Video of May 13 Edina Tornado

My tornado videos to date aren’t of the best quality, but I’ve decided to put my footage of Wednesday’s tornadic supercell up on YouTube anyway. It’s not the greatest, but it’s not terrible, either, and it does provide a record of the storm from our vantage point on SR15, approximately two miles north of Edina, Missouri, that other storm chasers may find of interest.

Please note that I do know the difference between a beavertail and a tail cloud–I just got my terminology turned around. Also my sense of direction, in saying “counterclockwise” when I meant “clockwise.”

Nuff said. Hope you enjoy the video.

“Oleo” a la Hancock and Brecker

How about a romp through Rhythm changes? I’m always intrigued to see the different ways that master musicians handle that most contrafacted of all chord progressions besides the blues. The tune in this case is “Oleo,” and the band is Herbie Hancock, Buster Williams, Al Foster, Bobbie McFerrin, and Michael Brecker.

The YouTube video you’re about to see is a truly weird, creative, and delightful rendition, with McFerrin scat singing and acting a total goofball…and obviously having a blast. But I don’t think there’s any doubt that while these guys are just dinkering around, loose and laughing, the level of musicianship and interplay is monstrous. And need I say, Brecker delivers on the tenor sax.

This is a funny, fun, and really insane musical excursion that I think you can only loosely call “Oleo.” But you’ve heard enough from me. Give the band a listen.

Rick Margitza Plays “My Foolish Heart”

The chest congestion that has dogged me since Saturday has blossomed into a very nasty cold, with a cough that concerned me enough that today I finally went to see the doctor. He slapped the stethescope to my chest, I breathed deep, and he said, “Oh, yeah.” Meaning, meds needed.

I now have two pills under my belt out of a 10-day, 30-dose prescription. If there’s any consolation to this, it’s knowing that I’m in the process of finally knocking this bug out after it has done such a thorough job of making my life miserable these last few days.

So I’m not going to write much. Instead, I’m going to share with you this YouTube link of tenor saxophonist Rick Margitza playing My Foolish Heart with the John Fedchock New York Big Band. Rick is an astonishing player–a stunning virtuoso with a magnificent command of the altissimo register, a beautiful and inventive use of angularity, and always, a very pretty, almost delicate tone that treats a ballad with great tenderness and sensitivity, even in the midst of  a torrent of ideas. Listen and be amazed.

And with that, I’m signing off and making myself a cup of tea.

An Amazing Evening with Guitar Prodigy Monte Montgomery

Ho.

Lee.

Cow!

Monte Montgomery is an unbelievable acoustical guitarist!!!!!

Please note that I, a professional writer, have just used five exclamation marks, a breach of good grammar and nothing the inexpert or fainthearted should attempt unsupervised. But last night was definitely a five-exclamation-mark event.

Monte’s little trio is a gnarly bunch. His backup players are young musicians, and Monte and his bass man look like they could have been cast as the two mountain men in the 1970’s movie Deliverance. But man, can they play! It was an honor to open for these guys with Ed and the band.

I’m pleased to say that our own quartet performed seamlessly, and we sounded about the best we’ve ever sounded. For homegrown talent, we were a great first act. But Monte’s band sounded exactly like what they are: well-rehearsed, seasoned road warriors who play the living bejeebers out of their instruments night after night, have spent plenty of time tightening down some imaginative and challenging arrangements, and communicate well with each other onstage.

The concert was held in the performance room at the front of The Intersection in downtown Grand Rapids, not the huge concert hall in back. This smaller venue made for an enjoyable, intimate setting that seemed to draw the best out of Monte. He has a comfortable, easy manner with his audience and clearly enjoys interacting with them, trading banter and showing none of the airs that I’ve seen some of the musical aristocracy display. Just a down-home cat you could sit down and drink a beer with and who, by the way, happens to be phenomenally gifted.

