Promises Broken, Promises Kept

Full body scanners are all the rage these days. Your junk and your trunk are not safe from the government groping, there is probably medical danger (x-ray radiation and back-scatter x-ray radiation), and, really, flying is just not fun anymore.

Land of the free? Home of the brave? Why do x-ray techs wear those lead vests anyways?

They also say (whoever THEY are) that the images from your body scan will be destroyed immediately.

According to an article at gizmodo.com, "At the heart of the controversy over "body scanners" is a promise: The images of our naked bodies will never be public. U.S. Marshals in a Florida Federal courthouse saved 35,000 images on their scanner. These are those images."

And, of course, those images are up for public viewing. Imagine that.

Shocking right?

Did the government lie?

Probably.

Check that: YES.

You know who doesn't lie?

BMR4, that's who.

Our CD release party for the new record, "Fixing a Hole", is on Nov. 21 at Martyr's in Chicago. You can view the invite and all the details for the show right here.

Truth: music to your ears.

So it goes.

Science and Sounds (and squirrels)

I was sitting on my deck this morning, coffee in hand, observing the various sciuridae (squirrels).

They were doing what they always do: running, jumping, digging, etc.

One said sciuridae made a spectacular leap in which he/she/it jumped from one tree-branch to another, and then proceeded to use the second branch as a catapult to get to a third branch.

So it makes me think, "Do squirrels have a fundamental understanding of physics?"

Ok. Strange, I know.

But what's not so strange is that my way cool band, the most excellent BMR4, will be performing a CD release concert on Sunday, Nov. 21 at the glorious and family friendly Martyr's, 3855 N. Lincoln Ave. in Chicago.

At long last, BMR4 will be releasing the new record- an extended EP entitled "Fixing a Hole", featuring selections by Lennon/McCartney and Chicago legend Herbie Hancock, among others.

We're really excited about the record and we want you to come. It's an early concert, we're doing one set, and it's all ages. Bring your kids, your friends, their friends, everyone.

It's only a $5 cover charge, the kitchen will be open, and...
EVERYBODY WILL GET A COPY OF THE NEW RECORD!!!

(when I say record, I mean that you get a CD or a download card- your choice. Maybe next time we'll have vinyl)

We're asking for $15 for the disc or $10 for the download card. If you can swing that, great. If you want to pay less than that, no problem- pay what you're willing/able. If you think that it was only worth the price of admission, don't sweat it. Seriously. It's free, if you want.

The point is that we WANT YOU to have our music. So please come to the concert.

http://bmr4.com/
http://martyrslive.com/

(We'll also have copies of our previous recording "Turning Point"(CD's only), as well as our debut recording "BMR4".)

So it goes...

BMR4 Year in Review

So it's the end of November, Thanksgiving dinner has been eaten (in some cases multiple times), the holidays are in full swing, and the year is coming to a close.

All in all, it was a good year for my jazz group, BMR4. We've done a bunch of cool gigs all over the area, and have had some fine moments as a band. No doubt, the solid gold dancers at the Halsted Market Days festival will register as highlight numero uno (at least for yours truly.)

What we've got left is going to send out 2009 with quite a bang. Among other things, we'll conclude our Thursday night residency at Andy's Jazz Club, with performances on the first 3 Thursdays of December. Those gigs are always a blast, and we look forward to it every time.

December 9 is certainly a date to circle on the old calendar (do people still use those? besides me, I mean?) We'll be performing a special concert in honor of the late Master, John Coltrane at the Jazz Showcase in Chicago. It is the 45th anniversary of the release of the legendary "A Love Supreme" album, and we're going to give our homage and interpretation of the record (wish us luck! a bold challenge, for sure.) We'll also be performing other Coltrane favorites that have come through email requests (if you haven't made one yet, there's still time.)

This, proudly, will be our first time at the Showcase, so we hope that you can make it out for that one. It's a FREE concert, and sponsored by WDCB, 90.9 FM, College of DuPage (special thanks to Ken Scott for the continued support of BMR4 and live jazz in Chicago.)

