Emile De Cosmo and the Byzantine Scale

If anyone embodies the improvisational and technical aspects of jazz education, it is Emile De Cosmo. I’ve had the pleasure of getting to know Emile since the time he contacted me about an article I had written about jazz contrafacts, and I can tell you, the man is deeply knowledgeable, and as excited to share his insights into jazz theory and technique building today as he was back in my college days, when I first bought one of books in his Polytonal Rhythm Series.

Our initial conversation, back in early February, resulted in my adding another of his books, The Diatonic Cycle–a tour de force of the twelve major scales and their relative harmonic minor scales–to my practice library. Last week, after chatting with Emile on the phone, I purchased yet another book coauthored by him and his wife, Laura. A compendium of articles that Emile and Laura wrote for Jazz Player magazine, The Path to Jazz Improvisation is a treasury of insights into the vast array of scales and modes that are available to jazz improvisers today. At $14.95, the book truly is a steal–and no, Emile didn’t give me a free copy so I’d write him a glowing review*. I ponied up the money just like anyone else, and I’m glad I did. I know a fair amount about jazz theory, but there always seems to be something new to learn, and Emile and Laura’s book is proving to be a good source.

I’m thinking right now about the chapter I’ve been reading on the Byzantine scale. In his foreword to the book, David Gibson, editor of Jazz Player, writes, “When I read his chapter on the Byzantine Scale I almost fell off my chair. I had never thought about jazz in those terms. I suddenly realized that jazz improvisation has roots which go back much further than the jazz master of the 1920s, 30s, 40s, and beyond.”

Of course my curiosity was piqued by Gibson’s words. The Byzantine scale? I’d heard of it before, but never explored it. I think I had some vague idea that I had it already tucked in my pocket as some mode of the harmonic minor scale. And indeed, the Byzantine scale is related to the harmonic minor, but it is a scale unto itself, and a darned interesting one.

Probably the easiest way to conceive of the Byzantine scale is, as Emile describes, to superimpose two major seventh chords a half-step apart. For example, if you dovetail CM7 and DbM7 and then arrange the chord tones in successive order, you get the following: C, Db, E, F, G, Ab, B, C.

Another way to think of this is to approach every tone in a major seventh chord with its chromatic lower neighbor–e.g. for the DbM7 chord (Db, F, Ab, C), you would precede the Db with C, F with E, Ab with G, and C with B.

The De Cosmos recommend using the Byzantine scale with major seventh and dominant seventh chords that share the same root as the scale. In other words, you’d use a C Byzantine scale over a C7b9 or a CM7. At least one other application quickly suggests itself to me as I look at the structure of the scale, and that is to pair it with an altered dominant that is based on the second degree of the scale. For instance, by playing a C Byzantine scale over a Db7#9, you get both the flatted and natural sevenths (B and C), allowing the latter to function as a passing tone between the flat seventh and the root of the chord.

I have to say, though, that it may be a while before I dig into the Byzantine scale in earnest. Right now I’m focusing on the diminished whole tone scale, with some forays into both the augmented and diminished scales. Those pack challenges enough. But I think I can see a new area of woodshedding on the horizon. Emile and Laura’s book should prove a valuable resource, and you’ll hear more about it from time to time. I have yet to write about Emile’s concept, the polytonal order of keys, or POOK, for short.

But that’s for another post. As for this one, well…the day is beautiful, and Lisa and I have plans to visit Meijer Gardens. It’s time to get rolling. Happy practicing!

_____________

*Emile did, however, send me a POOK T-shirt and a CD of he and Laura playing tunes that he had written. I don’t mind telling you that the De Cosmos can blow!

August 13, 2009 by
Filed Under: Band, Entertainment, Jazz, Jazz Improvisation and Technique, Music, Saxophone, Tornadoes Tagged With: , , , , , , , , , , , , , , , ,

“Will I Ever Become a Good Jazz Improviser?”

What does it take to become proficient at improvising jazz? Will I ever become a decent player?

