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Casual

Posted by keithosaunders on December 12, 2011

I played a casual last night.  Here on the west coast gigs that are affairs — weddings, Bar Mitzvahs, corporate parties — are referred to as casuals.  Why they are called casuals I don’t know.  They are anything but casual.  In fact, you often have to wear  a tuxedo, although last night was not one of those nights.  In New York such gigs are referred to as club dates, yet another misnomer.  Canadians call it jobbing. 

Years ago I had a sax player buddy who nick named me Captain Casual, not because I played that many casuals, but because I was really bad at them.  I didn’t know that many standards, and I knew very few pop tunes.  I didn’t even know what a cha-cha was, let alone have one in my repertoire.  Not that this is anything to be proud of.  It’s just that over the years, from necessity, you learn enough of these tunes to get by. 

These jobs are a necessary evil of the music business.  Why?  Because they’re the only gigs that pay any damn money!  Especially with today’s economy — few of us are in a position to turn down these gigs.  And if you are lucky enough to play them with good musicians, under the right circumstance they can be enjoyable, or at least painless.

On Saturday I played a casual in San Mateo; a large-scale corporate party for Virgin American.  For some reason these parties often have a theme.  Why they feel compelled to have these themes I’ll never know.  It’s corny.  Why can’t people simply eat, drink, dance, and go home?  Is that asking too much?

Saturday’s theme was chocolate.  Or was it candy?  It was never really clear to me.  Somehow there is an invention that can pump various scents into a room.  Our room smelled like chocolate, while another room smelled like peppermint.

In our room there were a half a dozen TVs showing the old film, Willy Wonka and the Chocolate Factory  — the one staring Gene Wilder — not the soulless Tim Burton/Johnny Depp monstrosity.

The move kept playing on a loop, and since it was a long gig it was on several times.  For some reason I wanted to see the part where Charlie finds the golden ticket, but I kept missing it.  I don’t know why it was so important for me to see this scene, but the more I kept missing it the more I wanted to see it. 

That’s basically it.  I made my money and drove home.  Just one more thing, though.  The San Mateo bridge is the longest bridge I’ve ever been on — it’s eight miles long.  That’s one long-ass bridge.

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Furniture store!

Posted by keithosaunders on November 8, 2011

 

The great one

The sports world has been so great lately that I have neglected the musical side of this blog.  Here then is a post dedicated to the gigging portion of my life.

Things have been very busy here in the East Bay — in fact, this past month has been one of the busiest periods of my life.  I’ve been working between 4-6 gigs a week and the phone has been ringing off the hook.  I am guardedly optimistic about my future here in the Bay Area.  The word guardedly must be used as a qualifier for all things musical in this fickle economy, but for now I seem to be in demand.

Of course some gigs are more glamorous than others, and when it comes to deciding whether of not to accept a gig, years of a ’feast or famine’ lifestyle have practically eradicated the word no from my vocabulary.  Still, even I have my limits, so when it came to the nude-tap-dancing-while-on-fire engagement, I politely declined.

I do enjoy the variety of work I get, however, and thanks to my ability to see the humor in life, I have a pretty high threshold of zanyness.  Last week I played a gig at a furniture store, of all places.  It was in a tony section of San Francisco, not far from the Presidio.  I was in a trio that played jazz while the swells walked around deciding which high-priced furniture to buy for their townhouses. 

The women were all Betty Drapered out, which is to say they were extremely overdressed for walking around a furniture store.  Many of them wore backless gowns, or eye-catching red dresses.  

As for the men, at one point I looked around and spotted a Charles Nelson Reilly lookalike.  He was a dapper middle-aged man with horn rimmed glasses wearing a tweed coat.  At one point I was going to pick him to block but I thought better of it.

‘The store supplied me with an antique, faux-sheepskin chair, which was very uncomfortable.  It was one of those chairs in which you sank deep into the cushion — in other words, a bad chair.  With my bad back it made for a somewhat painful evening.  At one point I leaned back in the chair and the back of it splintered.  You could hear that cracking noise, which next to glass breaking, is the sound I dread hearing the most. 