With that, we've got 2010 ahead of us. 10 years of BMR4. That's a long time. So what does a decade old band do?

New stuff, of course!

We did a record a few years ago that we never released. It was to be called Fixin' a Hole, with that tune (yes, the Beatles' tune) as the lead track. Back then we were, um, how shall I put it, broke. We couldn't put it out, nor could we get someone to do it with/for us. But that was then, and this is now, and we think that we should be able to do something with it. This will most likely be released as a digital download only. We're thinking about doing that so that you can hear new stuff, and we can spend the time to do it all right.

And by the way, we're still less than flush, so if there are any patrons of the arts out there...

ahem, anyways...

We've also got a few things cooking in terms of recording new material. It's been about 2 years since we released Turning Point, we've finally broken even on the project, and so it's time for something fresh (not that you shouldn't pick up another copy or 2 as a worthy stocking stuffer for that special someone.)

We've been writing some stuff, we've been talking about other tunes we'd like to tackle, and we're just about at that point of getting that proverbial ball rolling. There's been some talk among us that maybe a few guests will join us on the record. We've worked with a lot of great players over the years, so that might be something for us to consider.

Last but not least (another stupid cliche. ugh!), we've gotten together all of our recordings from the Morse Theater shows that we did in the beginning of the year. There were six performances at the now defunct venue (too bad, it was really nice,) and we were fortunate enough to have had them all recorded. We got a lot of good material covered, with some very good performances. There's certainly a record in there somewhere (it's something like 19 hours worth of music- including sound checks, some of which weren't half bad.) We shall see what we come up with. Stay tuned!

Of course, the band would like to give a special thanks to the vocalists who participated on the shows with us: Lisa Roti, Allison Ruble, Nicole Kestler, Typhanie Monique, and Petra van Nuis. You all did a fabulous job.

No matter what, though, live music IS best! Please continue to support it wherever you are.

So it goes...

Shameless Promotion- Band Photos

I'm doing a gig at the world famous Jazz Showcase in Chicago in mid-December.

It should be pretty cool. It's the band's first time in the place and we're gonna do an all-Coltrane (all the time) performance, including every selection from the great Love Supreme album.

No cover charge (try getting that from your doctor.)

Ooh and aah.

Just like any other company offering goods and services (are we still clinging to capitalism in the wake of nationalized banks and compassion for insurance companies' well being and proper place in society?), we need to promote the event in hopes of attaining fortune and glory and money for parking.

So we had a post card printed up with all of the info for the gig at the Jazz Showcase on Dec. 9 starting at 8pm. Maybe you are on our list to receive said postcard via U.S. Mail (another foolishly outdated institution.)

The card also has a band photo.

"So what?" you say?

Well, as any of you who have spent time in the trenches on the road know, EVERY band has to have a band photo. It's part of the package. So the group dons it's "look", whatever that is, which has absolutely nothing to do with whether or not the band is any good (and usually they're not.)

For the rest of you, who have not seen the latest action shot of Dr. Love and the Milk Monkeys, there is a great website that I was turned on to by my friend, colleague, and bass player of BMR4, Chris Bernhardt, who incidentally will be performing on Dec. 9 at 8pm at the Jazz Showcase in Chicago.

The website is http://www.rockandrollconfidential.com/hall/index.php

Check it out. It is one of the funniest things I've seen online that wasn't dirty or banned in Southern states.

806 S. Plymouth Ct. in Chicago at 8pm on Dec. 9, by the way.

So it goes...

Rolling Along

For those of you that have been wondering about me (and I'm sure that number is quite large), I'm alive and well and rolling right along.

Like a stone, as one might say.

Autumn always seems to bring a lull with it. Things have certainly slowed down. Guess that's why they call it the fall (whoever "they" are).

The summer, for both the working player and the weekend warrior that undercuts the working player, is and was lively and full of action. Lots of fun was had by yours truly. I had a great deal of work with both the Lonnie Brooks band and the BMR4, as well as the fine Mississippi Heat and Matt Stedman bands. I did a gig with an old pal, Vince Agwada, and another with an even older set of pals (Ron Shanaver, Buzz Kilman, Pat Brennan, "Dangerous" Dave Forte, and the All Bubba Blues Band/Heirs of Moe.)