But “gifted” doesn’t mean Monte’s guitar chops–and, I should add, his superb vocal abilities–were handed to him on a silver platter. No one plays at that level without working hard to achieve it. I don’t know why Monte and his band aren’t far more widely recognized, but I have the sense that he’s doing exactly what he wants to be doing and cares less about fame and fortune than about playing world-class music in venues where he can connect with his listeners.

My mother and sister made it to the concert, by the way. It was neat and kind of touching to look out into the room and see my mom’s white puff of hair out there in the audience, listening at age 83 to probably her first-ever rock concert. Which is how I’d categorize last night: a rock concert. Monte ain’t about jazz, folks. But he’s got elements of pretty much everything thrown into the mix, and I’d imagine he and his players could hold their own in a straight-ahead setting.

Monte closed with what appears to be his trademark tune, “Little Wing.” His rendition of the famous Jimi Hendrix standard will take your breath away if you’re ever fortunate enough to hear Monte and the band. Here’s a video clip to give you a taste. Get ready to become a believer.

“Clair from the Moon” by Joseph Raciti

I received a link to a video clip along with the following email today from a musician named Joseph Raciti:

I had a sneaking suspicion that this little short might interest you and the readers of your blog for its jazzy spin on Debussy’s “Clair De Lune” and the windy conditions the main character is in.

I checked out Joseph’s clip, and I agree with him. Joe has put together a jewel-like little piece of creativity with some very cool jazz piano playing.  Naturally, I got curious about Joseph’s blog overall. I was not disappointed. It’s clearly the product of an artistic mind–well-written, colorful, and studded with other video vignettes similar in spirit to the one he’s shared here.

Update: Joe’s blog evidently has been taken down since I wrote this post. Unfortunate. I’m removing him from my blogroll, but I wish him well on his further creative ventures.

Storms of 2008 DVD

I just received my new Storms of 2008 DVD in the mail a couple days ago, and I have to say, it’s fabulous! Having been thoroughly smitten with its predecessor, Storms of 2007, featuring its remarkable coverage of the historical Greensburg, Kansas, EF5 tornado, I was skeptical that any subsequent effort could live up to such high standards. But I have to say, this latest in the celebrated “Storms of…” series has more than met the challenge. Simply put, this is a stellar work, and if you’re at all a fan of storm chasing, you need to buy it, period.

And when you make your purchase, know that your $24.95 goes directly to helping disaster victims across the United States. The “Storms of…” series is an organized effort on the part of the storm chasing community to make a tangible difference in the lives of people who have been directly affected by severe weather and other natural disasters.

Judging by the remarkable footage in this DVD–often sublime and at times mind-boggling–you’d never guess that it is a grassroots effort. Yet, as with all the videos in the “Storms of…” series, Storms of 2008 is strictly a product of the storm chasing community. As such, it is a tour de force of the remarkable talent pool within that community. Videographers, meteorologists, seasoned storm chasers, gifted amateurs…all these and others besides have worked hard and long to produce a world-class video and a true labor of love.

The history-making Super Tuesday Tornado Outbreak that scoured Dixie Alley on February 5…the late-May tube-fest that blotted SPC storm reports with red for the better part of a week…the beautiful Dighton wall cloud…the Quinter EF4 duo…the tragic Parkersburg, Iowa, EF5…they’re all here plus a whole lot more, complete with synoptic analyses and topnotch narration.

Am I saying that you have absolutely gotta, gotta, gotta purchase this exceptional DVD? Yup, that’s what I’m saying. Just do it, okay? You can thank me later for being so pushy. Your money will help to make a real difference in people’s lives, and trust me, you’ll love what you get in return. Storms of 2008 is the definitive anthology of last year’s convective Armageddon in the United States. Buy here. Or visit the Storms of 2008 website to obtain more information and view a video trailer.

To the devoted cast of producers, editors, and engineers who faced the challenges and frustrations of making Storms of 2008 happen–BRAVO! And thanks!

Phil Woods and Jackie McLean Play “Cherokee”

I love playing the Ray Noble tune “Cherokee.” It’s a classic bebop vehicle, and the bridge section represents a respectable knuckle-buster for even the more accomplished players. “Cherokee” is typically played anywhere from up-tempo to way, way, way up-tempo. I like to play it fast, but I’ve got my limitations. Once I hit around 300mm, I’m scrambling to stay on top of things.