I was envisioning having to work off this priceless Ming chair, to the point where it bankrupted me.  Years later one of you would happen to spot me on skid row with an unkempt beard and a bottle of ripple in my hand.

Keith!  What happened to you?!          

I would respond in my drunk voice:  “I had a gig in a furniture store.  It ruined me!”  

Me in 15 years

Posted in jazz, music | Tagged: , , , , , , , , , , , | 3 Comments »

I am Woman

Posted by keithosaunders on July 1, 2011

I am woman, hear me roar
In numbers too big to ignore
And I know too much to go back an’ pretend
’cause I’ve heard it all before
And I’ve been down there on the floor
No one’s ever gonna keep me down again

CHORUS
Oh yes I am wise
But it’s wisdom born of pain
Yes, I’ve paid the price
But look how much I gained
If I have to, I can do anything
I am strong (strong)
I am invincible (invincible)
I am woman

We look back on this song, written and sung by Helen Reddy, and we think, “wow, is that corny.”  Yes it is corny, but it’s a well-written song with a decent melody, and for its time it was fairly subversive.  You can’t deny that it’s catchy — I’m still humming it 40 years later, and I remember most of the lyrics.

But think about it…this song could never be written today.  It would never become a hit.  It is devoid of irony.  These days a song has to be cynical, ironic, and “hip.”  Can you imagine Lady Gaga singing something as obvious as I Am Woman?  Personally, I can’t imagine her carrying any tune, but that’s besides the point. 

When you consider the early 70s, it wasn’t as if the music was dominated by Lawrence Welk.  The Beatles had already come and gone, but the Stones were till going strong, as was Led Zeppelin, Marvin Gaye, and Stevie Wonder, all of whom could be heard at various times on top 40 radio.  These days hit radio is dominated by artists who rely on auto-tune, droning one-chord vamps, with robotic [non] grooves. 

Personally I would welcome a little corn.  I hate that things have to be so contrived and vacuum-packed.  So where are the corny message songs of today?

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Keitho presents: Conversations with singers

Posted by keithosaunders on April 6, 2011

Singer:  Is this Keitho, the piano player?

Keitho:  Yes it is…

Singer:  Are you available to do a gig tomorrow night?  I’m not home and don’t have my book in front of me.  I may have already gotten someone, but are you available?

Keitho:  No, I’m not.  I’m already gigging.

Singer:  Darn it!

———————————————

The question is, was she upset because she really wanted me on the gig, or that she missed out on a chance to double-book?  It’s a question worthy of Talmudic scholarship.

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Seriously corny

Posted by keithosaunders on March 24, 2011

One night I was scanning around the upper reaches of my satellite feed (DISH network) when I came upon a series of Sirius radio stations.  Most of them have lame themes, such as 70s rock, or sounds of the 40s – not the good 40s, as in be-bop, but the corny 40s, as in Glenn Miller.

There are two stations, however, that are worth listening to.  One is Little Steven’s Underground Garage, hosted by the guitarist, and erstwhile Sopranos actor, Steven van Zandt.  The title of the station is somewhat self-explanatory.  He’s just a guy with great taste in rock.  He plays lots of obscure stuff from the 60s, and he plays some modern stuff as well, sprinkling  in a smattering of  history, as well as interesting anecdotes.  He does this with a relaxed, post-beatnick veneer of hipness.

The other station I listen to is Sirius Sinatra  I’m a big Sinatra guy, so this is right up my alley.   Sinatra is played every third or fourth song, and they’ll also play Tony Bennett, Jack Jones, Peggy Lee, Ella Fitzgerald, Sarah Vaughan, and Johnny Hartman. 

Every once in a while they’ll play Rod Stewart singing a standard.  Why?   While it’s true that Stewart is singing great songs, such as You Go To My Head, and For All We Know, the level of musicianship is so far below the aforementioned artists, that it is painful to listen to. 