Have such thoughts ever nagged at you? Perhaps you’re at the stage where you’ve acquired a decent technique, but you’re uncertain how turn it into flowing, musically cohesive improvisations. Will you ever be able to make the leap between mere good chops and great jazz solos?

Or maybe you’ve been playing the sax for a while and you think you’re making strides. Then you come across a YouTube video of some young firebrand who’s blowing circles around anything you ever dreamed of playing, and your heart sags. At that point, you think one of two things: What am I wasting my time for? or I can be that good too if I work at it.

Depression or determination. I’ve felt both emotions at different times. When I was 26 years old, I took a year of music at Wayne State University in Detroit. During my time there, living on campus, I made arrangements to practice after hours in the music building, where I normally woodshedded from 9:00 p.m. to as late as 3:00 in the morning. I worked hard, doing scale exercises, running patterns, and memorizing solos from the famous Charlie Parker Omnibook.

One evening I walked into the building early and heard sounds of music drifting from the auditorium, where one of Detroit’s high school jazz bands was playing a concert. I listened for a bit. They sounded pretty good! But I had work to do, so I broke away and headed for one of the empty classrooms, which I preferred over the smaller practice rooms. Then I assembled my horn and began to work on one of the Omnibook transcriptions I was memorizing.

A few minutes later, several of the high school band members walked into the room. The concert had ended, and they had heard me playing down the hall and decided to get an earful. Cool. I didn’t mind if they hung out and listened. I chatted with them a bit, and then the bass player said, “Hey, we gotta get James.” The other guys agreed that James definitely needed to be gotten, and one of them left to look for him.

I continued to work on my Bird transcription. Pretty soon, in walked a fourteen-year-old kid with a tenor sax tucked under his arm. He listened to me for a minute, then said, “Oh, ‘Ornithology.'” He put his horn to his mouth and started to rip through the Parker solo from memory as flawlessly as if his genetic makeup included an ‘Ornithology’ chromosome. Then, having demonstrated his mastery of a solo that I was only beginning to get my arms around, the kid proceeded to double-tongue a chromatic scale up into his horn’s altissimo register, high enough to sterilize the flies in the room.

I wanted to slap him.

The kid went on to tell me how he planned to master not just the saxophone, but all of the woodwind instruments. Whether he has entirely fulfilled that lofty ambition in the years since, I can’t say, but I do know that today, jazz virtuoso James Carter plays a large number of the woodwind family in addition to the tenor sax.

Fellow saxophonist Tom Stansell, whose family owns and operates the celebrated Blue Lake Fine Arts Camp in Muskegon, where Carter spent a summer as a student years ago, once commented, “No one ever told the kid that it’s hard to play fast.”

As for me, I just kept plugging away at my saxophone. My journey as a musician hasn’t taken me to New York at age 21 or on international tours. Rather, it has placed me in Caledonia playing for cows in the pasture at the west edge of town and taking gigs as they come, which they seem to be doing more and more of lately.

And they should be. Because while I’m no James Carter, I’m a good sax player. I’ve been told on different occasions that I don’t realize how good I really am, and maybe that’s true. I hope so. Coming from capable musicians, compliments like that certainly encourage me, because I’ve worked hard to bring together all the technical stuff–the scales, arpeggios, patterns, solo transcriptions, and everything else I’ve labored at over many years–into something that sounds interesting, original, personal, passionate, and…well, musical.

I hadn’t initially planned to share the above anecdote, but there’s a point to it: discouragement and inspiration often come from the same source, and they’re just a matter of how you look at things. Maybe you’re not playing the way you wish you could play today. But if you stick with it, one day you’ll look back and realize how far you’ve come. The technique that you’re presently unsure what to do with will have become your servant, the building material of ideas which you spin with confidence and ease out of your horn. You may not be the next Michael Brecker–or maybe you will be–but that’s not what it’s about. Do what you do for the love of what you do, and everything else will follow in its time.