Neil Young wouldn't have been prouder.

I also did a few clunkers. You know, the gig was average, the band (and the dough) was only average, the venue was average, and the wardrobe was average (if you look like a hack...)

But that was then, and this is now, and there's only looking forward. And even though things drop off a bit right about now, meaning the bread gets lighter in concert with the workload, it's by no means a disaster. Simply an adjustment in lifestyle.

And it is a lifestyle, not just a job.

Which is why it kills me that some of these younger cats out there can be so shortsighted. As you have by now surmised, I recently did a gig with a young bass player (always with the bass players.)

Green as a frog.

To again quote the late, great L.C. Walker (it's becoming routine these days, it would seem): "Let me elucidate."

You gotta do what you gotta do, and I understand that. But if you're gonna go ahead and take that $50 or $75 gig (yeah, I hate it too, but sometimes...,) the first thing to remember is that it's not really a good idea to bitch about it while you're on the gig. Nobody wants to hear it. Not the other guys in the band (they're getting screwed too, don't forget,) not the band leader, and certainly not the boss at the gig (even though he knows he's screwing you.)

Complaining will only give you a bad reputation in your young professional life. And since I am looking over at the kiddie table, remember that you don't exactly have one yet. We all deserve to make more, but we took the gig and that's that. If you really don't dig it, then don't do it (and believe me, I've turned down as many cheap-o gigs as I've taken.)

I know you think you're Jaco (who?), but, um, you're not. Maybe someday though.

Doesn't really matter if you're perceived as a whiner right out of the gate.

It's easy to find someone who'll do that $75 hit for 50, know what I mean?

The other thing you shouldn't do is spend half or more of your dough at the bar. It's not the smartest thing to be doing, don'tcha think? I mean, if you're complaining that the money's low, and you deserve this and that and such and such and your rent is due Monday and you gotta pay your over charges on your phone bill, then it's probably not a good idea to just give your paltry salary back to the boss.

Like I said, he knows.

As for me, I just roll along. Taking the good with the bad. Keeping my complaints close to the vest. Staying in the good graces of band leaders for the side work that fills in some of my blank spaces (which means I've got dates to fill. Don't be shy in calling.)

So it goes...

Be Happy and Gay- Market Days

The band (BMR4) played Market Days, yesterday.

Boystown, Chicago style.

What a good time! I gotta say, I can't recall a gig where the BMR4 Solid Gold Dancers actually showed up. (There's a reality show in there somewhere.)

The Halsted St. Market Days festival is one of the best in the city. Just like any of the various city festivals throughout the summer, there was a lot of food and music and vendors peddling their wares.

The difference between this particular festival and all of the others is that Market Days draws a truly diverse crowd. Usually, on the North Side, the "mighty whitey" reigns supreme at these summer fetes. Such was the case of an unnamed "retro fest" that was a mere block from the home of yours truly.

That really says something about Chicago. You see, we Chicagoans tend to think that our city is diverse and international.

Except we're not.

Sure, there are representatives from hundreds of other countries and cultures located in Chicago. There are many languages, a lot of interesting food, et al. But as I've pointed out in previous posts, Chicago is still very much a racist city.

At Market Days, though, you'd never know it. You get all kinds of people: gay (the dominating group, natch), straight, black, white, boys, girls, Latino, Asian, Democrats, "greenies", and even the usually-despicable Republicans.

Sure, they're welcome too.

And you know what? Everybody got along swimmingly (likely, the appearance of the Village People played a strong part in the harmonious vibes and good karma.) I didn't see any fights, I didn't notice any thick-necked frat boys being obnoxiously loud and, well, obnoxious. I didn't hear anybody complaining about activities that other festival-goers were indulging in (use your imaginations, you dirty dogs.)

I saw one guy sitting up against a street light and, um, napping. He was covered in dry puke; pretty sure it was his own. So he was obviously sitting there for quite a while.