It’s times like these when the corporate essence of a company like Sirius shines through.  Some suit must figure that Stewart will entice the coveted baby boomers. Anyone serious enough (no pun intented) to listen to this station for any amount of time, does not want to hear the American songbook butchered.  Rod Stewart singing standards is like me performing the soliloquy from Hamlet.  

If I was Rod’s manager I would have given him this advice: 

 ”Rod…bubby…what happens in the shower, stays in the shower.”

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Reinventing the interview

Posted by keithosaunders on March 17, 2011

My best friend, who worked in radio, once told me that the response from a guest that an interviewer most fears is,    “…well there’s not much to tell.” 

I submit to you exhibit A —  a promotional video of Chick Corea called Reinventing the Trio. 

When asked to talk about his acoustic trio, which features Stanley Clarke and Lenny White, Chick responds, “Very cool trio.  Good friends.  Lots of potential.”

Ya think?!  Chickey baby, throw us a fricken bone!  I know there must be some gems from the olden days that you could unearth.  How great would it have been if the Chick had offered, ”I remember during the Light As a Feather Sessions– we were zooted out of our minds, having mixed ludes with jack and coke, when Stanley suggested we all get naked and sing La Marseillaise while going through Scientology auditing.”  

Now that would have been a something worth hearing.  Instead we get this nugget: 

 “It just became too complex to play electric instruments.  I realized what a pleasure it was to play with acoustic bass.”  

What the…?  Now you come to that conclusion?!  It took you thirty-five years to realize that fusion is a dead-end street?  I could have told you that thirty years ago. 

On the plus side, he’s still playing great piano.  This link will get you to Nick O’Conner’s blog where you can see a video of Chick playing Someday My Prince Will Come.  Here’s hoping for more acoustic music and less interviews.

 

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Brush with greatness

Posted by keithosaunders on March 10, 2011

One of the things I like most about being a musician is that your life rarely gets boring.  You never know who you will meet, or what you will play at any given gig.  In the old days, when I was first starting out, all I wanted to do was burn.  If I wasn’t playing straight ahead jazz with great players, I wasn’t happy.  Of course this is still the pinnacle for me, but my criteria for enjoyment on a gig has evolved throughout the years.  Part of this is due to the systematic beat-down perpetrated over the years by club owners, rude audience members, and shady band leaders, but it’s also due to my own ever-changing priorities.

Here’s what I need:  First of all I need a good parking spot, one fairly close to the gig, preferably on the side of the street that is facing in the direction of home.  I would like the club to have a TV tuned to whatever sporting event is in season, and I would like it to be facing the bandstand.  If it’s baseball season, I need the Mets game to be on.  Free beer goes a long way towards my gig enjoyment, and dinner is a plus as well.  I do not require filet mignon, just enough sustenance to get me through the evening without any light-headed dizzy spells. 

All these criteria were met at a gig I played in North Beach the other day.  The gig was with a quintet, led by a singer.  It was one of those gigs where everyone in the club was pleasantly half-drunk, extremely convivial and obliging.  A good time was had by all. 

The singer had a sore throat that night so she asked us to transpose everything to lower keys.  You would think that she would want the keys taken down a whole step, or at the most, a minor 3rd.  Nope.  She had us transpose a 4th, sometimes even a 5th lower!  It got to the point where she was approaching Barry White territory.

 Towards the end of the night this older lady sat in.  She said to me, “Play All of Me, but play it like Louis Prima would!”  So I did, and although she clearly was not a trained vocalist, we had a good time romping our way through the old standard in the swing-shuffle style of Prima. 

At the end of the night the bass player asked if I knew who that singer was.  I said I didn’t, so he informed me, “That’s Carol Doda, who is credited with being the world’s first topless dancer.”  Apparently she is also the first woman ever to have breast implants. 

There you have it.  A true brush with greatness, and according to Keitho’s Approved Standard of Gigs — ASOG ™ — a succesful evening.