Not all of us have the same advantages. Not all of us grew up in musical families or were steeped in jazz at an early age. Not all of us have the same natural aptitude, the same educational opportunities, or the same life circumstances that permit us to practice as much as we’d like. But all of us have the ability to choose whether to persevere or give up. So…

“Will I ever become a good jazz improviser?”

If you quit, the answer is no.

If you keep at it, studying the music, listening to great players, and practicing diligently and consistently, the answer is yes.

Don’t rob yourself of the joy of playing music worth hearing. Don’t deprive the world around you of the pleasure of hearing you. And don’t belittle the talent God gave you, because into that talent is woven a purpose that is higher than you may imagine.

Stay with it. You’ll be glad you did.

August 5, 2009 by
Filed Under: Band, Entertainment, Jazz, Jazz Improvisation and Technique, Life, Music, Nature, Saxophone, Tornadoes, Weather Tagged With: , , , , , , , , , , , , , , , , , , ,

Year of the Cap Bust

I guess I’m just a slow learner when it comes to technical stuff that involves linear thinking. Sooner or later, though, if I stick with something long enough, I usually emerge more knowledgeable for having done so. Nowhere has this been more true than in storm chasing, an activity which obviously depends heavily on figuring out if and where there will be decent storms to chase.

Seems like I’m constantly being confronted with some new aspect of the atmosphere that I haven’t factored into my forecasting, or that I haven’t factored in as effectively as I needed to. The upside of that, though, is that I wouldn’t even be aware of what I don’t know if I hadn’t learned enough to at least recognize my areas of ignorance. If my forecasts aren’t as expert as those of a trained meteorologist, they’re nonetheless a seven-league bound beyond when I was just beginning to grapple with all those arcane terms and acronyms of convective weather such as SBCAPE, CIN, 0-6km bulk shear, LIs, helicity, and lapse rates, and when the only thing I could do with a skew-T or a hodograph was shake my head in bewilderment.

This has been the year of discovering the 700 mb/12C limit. By “discovering,” I mean through empirical experience, and by “empirical experience,” I mean cap busts. Of course, I’ve endured plenty of cap busts in my development as a storm chaser; I just didn’t understand exactly what was going on, or why the high risk area I was sitting in was producing nothing more than smug blue skies rather than carnivorous supercells.

One memorable day in Iowa drove home the lesson perfectly. MLCIN was supposed to erode by later in the afternoon, and it got to a point where it was eroding, at least according the RUC. With SBCAPE at some ridiculous figure like 7,000 j/kg, I figured that at some point a convective tower would punch through the cap and go absolutely gonzo. Instead, the clouds kept firing up into the nicely sheared environment and then dying, firing and dying, firing and dying. The reason? A 700 mb temperature of around 14C, possibly considerably higher. Lesson learned: it doesn’t much matter what the models have to say about the CIN eroding when you’ve got mid-level temperatures like that.

I experienced another cap bust yesterday, though I can’t feel too bad about it since I had no compelling reason to head out in the first place, the conditions were so marginal. It was interesting to notice that in this situation, the circumstances were reversed: RUC showing my area under very breakable 700 mb temps of around 10C, but with MLCIN creating some concern. However, the CIN appeared to be eroding, and when an SPC mesoscale discussion spotlighted the area I was in, I started feeling happy about having made the drive down to west-central Illinois.

But the CIN started building back in, and by 00Z I found myself socked in under values around -300 j/kg. Not much a parcel of air can do with that, I guess, no matter how big the CAPE is. I turned around and headed home.

A paper by Bunker, Wetencamp, and Schild of the NWS in Rapid City, South Dakota, explores the ins and outs of the 700 mb/12C limit and concludes that it has a limited, conditional application. However, as my buddy Mike Kovalchick pointed out to me, the paper also reveals that only 5 percent of tornadoes within the study period formed when H7 temps exceeded 12C, and virtually no violent (EF4 and EF5) tornadoes occurred above that threshold.