Nobody hassled him, even (although we all had that, "Poor bastard," thought going through our collective heads, I'm sure.)

Even the police presence was minimal, it seemed (for Chicago standards, anyways.)

Isn't it ironic that the gay population (not only in Chicago, but all over,) an oftentimes persecuted group of people, throws the best parties (if you are of the gay population, I suppose you wouldn't call it ironic. Normal is probably a better word.) I mean, gay people party with reckless abandon. I don't think that any other group can claim that accolade any more. So long as blood is not drawn (unwillingly, anyways,) you can do what you want in the gay community. Nobody cares.

Everyone, seemingly, gets it.

I find it funny, for sure. After all, I'm in the biological white guy club, I just don't subscribe to a lot of "our" propaganda. Rules for having a good time? Do this, don't do that, can't you read the sign? Stay within the barbed-wire fenced in area? No smoking here? No drinking there? God forbid there's a little weed floating around. And aren't you just a little too happy? Please, you're an embarrassment.

This has everything to do with my profession of choice. As a musician, I've seen the changes in attitude over the last decade in terms of the people coming out to have a "good time". As a result, I've seen the results of the change in attitudes. When I was a young pup coming up through the ranks, most people still knew how to have a good freak out. Music clubs were full all the time. People came out eagerly (yes, yes, I know that it's always been tough to get people to come to your show) and regularly.

Regularly is the key word, I think.

Do kids even have fake id's anymore, or has everyone become just completely addicted to Guitar Hero instead of actual guitar heroes (or are you just petrified of having "youthful indiscretions" on your "permanent record"?)

Since the regularity factor is taken out of the equation, and since there are so many rules to follow, attendance has taken a steady nose dive. Clubs that were hoppin' are now scaling back, whether it's the money the musicians make, or just the number of days the club has music. A lot of festivals have cut their budgets, cut the number of days (hmmm, the Chicago Blues and Jazz fests come to mind,) or just quit altogether.

Sure, the economy is bad, but the laissez faire attitude of so-called party people is worse.

This is a big and diverse world that we live in. Don't forget how to have fun and be happy and gay. People certainly haven't in Boystown.

So it goes...

Music on the Move- Madrid?

In my musician's life as the (always trying to be) consummate professional, the gigs I have allow me to travel all over the world.

All of you regular readers surely know this (and are no doubt sick of hearing about it, too.)

Sometimes, the trips (within the States, usually) are boring and less-than-glorious, usually because our accommodations are in the middle of Nowhere, ID, with nary a sign of, well, anything (except for maybe the Sam's Club parking lot right outside my window at the Super 8.) Promoters will generally put the band up in the cheapest (and least expensive) place that's possible. It's almost always many miles outside of the town we're actually working in. And since we are relying on the gig for all of our ground transportation (forget your public options- there are none), we essentially end up stuck at the hotel doing nada.

Not exactly the best way to get geared up for a show (if you've ever wondered just how so many musicians can end up as alcoholics and drug addicts, well...)

Sometimes, though, it's completely amazing and mind blowing. Usually it's an overseas trip. That's where I have the most fun, European countries in particular. We almost always stay in the center of whatever town we're in, there's plenty to do, and there's plenty of public transportation (very inexpensive, too.)

So whenever I cross the sea, I'm usually thinking about what it would be like to live there. It's very different over there than it is here, and there are so many things that are appealing to my sensibilities.

Mainly, it's the fact that Europeans are so much more relaxed than Americans, working to live, rather than living to work (note to the powers-that-be: universal health care, and not insurance, is a key reason for that enviable attitude towards life.)

Here, in Chicago, I've got it pretty good, I must admit. I get to play with Lonnie Brooks, one of the last of the great Chicago blues men. He's the one that always takes me on the road. It's going on 8 years now, and I've played around 500 shows with him. I also get to play with BMR4, one of the best, most working jazz groups that you'll find almost anywhere. Not only are the guys in this group top-notch, but they're also my friends, which is who we all really want to play with anyways.

Chicago has a lot to offer a musician. There's a lot of work here for us.