Posted in music, San Francisco | Tagged: , , , , , , , | 3 Comments »

Return to Al Di Meola

Posted by keithosaunders on March 8, 2011

Last night, to celebrate my wife’s birthday we went to Yoshi’s with a couple of friends to see the guitar legend, Al Di Meola.  I had never seen him play before but I remembered him from his work in the mid 70s with Chick Corea’s Return to Forever.

Being that I’d never been much of a fusion guy, I hadn’t closely followed the Di Meola’s career.  I remembered that he had prodigious technique, and that back in the day he was considered something of a guitar god.  I was half-expecting to see a decrepid old man hobble out to the stage, sit in a rocking chair, and recount stories of the glory days with Chick, Stanley, and Lenny.  Instead this vibrant, raven-haired man bounded onto the stage looking like he was ready for a triathlon.  I checked his bio and found out that he is 56 — he could easily pass for 36.  

Di Meola has an easy, relaxed rapport with the audience and sports a dry, deadpan wit.  He spoke for a few minutes before beginning the set, introducing the band, which consisted of musicians from all over Europe, Cuba, and the Bronx.  I always like it when musicians take some time out to talk to the audience.  When it’s done well, as in Di Meola’s case, it establishes an intimate rapport.

The set began, and it soon became apparent that Di Meola has retained the impeccable technique that he is known for.  He played the first two-thirds of the evening on an acoustic guitar that was connected to a synthesizer. (probably through MIDI.)  The synth doubled the note one octave higher, adding some texture, and was not overpowering.  It   He would alternate between the synth and a distortion effect, which he used on some of the more frenetic songs.  

While Di Meola’s playing was remarkable, it was tough for this old hard-bopster to connect with much of what he was doing.  There was a lot of odd time signatures, as well as songs in 6/4 and 6/8.  Very little of the music was in 4/4, and there were hardly any grooves that fell into a pocket for any length of time.

I find that the older I get, the less fascination I have with how many notes can fit into a bar.  I’m more interested in how wide a quarter note can be, and building tension through interplay within the musicians.  Even when Bird was playing at the most impossibly fast tempos, the music always felt relaxed and in the pocket. 

Not that Di Meola does not seem relaxed.  It is remarkable how easily he executes, and he does have his lyrical moments.  It’s just that I, as a listener, am not relaxed.

That said, it was a great night of food and music.  I finally got to see Yoshi’s, which is a nice spot to hear music, if not a little cavernous.  It’s a big club, or a small theatre — take your pick!

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And the Grammy goes to…

Posted by keithosaunders on February 25, 2011

Two weeks ago the bassist and vocalist, Esperanza Spalding won the Grammy award for Best New Artist, beating out, among others, the teen heart-throb, Justin Bieber.  This was a huge upset, since Spalding is not a corporately-backed pop star, but a jazz musician. 

I found myself wondering if any other jazz musicians had won that award.  The answer is no.  I did, however, find some interesting tidbits while perusing the list of past winners and nominees.  Here are a few of the highlights.  (and lowlights)

Bobby Darin won the inaugural award in 1959, beating out Mavis Rivers.  That name probably doesn’t mean that much to you, but it does to me.  Back when I was in junior high school I was friends with a very talented saxophonist named Matt Catingub, whose mother is Mavis Rivers.  I remember him telling me that his Mom was a well-known jazz singer.  This was still a few years before I began studying and listening to jazz, so at that time it didn’t make as big an impression on me as it would have a few years later.  I do remember meeting her, as well as her husband, who was the famous vibraphonist, Red Norvo. 

For some reason the award wasn’t given in 1960 — I guess there were only old artists that year.  In 1961 Bob Newhart won and as far as I can tell he is the only comedian to take home this award.  

Bob Goulet won in 1963.  OK…

In 1965 the Beatles took the award.  They beat out a pair of incredibly talented Brazilians, Astrud Gilberto and Antonio Carlos Jobim, as well as Morgana King.  Not too shabby.