So for practical use in storm chasing, the 12C limit appears to be a very useful rule of thumb. The issue for me then becomes a matter of refining my ability to know when cold air advection will lower the 700 mb temps. But that’s a subject for another blog. I’m tired of thinking. It’s time to go meet my buddy Dewey down in Plainwell and grab a brew at Arie’s. Ciao!

August 4, 2009 by
Filed Under: Entertainment, Jazz, Music, Nature, Saxophone, Storm Chasing, Tornadoes, Weather Tagged With: , , , , , , , , , , , ,

Changes Coming to Stormhorn Blog

Greetings, friends and readers of Stormhorn.com!

I want to fill you in on some changes that are in the works for this blog. They’re not here yet, but they are impending, and I anticipate that they will help take the blog, and eventually its parent Stormhorn website, to the next level.

At the moment, the most significant change in the works is a brand-new, custom theme. My lady friend, Lisa, who is absolutely brilliant at website development, online marketing, and all things computer, has been beavering away steadily at the new version. When it is done, this blog will have a new look and much greater versatility. I’m excited about what Lisa has got planned, and I can’t wait to roll it out once it’s ready, see how you like it, and get your feedback.

Concurrent with the new theme, I’ve been thinking about adding an extra element of interest by featuring guest bloggers from time to time. They will be from the worlds of both music and storm chasing. I like the idea of offering you insights and perspectives besides just my own, and I hope that doing so will provide an added value for my readers as well as a positive experience for my contributors.

About my Jazz Improvisation E-BooK: While this project has been on the back burner for a while, I do anticipate picking it back up at some point. I’ve already got several installments written; however,  because I tend to be pretty thorough, each lesson takes me considerable time to develop, and with other more pressing matters to deal with, I just haven’t had time or focus for the e-book. Stay tuned, though, because it is by no means a dead project. As this blog and website continue to develop step by step, I will at some point get the e-book back on track.

So, there you have it: changes are coming to Stormhorn.com, and the first of them is right around the corner. Meanwhile, I’ll continue to post with the existing format, which has served me well thus far. I hope you’ve enjoyed your visits here, and that you’ll enjoy them even more as this blog enters an exciting new phase.

July 28, 2009 by
Filed Under: Band, Entertainment, Jazz, Jazz Improvisation and Technique, Life, Music, Nature, Saxophone, Storm Chasing, Tornadoes, Uncategorized, Weather Tagged With: , , , , , , , ,

Cool-Weather Wall Clouds

So there I was, driving down I-96 toward my mother and sister’s house in Grand Rapids this afternoon, when I saw what at first glance looked like a wall cloud. It looked like one at second glance, too, and third, hanging off of a cumulus tower in the distance.

Severe weather wasn’t in the outlook today, and in fact, the afternoon was coolish and not particularly moist, with spotty showers but no thunder or lightning. I was unaware of any reason to be on the lookout for abnormal weather, though the extent of the vertical development in the cumulus clouds coupled with their nicely sheared look would have been a tip-off under more propitious circumstances.

Anyway, I was intrigued by the cloud formation, but not quite prepared to call it anything more than a lowering at that point. It was falling apart over Grand Rapids by the time I turned north onto the East Beltline. But the show was far from over. Another large towering cumulus several miles to my northwest was exhibiting an even larger, blocky lowering which wasn’t showing any signs of dissipating.

That did it. It was time to get close enough to this thing to see just exactly what it was. This was a simple matter. The cloud was drifting quite slowly, and intercepting it involved nothing more elaborate than continuing north up the Beltline past 7 Mile Road, then pulling into a small turn-in, where I had an unobstructed view from maybe half a mile away.

The cloud was indeed a wall cloud. I could see a weak updraft dragging scud up into it, and even a hint of an RFD. More important, the cloud was circulating–very slowly, to be sure, but unmistakably. As it moved closer, I even observed a small, anticyclonic vortex spinning almost directly overhead. There was obviously enough shear and helicity in the atmosphere to create some interest, and I had a nice front-row seat. Just wish I’d had my camera with me, but as I said, I wasn’t expecting anything weatherwise today that would have made me think to grab it.

