Henderson was playing with Joanne Brackeen on piano, Keith Kilgo on Drums, and maybe the expatriate Wilbur Little on Bass.
Having been one of my alltime favorite Saxophonists; numero 2 for me behind Coltrane, I wasn't going to miss a night hearing Joe. At the time I was living in Amsterdam not far from the Bimhuis which is near the center of Amsterdam. I had played there several times with FraFra Sound (an Afro-Jazz group composed of Surinamese,Dutch and American musicians), and even had the chance to substitute for the wonderful saxophonist Courtney Pines at the Bimhuis when he was making his debut as a young lion from England.
Joe's set of course was blazing, Joanne's ethereal forays and lush voicings were a perfect complement to Joe Henderson's saxophone gymnastics...playing across the bar line, rhythmic patterns and just incomparable technique.
The biggest surprise was seeing Keith Kilgo on drums. He had graduated from Howard by the time I got there in 1975 and was making a name for himself with Donald Byrd and the BlackByrds.
Keith Kilgo more than held his own that night and after the gig I rushed backstage to congratulate him and renew our acquaintance. He was as surprised to see me as I him.
He introduced me to the band, and everybody was warm and gracious especially Joe.
Keith then invited me to come over to the suite were they were staying since they had a day or two lay over. The hotel suite had a kitchen as well and Keith had planned to cook chili for the group the next day. Music, vittles and Joe, cmon what aspiring saxophonist could turn that down.
I arrived promptly in the afternoon. We talked shop for awhile and I played a couple tunes on saxophone to get some critique from Joe. He liked my ideas and reminded me to keep working at mastering the entire instrument, especially the bottom of my horn.
I will never forget his kindness and moreover his intellect. I remember him saying that when he was coming up, he made cats nervous, cause he was a saxophone terrorist.
This was years before the term was used infamously. This reminds me also of the late trumpeter Webster Young who really pushed me to study Joe's solos and compositions.
I will always cherish you Joe Henderson and Webster Young. RIP
Gig Schedule Na Maceio com BMJQ
Ola Tudos
Meu Agenda sobre isto Semana, My Schedule for this week.
July 12 Coconut Restaurant (Near Ponte Verde)
July 16 Anexo
July 28 Festival , Santa Oregano
July 29 Festival Party, Santa Oregano
Will Post the Joe Henderson Interviews Tomorrow.
Meu Agenda sobre isto Semana, My Schedule for this week.
July 12 Coconut Restaurant (Near Ponte Verde)
July 16 Anexo
July 28 Festival , Santa Oregano
July 29 Festival Party, Santa Oregano
Will Post the Joe Henderson Interviews Tomorrow.
Friday, July 8, 2011
Michael Brecker Giant of the Saxophone
Okay, beboppers, hardboppers, trane followers and just straighahead lovers.
Today Im blogging about one of my favorite players Michael Brecker.
March 29, 1949 – January 13, 2007 RIP
As a player of pure energy, unbridled creativity, harmonic complexity and originality there are few tenor players, nonetheless musicians who brought as much pure energy to the art of improvisation. As a young player in the early 80's I first heard Brecker with the Brecker Brothers, he also was on some of the early Steely Dan albums.
For many years I use to listen to one of my good friends and teacher Skip Gales from Richmond, Va.and wonder where he got his inventiveness. Later i figured out that Skip was influenced by Brecker and Im sure he would admit it.
Style
I listened to a recent interview with Michael on youtube and he mentioned two of my influences, the great Joe Henderson and the legendary John Coltrane.
i hear both of their influences in Michael's playing but Michael took the evolution of modern saxophone to another level. He uses chromaticism, pan diatonic harmonies and substitions without sounding like he's playing etudes. i've transcribed two choruses of his solo on Moment's Notice and I will be practicing that one for awhile. There are some good transcriptions of his solos out there. I am including a link here.
http://bit.ly/nlhuOE
But you can also search for more stuff on 4shared.
The pdf includes one of my favorites Confirmation. its about 7-8 pages. I haven't played through it. but i did transcribe the first chorus as ear training.
discography
Brecker worked with everybody from Steely Dan, Aerosmith, Horace Silver and even played on a bossa nova album with Elaine Elias. For years I wondered who was playing those killer solos but with elegance and taste.
Here's to one of the all time Greats
Today Im blogging about one of my favorite players Michael Brecker.
March 29, 1949 – January 13, 2007 RIP
As a player of pure energy, unbridled creativity, harmonic complexity and originality there are few tenor players, nonetheless musicians who brought as much pure energy to the art of improvisation. As a young player in the early 80's I first heard Brecker with the Brecker Brothers, he also was on some of the early Steely Dan albums.
For many years I use to listen to one of my good friends and teacher Skip Gales from Richmond, Va.and wonder where he got his inventiveness. Later i figured out that Skip was influenced by Brecker and Im sure he would admit it.
Style
I listened to a recent interview with Michael on youtube and he mentioned two of my influences, the great Joe Henderson and the legendary John Coltrane.
i hear both of their influences in Michael's playing but Michael took the evolution of modern saxophone to another level. He uses chromaticism, pan diatonic harmonies and substitions without sounding like he's playing etudes. i've transcribed two choruses of his solo on Moment's Notice and I will be practicing that one for awhile. There are some good transcriptions of his solos out there. I am including a link here.
http://bit.ly/nlhuOE
But you can also search for more stuff on 4shared.
The pdf includes one of my favorites Confirmation. its about 7-8 pages. I haven't played through it. but i did transcribe the first chorus as ear training.
discography
Brecker worked with everybody from Steely Dan, Aerosmith, Horace Silver and even played on a bossa nova album with Elaine Elias. For years I wondered who was playing those killer solos but with elegance and taste.
Here's to one of the all time Greats
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