1970 saw Crosby, Stills, and Nash winning the award over Led Zeppelin and Chicago, and in 1971 The Carpenters beat out Elton John, Melba Moore, Anne Murray and, are you ready for this…The Partridge Family.

Carly Simon took the prize in ’72 over ELP and Bill Withers.  I’m sorry, Academy, but Bill has to win that award.

Oh my god, in 1975 Marvin Hamlisch won, beating out Bad Company, David Essex, Graham Central Station, and Phoebe Snow.  Pass the Alka Seltzer!

Natalie Cole restored respectability to the award in ’76, but in ’77 The Starland Vocal Band won it.  This was when you knew that the music business was mired in a bleak period.  To back up this point I give you the next two year’s winners:  Debby Boone and A Taste of Honey.

Rickey Lee Jones was the first winner of the 80s and she beat out a very respectable field:  Dire Straits, The Blues Brothers, and Robin Williams.

 1984 was a good example of New Wave artists dominating.  Culture Club won against Big Country, The Eurythmics, and Men Without Hats.

In 1986, 21 years after the Beatles won, Julian Lennon was nominated, but he lost to Sade.

Milli Vanilli won in 1990 but they were subsequently stripped of the award after it was discovered that they lip synched their songs!  I bet Neneh Cherry, Indigo Girls, Soul II Soul, and Tone Loc were mad.

Miley Cyrus’s Dad, Billy Ray Cyrus was nominated in 1993 but he lost to Arrested Development.

Norah Jones won in 2003 but don’t tell me she’s a jazz singer.

Finally, I give you the year with the most one-name nominees:  2008.  That year saw a field of Feist, Ledisi, and Paramore, none of which won.  The winner?  Why Amy Winehouse, of course.

Esperanza Spalding

Posted in jazz, music | Tagged: , , , , , , , , | 3 Comments »

disco fever

Posted by keithosaunders on February 13, 2011

I was listening to my Pandora today and for some reason it decided that I wanted to hear a set of disco music.   This got me to thinking what was it about disco that I liked and disliked.  Growing up in Van Nuys, California my friends and I hated it.  What did we care about dance music?  To us, the Stones and Zeppelin were real music.  I was just getting into jazz when disco hit and I found myself feeling removed from pop music.

It’s interesting to look  at disco music in the light of where pop music is today.  These were songs written by people who had a real sense of melody, harmony, and groove.  Contrast anything that the Bee Gees or Donna Summers did with the one chord hip hop vamps, or the wall of sound syntheziser-infused Disney channel pop machine.  The music of today is very much a corporate undertaking and the musicianship and craft is sorely missed.

One of the songs that Pandora played was K.C. and the Sunshine Band’s Get Down Tonight, an early disco hit.  When you listen to the funky clavinet comping, and the sparse, funky bass-line you can hear that these guys definitely checked out bands such as The Ohio Players and Sly and the Family Stone.  The music is not far removed from the early 70s soul groups and that spirit permeates the music. 

Disco was a bass player’s music.  The drummers all but had their balls in a vice.  They were tamped down, both in terms of what they could play and their presence in the mix.  For them it was four on the floor and not much else.   (not at first, but post Saturday Night Fever)  Gone were the days of  Stevie Wonder-esque earthy, swing-infused drumming, or those Earth Wind and Fire kicks on the last sixteenth of the measure.  Disco drummers were reduced to building a shed — Bam Bam Bam Bam – while the bass players had free-reign over the groove, sometimes taking part in the melody. 

Even with these inherent flaws there was plenty of good music to go around.  More importantly there was work for musicians.  String players, horn players, backing vocals — they all worked.  There were sessions galore, as well as gigs in town, and touring. 

Disco was ruined by the record companies who watered it down, codified it, and turned out factory records such as Disco Duck and Won’t You Take Me To Funky Town.  By the early 80s the discos began to close and people stopped buying the records.  Dance music would continue but the synth genie was out of the bottle.  One no longer needed to be a skilled musician in order to write or play a song.  The craft was lost and the record labels and corporate America had little interest in nurturing its return. 

Donna Summers

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