What I was seeing struck me as more fascinating than threatening, but I decided to call KGRR and report it anyway, just for the record. The met who took my information said he wasn’t surprised. He told me that the office had already received several reports of waterspouts out on Lake Michigan, plus other reports of funnel clouds. Sounded like a cold air funnel outbreak.

My buddy Kurt Hulst called later to tell me that he, too, had seen a wall cloud over Caledonia from where he lives in Kentwood. If I’d been home, it would have been a front door delivery, but of course I wasn’t. Seems to me, though, that Kurt said he got some photos. I hope so, because I’d like to see what I missed.

Days like today just go to show that the weather does what it wants, when it wants. Maybe the local WFO will offer an analysis of today’s conditions. That would be cool.

Lesson learned: take my camera with me wherever I go.

July 19, 2009 by
Filed Under: Band, Entertainment, Jazz, Life, Music, Nature, Outdoors, Saxophone, Storm Chasing, Tornadoes, Weather Tagged With: , , , , , , , , , , , , , ,

Harlem.org: Jazz History at the Click of a Mouse

Last week, my lady Lisa sent me a link to a very cool website called harlem.org, which invites viewers to “explore jazz history through one photograph.”

Now, the photo in question, taken by Esquire camera man Art Kane, is one I had seen before, and is in fact quite famous. Featuring a veritable who’s who of jazz history, all gathered together on the steps and sidewalk outside an apartment in Harlem, the picture is utterly remarkable. Count Basie, Lester Young, Coleman Hawkins, Dizzie Gillespie, Marian McPartland, Milt Hinton, Mary Lou Williams, Thelonius Monk, Sonny Rollins, Maxine Sullivan, Stuff Smith, Oscar Pettiford…all there, along with many others, fifty-seven in all. The patriarchs and the young lions, side by side.

Still more amazing, however, is how harlem.org has utilized this photo to give you quick, biographical insights into everyone who appears in it. Just mouse over the photo to a general area of interest, click, and that section of the photo is enlarged. Now mouse one by one over the musicians in the enlargement and their names appear in a pop-up balloon. And here’s where it gets good: when you click on a particular musician, a larger window pops up containing a photo and information about him or her.

What I’ve described is just a thumbnail sketch of what the site has to offer. If you’re at all interested in the history of jazz, this website is a must. It’s worth visiting just to see the photo alone, but I promise you, you’ll find much more of value besides.

July 10, 2009 by
Filed Under: Band, Entertainment, Jazz, Life, Music, Nature, Photography, Saxophone, Tornadoes Tagged With: , , , , , , , , , , , , , , , , ,

Waking Up in Dallas

Morning. I’m still in bed, and from the next room, sounds of family are drifting through the door. I’m in Dallas with my sister Diane, visiting with my brother Brian, sister-in-law Cheryl, and little nephew Samuel. Since the last time I saw him, Sam has transitioned from babyhood to little-boyhood. He has acquired a vocabulary, a white baseball cap that it’s very important to wear (backwards or sideways, as is the custome), and a very cool train set that we played with last night.

My lady Lisa is holding down the fort back in Grand Rapids, where the weather is providing a much cooler contrast to the upper-90s heat that’s on the menu for this week here in north Texas. Chasing storms is of course out of the question. I’ve family to visit, a bit of work to do, and in any case, there are no storms. Summer has hit and the atmosphere is capped as tightly as an oil drum. On Stormtrack, chasers are bidding the 2009 chase season adieu. I note that the SPC has outlooked days 5-6, but they’re not using the kind of language that gets me very excited.

I’m keeping this short. I can hear the sound of forks clicking on breakfast plates. It’s time to shower up and get myself going.

June 29, 2009 by
Filed Under: Band, Jazz, Life, Music, Nature, Photography, Recording, Relationships, Storm Chasing, Tornadoes, Weather Tagged With: , , , , , , , ,

Sax on the Beach

Looking north along the Lake Michigan coast at sunset.

Looking north along the Lake Michigan coast at sunset.