Maybe one day, if I practice reeeaallly hard, I’ll be able to play it almost as well as these guys. Here are Phil Woods and Jackie McLean playing “Cherokee.” Sit back and get ready for a real bebop tour de force by two virtuoso, veteran alto sax players. Each is a distinct, mature voice in his own right, but here you can tell they’re both unabashed Bird disciples. The ideas don’t stop, and they’re dripping with classic bop vocabulary. Amazing, and a pure joy to listen to.

Another Hartig on Saxophone?

I came across this interesting YouTube clip by a fellow saxophonist named Tom Hartig. Naturally, I was intrigued to see what another person who shares both my last name and my passion for the saxophone is doing musically. I wasn’t disappointed. This guy has a nice little sample clip that demonstrates a unique, original, meticulously arranged approach that manages to meld a strange, haunting, even slightly disturbing feel with lyrical beauty.

Tom’s clip is well worth checking out. In his note, he says he hopes you’ll buy his CD. I do too, and I may pick up a copy myself. After all, we Hartigs have got to stick together. And I assure you, having listened to a couple of Tom”s other video clips from years gone by, that the man can really play the sax.

Subconscious-Lee

When you think of original voices on the alto saxophone, Lee Konitz inevitably comes to mind. A student of blind pianist Lenny Tristano, Konitz unites a limpid tone with fluid technique and a unique, uncliched melodic conception.

I find interviews with jazz musicians fascinating, and in previous posts I”ve included links to clips featuring both the playing and the personal insights of Sonny Rollins, Bill Evans, and Michael Brecker. Now joining them is this video segment from the television show The Subject Is Jazz featuring a young Lee Konitz and tenor compatriot Warne Marsh playing the tune “Subconscious-Lee,” followed by a brief but interesting interview with Konitz.

I’m struck by Konitz”s early tone–clear, pretty, and creamy. His sound has evolved quite a bit since then, and possesses an unmistakable, instantly recognizable signature quality. Melodically, note Konitz”s use of sequence, and his ease of interpolating unusual, more angular ideas into his lines. The tune, and both Konitz”s and Marsh”s playing, showcase fabulous technique masked by a cool, intellectual approach. Standing in the hot shadow of the boppers, Konitz offered a thoughtful and engaging alternative.

Michael Brecker on Practicing

Oh, man! Gold mine! Check out this video of Michael Brecker talking about his practice regimen.

I find two things particularly noteworthy:

1. As phenomenal a saxophonist as Michael Brecker was, he never considered himself to have arrived. He continued to practice voraciously, experiencing the same ebbs and floes in his woodshedding and musical growth as anyone else.

2. Michael was always reaching for new ideas. But it took him a long time and hard work to master those ideas. In his own words, he was a slow learner.

Huh? Brecker–slow? Gee, I guess the guy actually had to pay real dues to become as good as he was.

One aspect of inspiration is encouragement. I find it encouraging to think that Brecker was actually human. He didn”t just come out of the womb playing the saxophone that brilliantly. He sweated over his instrument.

Of course I already knew that. Still, listening to those recordings of Michael, I lose track of the fact that he wasn”t superhuman. Gifted he was, most definitely, but he still had to do what any of us have to do in order attain proficiency on our instrument: practice. Hearing someone who played at such a high level talk so openly and humbly about his personal challenges in continuing to grow musically…well, it just helps, that”s all. I mean, for all the time I”ve spent working on my horn, I sometimes get discouraged thinking how much I have yet to learn, and how long it has taken me just to get to where I”m at.

So I appreciate a guy like Michael Brecker sharing so transparently. His doing so helps me realize I”m no dummy. I”m just normal. And I”m in pretty good company.

Kudos, by the way, to Jazz-Sax.com, where I found the above YouTube clip. It”s a site you”ll definitely want to check out and add to your bookmarks.