
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.
Wednesday, November 17, 2010
Promises Broken, Promises Kept
Monday, November 15, 2010
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...
Thursday, May 7, 2009
Who Writes the Songs?

I know a lot of songs.
Rock songs. Blues songs. Jazz tunes.
Hundreds of them.
I'm not talking about just sort of knowing the songs. I know them: I know the arrangements; I know the lyrics; I know the guitar licks and horn lines; I know when to take it to the bridge (if there's a bridge for it to be taken to.)
When you do work as a sideman, you gotta know tunes.
Some cats, when you call out a certain tune, they just say something like, "Yeah, I think I remember that one. What key is is in?" That's usually code for, "No, not really, but I'll give it a whirl because, you know, I've heard the song dozens and hundreds of times, but I've never really sat down and played it."
They might even actually have a copy of the song somewhere.
Then the song, generally, proceeds to get butchered.
Now when I say butchered, I don't mean like a full blown train wreck (although that still happens too, some times.) I mean that it's just not played right. And when you're not playing it right, that means that you're playing it wrong.
Born Under a Bad Sign (Albert King) is one of the most wrongly played blues tunes out there that I can think of. It's also a song that just about everybody "knows". When you call that tune, and someone asks what key, they actually mean it, oddly enough. There certainly won't be anything even close to a train wreck. But when it's (inevitably, usually) played incorrectly, the band is usually (inevitably) unaware.
Because they probably never really listened to Albert King's version of it. They've only heard the version(s) that are played live on stage night after night.
The song works, sure. It might have even been a stellar performance. But when you play a song wrong, it's still wrong.
Which still means not right.
The audience usually is unaware of these type of things, hardcore audiophiles notwithstanding (are there any, anymore? just asking.) Maybe that's how some cats justify not learning how to really play tunes correctly. Even when they've flubbed a song the night before, and they know it will be called again tonight, they generally don't seem to take the time to listen to the song.
Did I mention that musicians have big egos? Especially us pros. We don't like to be told how to play, yours truly included.
However, for those of you out there who are getting their feathers ruffled a little bit as you read this little nugget (guilty as charged, I suppose,) let me just remind you that there's this great new invention called the Internet. A quick search will allow you to listen to just about anything you want to hear right now without ever having to leave the house.
If not for the sake of personal pride, then know this: learning tunes will make your job as a player that much easier. It won't be as much work, so to speak (we're all used to not much work, eh?) You'll be able to have more fun, as a result, which is why we do this in the first place, really.
Is that why we do it?
When you really know the tunes, then you can really play. It frees you up and allows you to make full use of your vocabulary. Ultimately, it makes you a better player all around. You don't have the crutch (see excuse) of not having a copy of the tune.
Listen to it. Learn it.
A large repertoire is a life's work.
So it goes...
Thursday, February 26, 2009
No Regrets, No (Re) Morse

Last night was the last night for the Wednesday night jazz series at the Morse Theater in Rogers Park. I've been playing for that since the beginning, which was last December. We had expected to enjoy a long residency there, shaping and forming a weekly event that we had hoped would have caught on as a regular "jazz thing" in Chicago.
If you've not yet been there, you're just about too late.
The organic menu, along with the spectacular boutique wine list, is gone, although the physical bar/pub part of the facility remains. So much for the idea of dinner and a show. Of course, they still have some food service, but only minimal. Just enough to satisfy the liquor license regulations.
There are also, still, a small handful of concerts that are coming up in the next few weeks; events that were booked a while ago. Deposits have been paid, tickets have been sold, etc. Some shows, however, had to be cancelled. No reasons given, although one could speculate if one wanted.
One doesn't.
After those shows are over, that, as they say, will be that. The venue, in it's present form and incarnation, will cease operations. The short story is that the investors don't see eye to eye with the folks running the day to day operations. So the investors are pulling out, taking their proverbial ball, going home, and calling it a partnership. Barring any unforeseen love and affection between the two sides, or a sudden enthusiasm for a long and dragged out lawsuit on management's part, the worst can be expected.
Which means that yet another Chicago music venue is closing it's doors.
Another one.
It's a shame, really. There were lots of big plans in the works for the future. On the Wednesday nights, alone, there were plans for a Freddie Hubbard night, a Fathead Newman/Ray Charles night, and a tribute to Impulse Records, which was to feature a sextet of some of the heaviest of Chicago heavyweights (yours truly would have been included in all of it).
We were drawing an audience, too. Not an easy thing to pull off on a Wednesday, let alone in the winter, in Chicago. Brrrrr.
The ideas and plans that we had were ambitious, innovative, and, most of all, creative. Oddly enough, though, it appears that this particular business venture, which was creative by nature from the beginning (music venue, hello...), is going to be lost for exactly those reasons I just gave.
Creative projects generally instill fear in financiers (we used to call 'em patrons) these days. Better safe than sorry and all that jazz.
No pun intended.
Too much dough was spent on this place. Millions and millions of ducats. So it is doubtful that it will just be shuttered. The Morse is a state of the art place, physically and technologically. So something will live and breathe in that building when all is said and done. Will it be a theater? A dance club? High end restaurant?
All of the above?
None of the above?
Whatever the case, another really cool gig is gone. Eventually, there just won't be any good ones left. Lord knows, clubs are dying slowly and steadily and Live Nation is poised to take over the universe. Eventually we'll all be wedding singers.
So it goes...
Thursday, February 19, 2009
The Drummers
The drummer is the most important person in the band.
Even if the band has Pete Townshend AND Jimmy Page in it.
Over the weekend, we lost one of the last of the great jazz drummers, Louie Bellson. You can read his bio on your own time, if you want, but one of his major "claims to fame" is that he was one of the first to use a double kick (two bass drums, simultaneously, for those of you lacking music jargon in your vocabulary).
The last time I had the good fortune of seeing him play was at the Jazz Showcase, Chicago, when the club was in the Blackstone Hotel. Right upfront, too. I was blown away.
He was awesome, in a word. Smooth, powerful, tasty, and, above all, musical. Duke Ellington once called him the best MUSICIAN in the world, not just a drummer.
Just a drummer. Humph! Never should you say that. At least not when it's a good drum
mer.
Especially when it's a great drummer.
The drummer makes it all happen: the energy, the timing, the dynamics, and most of all, the attitude. It doesn't matter if you're playing the loudest,
most rocking, hard-core, slamming metal, or the sweetest, loveliest, most touching ballad. The attitude is everything. The attitude, like the drummer, defines the band.
If the drummer's great, then chances are that the band is too. If the drummer stinks, then chances are that the band does too. And if you change your drummer, then guess what? You change your band. Period. Even with Pete and Jimmy as band members. The Who has never the same without Moon, and Zep without Bonham is precisely why they've never reunited for anything long-term. I, for one, have no desire to see the Who (or a Zep reunion, which will never happen), and they were the best! All because of Moon.
Louie had it. Buddy Rich had it. Gene Krupa had it. Art Blakey (MY fave) had it.
I have it.
I wish I had it like those guys.
So it goes...