Sax anywhere is great, but sax on the beach is fantastic.

Take a Squeegee to your naughty mind. I’m talking about playing the saxophone, thank you, and about one of the places where I particularly enjoy playing it. There’s something very special about heading out to the lakeshore and practicing my saxophone accompanied by the sound of the waves and the cry of the seagulls.

If you follow the jazz side of this blog, then you know that I love to play my horn outdoors. My practice habits are fairly eccentric in that regard. Many years of apartment dwelling, which include neighbors whom I haven”t wished to disturb, have taught me that my woodshed is wherever I choose to make it. The state parks. The cow pasture at the edge of town. Most often my own car, parked by the railroad tracks out in the countryside.

But there’s no place quite like the shores of Lake Michigan.

It’s been a long time since I’ve taken my horn out there, but yesterday provided a reminder of what I’ve been missing. Regretfully, I didn’t have my saxophone with me, but I did have my sweetheart and best friend, Lisa. From our little outing in Muskegon State Park, I thought I’d share a few images with you of…

sailboats out on the waters…

sailboats1

…the north boardwalk along the Muskegon channel…

muskegonboardwalk

…dune grass silhoutted by the setting sun…

marramsilhouette

As for the great sand dunes that are one of the hallmarks of this beautiful state, I’ve already given you a glimpse of them up at the top of the page, but the really imposing dunes lie in the northern and southern ends of the Lower Peninsula. Perhaps in another post I’ll include some shots of Sleeping Bear, Warren Dunes, P. J. Hoffmaster Park, and Nordhouse dunes–vast tracts of sand, marram grass, and wooded dunes that reflect the wild beauty of the Michigan outdoors. It is a wide open sublimity that speaks to something deep inside me, and that has colored the music I play for many years.

One of these days soon, I will visit the lakeshore again–this time with my saxophone, to serenade the gulls, the waves, the far-stretching sands, and the setting sun.

June 26, 2009 by
Filed Under: Band, Jazz, Life, Music, Nature, Outdoors, Photography, Saxophone, Tornadoes Tagged With: , , , , , , , , , , , , , , , ,

The Loudest Sax Player Ever

My friend and fellow musician Dave DeVos once told me, “You are the loudest sax player I’ve ever known.”

His words weren’t a compliment, just a statement of fact tinged with a slight mix of incredulity and annoyance. I’m a very loud sax player, much louder than I realize. As the old cliche says, I don’t know my own strength.

Of course I can play softly, but soft is not my default mode. Part of that is attributable to my horn, which is an old Conn 6M “Ladyface” that is very good at translating the air I move through it into immense volume levels. Another part is due to my mouthpiece, a Jody Jazz classic #8. But I think the main reason I’m a loud player is directly linked to the guy behind the horn. I just seem to have a knack for massive sound output.

I wasn’t always a loud player. I entered my freshman year in college a quiet young saxophonist. My sound at the time was styled after Tom Strang, a local alto man who owned a jazz bar in Ada called the Foxhead Inn. Tom had a smooth, mellow sound, very pleasing to the ears. He was not a loud sax player.

As an early influence, Tom’s tone pointed me toward a somewhat Desmondesque approach, not exactly the kind of robust Cannonball sound that could melt the wax in a listener’s ears at 100 feet. It was more a kind of foofy-foof-foof tone–subdued and, I thought, pleasantly sophisticated.

It was this mellow, sedate sound that I brought with me to the student big band at Aquinas College, where I sat under the august directorship of jazz professor Bruce Early. I was assigned to the first alto chair, and my lack of experience was such that I felt eminently qualified to fill the position. Clearly word of my abilities on the sax had preceded me, and Bruce had simply placed me where he knew I belonged. First chair. It was inevitable.

I’ll never forget my first awakening to the possibility that maybe I wasn’t all that and a supersized order of fries. The band was playing through some tune I’ve long since forgotten, and in the middle of the chart there was space for an alto solo. Cool. A chance for me to show my stuff, give Bruce a taste of my chops. I launched into the solo. Foofy-foof-foof, I played, subtly, while the rhythm section whanged away.