This city also does everything that it can to make life very inconvenient for it's citizens, whether it's taxes (highest in the nation), scandalous corruption, parking meter fees that have quadrupled, or simply winter.

Just as an aside, the guy on the radio right now is ripping the city apart, talking about selling naming rights for everything under the sun, as Chicago desperately needs cash as a result of dismal city management:

"Rename the expressways. The Planetarium. The Aquarium."

"The Oxy-Clean Aquarium in honor of the late Billy Mays. It's easy to get to, plenty of parking (since nobody wants to pay the damn meters), and just off of that famous road, IKEA's Lake Shore Drive.)

So what would it be like, then, living overseas? For a guy like me, I mean. Could I actually do it over there? A certain girl in my life sure seems to think it's easy.

I tend to think it's easier said than done.

But then again...

I've been to Spain twice, now, within the last 3 months. It's an impressive country, to say the least. Inland or on the Mediterranean coast, the country is beautiful. You can go everywhere by train or bus without it costing a fortune. They're quick, they're very clean, and they're always on time. There's no screwing around, there.

Madrid is undoubtedly my favorite city. It's not as international, as European, as Barcelona is. It's not as expensive either (Barcelona is on par with London in terms of cost of Living, meaning sky high.) No, Madrid is very much a Spanish city. I was really impressed with the people, the food (oh, the food, yum,) the architecture, everything.

Businesses (almost all of them) close between 2pm and 5pm for siesta. People are very relaxed and seemingly happy with life.

Personal freedoms seem to not be constantly and incessantly legislated (the United States of No).

Cops seem to not come off as jack-booted thugs.

You can still smoke in bars.

Loved it.

Maybe this is the place.

I had been told ( I was asking around before I had left Chicago) that Madrid is not really a music town. It was a late-night town, to be sure, but not so much for live music. DJ's and dance clubs were the thing, with live shows going (gone) by the wayside.

That turned out to be not the case. In fact, I went out every single night I was there and saw a show. It seems that you'll find the live shows between 11pm and 1am, and then the clubs become DJ spinning night clubs.

Seemingly the best of both worlds.

One night it was a big band at a place called Bar Co., where hash smoking is overlooked, but being barefoot is not. Another night it was blues at a club called Junco. The group (Juan Bourbon, Juan Scotch, and Juan Beer- seriously) was a very traditional 4-piece, fronted by a harp (harmonica) player, nailing all the tunes from the likes of Junior Wells and Sunnyland Slim note for note (Europeans actually tend to learn songs from the records, I've come to learn, very much like the Japanese blues players.)

I saw flamenco music at a small taverna in the wee hours of the morning, the audience consisting of me and my ex-pat (white) friends and a group of around 25 hairy Spanish Gypsies (I looked the part, though, ahem.) There were 2 men singing and one other playing guitar. If I didn't know any better, I'd say that this music was nothing more than Spanish blues. There was a repeating form in the music and the words were obviously improvised. The players were fierce and passionate. Truly, this was one of the most unique concerts I'd ever seen. And it wasn't even a concert. It was very informal (of course it was, it was 3am!)

All of the performances I saw were very well attended, and I was out and about during the week, not the weekend. People were obviously very much into seeing live music.

I also found a "roots and grooves" jam session at a cool place called La Boca del Lobo (the mouth of the wolf- sweet.) I gotta say, it was on par with the jam sessions that I go to at Buddy Guy's Legends, albeit with the European perspective of the blues. There were a lot of players that had shown up, and for the most part, they were all pretty good. Certainly better than serviceable. Plus, there was not a whole lot of attitude oozing from musicians that you are apt to find at Buddy's.

I got to play a lot that night. After all, I was the only American there, and from Chicago, no less. The Spaniards were as excited to have me there as I was just being. Needless to say, I am fortunate to be able to carry a certain mystique with me, being in that "drummer from Chicago" category.

Big fish in a small pond, you know?

It was actually a very diverse group of folks and not just Spaniards. I met a bass player from Argentina and a singer/guitar player that came from Paris (she was real good.) We all had James Brown and Albert Collins in common, so we were able to have a real good time together.