Bruce stared at me. “Play louder,” he said.

Ah. Louder. Okay then. Foof-foof-foofy-foof! I declared, in a volume that could almost be heard from ten feet away.

Bruce’s stare became a glare. “Louder!” he barked.

My gosh, what did this guy want? Here I was, foofing as loudly as ever I had foofed, and Bruce was calling for more.

I returned his glare with a desperate glance.

Foof? I played. Foofy-foof!

I was trying, but I quickly trended toward the softer, cocktail lounge volume that I was used to.

That did it for Bruce. “BLOW!!!!” he yelled. “For crying out loud, BLOOOWWWWW!!!!!!”

Some of the more seasoned musicians snickered, and my face went red as a beet. Hell’s bells. Fine, if it was volume Bruce wanted, I’d give him volume. And I did. I had a lot to learn about embouchure and tone production, but at that point I instinctively dipped into the raw essentials, filled my lungs with air, and blew my ever-loving cheeks off.

From that time on, while Bruce yelled at me for any number of things, my volume level wasn’t among them. He never again complained that I was playing too softly. Nor has anyone else, for that matter. Not ever. I’ve played with highly amplified blues bands and church worship teams and outblown them without using a microphone. I’ve been asked plenty of times to turn it down a bit, please. But no one has ever come to me and said, “Could you play louder? I can barely hear you.”

Just ask Dave. He’ll be glad to tell you, as soon as his ears stop ringing.

June 22, 2009 by
Filed Under: Band, Christian Music, Church Worship, Entertainment, Humor, Jazz, Life, Music, Nature, Relationships, Saxophone, Tornadoes Tagged With: , , , , , , , , , , , , ,

June 19 Central Illinois and Indiana Storm Chase

Approaching our storm from the north near Normal, Illinois.

Approaching the storm of the day south of Normal, Illinois.

After Iowa’s blue-sky bust on June 18, yesterday provided some welcome and much-needed activity. Between illness and May’s ridge of steel, my chase expeditions this year have been limited. The Edina, Missouri, tornado of May 13 has been my only tornado to date for 2009. Yesterday did nothing to improve that statistic, but it did offer a vigorous, classic supercell with some great structure that ensured my 1,650-mile, two-day chase with my buddy Bill Oosterbaan wasn’t a complete washout.

For that matter, storms did finally fire in eastern Iowa, and while Bill and I were too late to catch the big mutha that slammed Prairie du Chien (Ben Holcomb, if you happen to read this, great job on tracking that beast into the hills and jungles of Wisconsin!), we did manage to latch onto the one that followed in its footsteps. But I’m no fan of night time chasing and neither is Bill, and knowing the kind of topography that lay to our east once we crossed the river, we dropped our chase at Prairie du Chien and found ourselves a hotel.

After a decent breakfast yesterday morning, we were on the road by noon and headed south. The SPC showed a moderate risk for a large area extending from Iowa and Missouri east across the corn belt and Great Lakes. With a continuation of yesterday’s huge CAPE and good bulk shear, a widespread severe weather outbreak seemed like a sure bet. However, veering surface winds and unidirectional flow seemed to put the kibosh on chances for tornadoes in all but a few areas to the east, where helicities improved, particularly around 21Z.

As we approached Davenport, Iowa, heading south, we could see towers muscling up along an east-west boundary that transected Illinois south of the I-80 corridor. Catching I-80 east, we could see new cells firing up farther to the south on GR3. With a Kankakee target in the back of our minds, we decided to drop toward Normal on I-39.

By the time we drew near the town, the northernmost storm was showing rotation on the radar. The tower was just to our west, and as we proceeded down the highway, the updraft base came into view, dominated by a well-developed wall cloud.

Wall cloud on northernmost storm.

Wall cloud on northernmost storm.

We headed for an intercept, tracking with the storm until it began to degrade. Meanwhile, another cell to the south was strengthening and beginning to exhibit distinct rotation on SRV, so with the storm we were on mushing out, we abandoned it in favor of the second, rapidly intensifying supercell.