We talked about the scene in Madrid over cocktails bought for me by the host of the jam ("That was in-cred-eeeeeee-bul.")

They, of course, were wondering about what work was like in the U.S.

So it goes...

Life in Music- Subbing Out

I've had to sub out of a few gigs as of late.

I hate having to sub out.

For those of you who are not down with the music biz jargon (and that's all it is, believe me,) "subbing out" means that you can't make a gig you agreed to do, for some reason or another, and someone else gets the call and does the gig in your place.

They also cash the check in your place. Grrr.

Subbing out is part of the deal of being pro. If you are fortunate enough to have a steady gig with steady work, like the Lonnie Brooks Band affords me, then you don't have to deal with it too much.

Why, you ask? Because I'm not taking a lot of gigs from other people, so I rarely have to sub out of something in order to do a Brooks gig.

But I do have to sub out of certain gigs to some extent. Even though the gig with Brooks is a very good gig, it only goes so far. I've been in the group for 8 years, now, but I'm still just a sideman, not the boss. This means that the gig will come to an end at some point (all gigs come to an end.) Which means that I can't just rest on my laurels. I've got to have other work (all working players work with several people.)

So I take a few side jobs. I make calls to people seeing if there's anything out there. People will also (hopefully) call me.

I've even got my own group (so as not to have to rely on the phone ringing my ENTIRE career.)
Between that and the random side work, some of those dates will, undoubtedly, clash with the Brooks band schedule.

Which means that I sub out when I need to, and someone else ends up getting my dough.

Of course, when you sub out, there's always a risk you run: losing the gig to someone else (meaning you won't necessarily get another call for another day.) If you can't make the gig, someone else will (obviously). If they are better than you are, or more reliable, or more likable, or more punctual, or more whatever than you are, then you might fall down a few spots on the call list.

Another revenue stream dries up.

For now anyways. Sideman gigs always seem find their way back to you.

Eventually.

That's how it goes. Not having your phone ring can be a harsh reality. Let's face it, the main reason why you're having to sub out is because someone else is offering better dough for the same day, and since you're just a mercenary (like the rest of us...)

Which means, of course, that we bring our misfortunes on ourselves, searching for that elusive gig that actually IS going to pay you what you think you're worth.

It's not like the guy/gal hiring you is concerned about your finances. They've got their own fish to fry. You're just an interchangeable cog in their (not your own) enterprise.

I'm in a pretty fortunate situation, though, because I'm generally only subbing out of a gig that is mine. Meaning I'm not a sideman in this group, I'm an owner.

I don't have to worry about losing that gig to someone else.

I still hate subbing out.

So it goes...

Life in Music- Your Red Shirt

So I've got this gig at the United Center this week. My group, BMR4, will be performing pre-game grooves for the Bulls' fans and those of their ilk.

A good mixer for nacho consumption, no?

It's a regular gig that we get each year, good for about half a dozen jobs each year. Since the Bulls made the playoffs this year, we get extra work, starting this week.

Not too shabby.

I like the U.C. gigs. They're relatively painless, as there is only 1 set lasting about 85 minutes.

"Hit it and quit it," as the Godfather of Soul, James Brown, used to say.

I'm also done at 7pm, which means that I can still dance the night away (or do another gig, if only the damn phone would ring.)

Like I said, the gig is painless and easy, for the most part (the security shakedown is still a waste of time, though.) This time, however, a rather unusual request was presented to us: we needed to wear red shirts (Bulls colors, you know).

It's not the first time we've had to put on the proverbial monkey suit. Sometimes (actually, every time, now that I think about it) we have to wear a lapel pin with the name of the night's sponsor. Usually, it's a bank or some big-money institution. It's usually ugly, obviously annoying (it's not like we're getting extra dough for being a walking billboard), and ultimately silly.

But we do it. We need the gig. Everyone needs to hold on to their gigs these days.

So I'll wear the red shirt, artistic integrity still in tact. I'll even smile.

I should wear red shoes, too. Maybe a red wig and nose, too.

So it goes...