One heckuva hail shaft or what?

One heckuva hail shaft or what?

This bad boy had an impressive hail shaft, if hail is what we were actually seeing. Maybe it was just plain old rain with a bit of hail mixed in. The reason I wonder is because of the paucity of hail reports. We got tapped a bit as we closed in, but mostly we just encountered buckets of rain. Whatever the case, the updraft tower with the sunlit precip column was a beautiful sight.

Second storm showing hail shaft and updraft tower.

Second storm showing sunlit precip core and updraft tower.

After working our way south of the storm’s rear flank, we proceeded east and finally gained some good, clear views of the business end. Tracking with it from near Urbana through Homer, Fairmount, and Westville toward the Indiana border, we were in a good position to enjoy the structure as the storm went through several cycles.

Rotating wall cloud.

Rotating wall cloud.

Just east of Homer, the wall cloud tightened and I could see rapidly circulating cloud tags descending toward the ground. We pulled over to watch. The rotation wasn’t far away–maybe a quarter of a mile–and it appeared to be moving toward us. This was strange as we were southwest of the wall cloud, but you can’t argue with a developing tornado. With the updraft approaching to within a couple hundred yards of us, Bill seemed intent on analyzing why the storm was acting so peculiarly, while I favored beating a hasty retreat and working out the behavioral aspects of storm circulation from a somewhat greater distance. Storm chasing sure has its interesting moments.

No tornado materialized, the storm headed east, and we continued on with it. I noticed a couple of tornado reports from around Fairmount and Westville, but while I suppose it’s possible that there was a brief spinup or two, Bill and I never saw an actual tornado. We did witness a few times when the wall cloud began to torque  pretty intensely, and I sure wouldn’t have wanted to be directly below it.

The whitish wall cloud is half a mile from us and rotating vigorously.

The whitish wall cloud is half a mile from us and rotating vigorously.

Possibly a funnel cloud at this point.

Possibly a funnel cloud at this point.

But from the time we first intercepted it to the point where it finally began to fizzle 120 miles later west of Crawfordsville, Indiana, the storm was outflow-dominant. Never once did we enounter surface inflow, though above ground level, I’m sure inflow was strong. In Bill’s words, the circulation kept reaching toward the ground, looking for something to grab onto, but it never could manage to root and produce a tornado. If we’d had backing winds…if the helicities had been there…I’m sure the storm would have been a potent tornado breeder. It never got its act together in that regard, but I doubt the communities in its path felt terribly disappointed, and from my perspective, the storm provided an interesting chase with some very nice moments.

Last gasp: wall cloud at US 41 west of Crawfordsville, Indiana, shortly before the storm began to collapse.

Last gasp: wall cloud at US 41 west of Crawfordsville, Indiana, shortly before the storm began to collapse.

For sheer structure, the “Danville supercell” was interesting and photogenic, with some nice RFD slots wrapping in, and, toward the end of the storm’s career, with a classic, stack-of-plates mesocyclone that was as nice as anything I’ve ever seen. (Sorry, no photos–the ones I have didn’t turn out well.)

One downside to this chase–and it is a big one–is that somewhere between Homer and US 41, I lost my camcorder. It wasn’t a pricey camcorder; it was a used Sony that I bought from my friend and fellow storm chaser Kurt Hulst. But it has done me good service over the past year, and I hate to think that it is presently sitting out there by the side of some Illinois backroad. What’s even worse is, my video of this chase is in it.

The drive back to Grand Rapids was a long one. I arrived at my apartment around 2:30 a.m. and collapsed. The chase was fun and I think I needed it, but it’s good to be back home with the love of my life, Lisa, whose bright eyes and beautiful smile warm my heart wherever I travel.

June 20, 2009 by
Filed Under: Band, Music, Nature, Photography, Saxophone, Storm Chasing, Tornadoes, Weather Tagged With: , , , , , , , , , , , , , ,
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