April is kicking March's ass.

I'm listening to THE Jazz Show hosted by Gavin Walker at this moment. It's an episode from a while back, featuring the album Sonny Side Up by Dizzy, Sonny Rollins, and Sonny Stitt. It's nice to listen to jazz after a couple weeks of ignoring it. It's like getting a serious dose of reality!

But the reality I've been living in is pretty boss, too. Utopian, really. On April 1, I got a very unpleasant fine on the skytrain, and had to find myself some way of paying it. So I immediately began experimenting with busking. I actually paid the fine within about ten days. And now I can basically say I have a part-time job where I set my own hours, I work outside in the gorgeous weather, and I get paid way above minimum wage in cash. An ideal job.

And outside of that brilliance, Veronica played a gig with Thee AHs at the Cultch on the 11th. Two five-song sets. She played a bit of sax, but is mostly on bass duties now, which she likes more anyway. Here they are playing my personal favourite song of theirs, Strange Little Scene:


They're going to be playing a gob-smacking set of hits tomorrow at Heritage Hall at 7:00, and again at Lugz cafe (main and broadway) on friday at 9:00.

Furthermore, I went and saw Spirited Away and Princess Mononoke at the Rio with Fab a while back. They were absolutely stunning, and went well with the cherry blossoms lining the streets.

The middle of a wednesday

Yesterday, after two weeks of half-hearted looking, I finally found my olive-green notebook from 2006. It contains Occupant lyrics, other lyrics, lists of my favourite albums (which haven't changed too much, which is either good or totally embarrassing), guitar riffs, band names (some of which I still think are really great), and notes on a board game that Stella and I were developing. It's quite the thing to find.

But today, I'm actually in a state that I very seldom fall into. It's a state that can really only be brought on by one's own laziness, or in this case, being blase about all the things that are available to me in my abode. That state is the mental poison known as boredom. I tried figuring out the chords to The Best of Jill Hives by GBV, but I was highly ineffective. I kept thinking, "there are probably only about 4 chords in this song, all of them barre chords, but I just can't get them!" Eventually I cracked and looked it up on the internet. I soon found a tab that sounds really quite accurate, and was astonished to see chords like Amaj7 and E/D# smattered in there! So that's what I get for underestimating rock music...

I also called a few people, but none of them answered their damn telephones! I guess they have call display, eh?

Well, here are Thee Ahs featuring that divilishly attractive Veronica girl:

On the Roof

Hello there children,

Back in merry old August, Fab and I played a couple of tunes out at UBC. I thought I ought to post a tune from this landmark performance. It's a tune I wrote called On the Roof, and as you will hear...well, it's pretty sick.

Click here!

You can't really hear my spoken invocation at the beginning; basically, I'm just saying, "Close your eyes and picture rain as you hear this."

Pile o' paint scrapers

So now my exams are completely done with (as of this morning). I have to pick up my report card from school on thursday between 10 am and noon, which sounds shifty. They might as well say "come to the back door and knock three times" as well.

Nils, Fab and I all rolled down to hear some ear-splitting noise at the Roundhouse last night. A cool $26 to see Evan Parker (tenor only, sadly), Barry Guy (baez and paintbrushes), Paul Lytton (drums and objects), and Agusti Fernandez (pianoforte and some kind of brick), plus The Thing with Ken Vandermark. The latter act I had never heard, so the whole event was more explosive than I could have imagined. This was my first 'free music' concert, and I couldn't believe how much better it was live!

When we sat down, Fab and I gathered round the Village Elder, Nils, and he told us many tales of the realm of free jazz. He was talking a lot about how one person might play something, then another will pick up on it/react to it, and it might just ricochet through the whole band. And when they came on, it didn't take much hard listening to notice this kind of thing; it was happening the entire time!

Paul Lytton's drum kit was surrounded on all sides by various objects on the floor, such as sticks, small cymbals, wooden frogs, paint scrapers, shells - anything that made sound. Which is everything. Most of the time he'd be reaching onto the floor to grab something new and putting it in the pile on top of his snare drum. It got full up there, so stuff was falling off constantly.

I find I like Barry Guy's playing best when he's on his own, but he wasn't without his highlights. The best part was when he had something that looked like a hairless bow shoved up under the strings, and whenever he touched it, it would rock back and forth, making a really cool sound.

Fernandez I hadn't heard more than about a minute of before. He looked conspicuous, because while the other three band members were wearing all black, he had on this lipstick-red shirt. He looked like Florian Schneider on the cover of The Man Machine. Anyhoot, he made fine use of harmonics on the piano throughout, and of course wasn't afraid to play using his elbows.

I wasn't familiar with anyone in The Thing or Ken Vandermark, but they were a treat. Interestingly, where the Evan Parker band would play in a sort of straight line, moving wherever they happened to move, The Thing tended to sort of build more. The two horn players, Vandermark and Mats Gustafsson, constantly played off each other; one might start a riff, and the other might either play lines over it or kind of expand it.

The ultimate treat with this band was, of course, getting to hear TWO baritone saxes at once!

Little sunflower

The second jazz piece Fab and I ever learned, yet no recordings have arrived on the internet yet! Well, here's one from the End cafe from March 23rd. Fab's not on this one - he had something fah more important to attend to than play some trivial cocktail music - if he was, the recording would go up on glissando. Some new material will be appearing on that page soon.

Steve Kaposy - drums / Jason Walters - tenor / Jerry Boey - trumpet / Ian Cameron - bass / Yiorgos - organ / Ridley - alto / Jim Burns - guitar

Click here!!

Another entry about jazz at the End cafe? Boring!

That may seem like the case, but it's quite different now, because I'm not just listening anymore. I wrote a journal about it on January 27th.

Original title:
"Why this journal is late"

The reason I couldn’t submit this journal last monday is simple: I didn’t have time to write it on the weekend, because I was getting ready to play at the End Café on sunday night. So now I figure that I ought to write about what that was like.

Two sundays ago, The Fab and I were listening to live jazz at the End Café, as usual. Then Jason, the tenor player, came up to our table and asked, “So, when are you guys gonna come and play?!” “When we’re good enough,” I replied. “If I waited until I was ‘good enough’,” he said, “I would never play.” He made us promise to bring our instruments the next week. So we did.

We had four songs in our repertoire: “Equinox” by John Coltrane; “Little sunflower” by Freddie Hubbard; “Tune-up” by Miles Davis; and “Mr. P.C.”, also by Coltrane. I had been nervous the whole day. When I stepped onto the stage, though, all my questions of “What scales should I use?” etc. just disappeared. The band was Jason, Ian (bass), Graham (drums), and Jim (guitar). Ian began playing the distinct intro to “Equinox”¹. I was standing next to Jason. Were we going to play the melody together, or would I play it on my own? I opted for the former. Then, when it came time for solos, Jason and I soloed at the same time (I guess you’d call that a duet). This went on for some time - the drums got louder and more intense.

One of the most interesting things about the experience was finally being able to hear what musicians talked about on stage. Jason was guiding me through it: “After this bass solo, there will be a drum solo, then there might be a vamp coming up, or we might just go straight back to the melody, so be ready for that.” The said drum solo was incredibly dynamic - during one insanely quiet bit, I was kneeling right next to the bass drum, wondering if anyone else could even hear it.

We then played “Little sunflower”, and took a break. Fab and I returned to the stage at about twenty-to-nine for the last two songs of the night - “Tune-up” and “Mr. P.C.” Both were much faster then we were used to, and the band was bigger - we were joined by Jerry (trumpet) and another Jim (alto). There was also a different drummer, Alicia. My solo on “Tune-up” was probably my best that night, and Fab’s solo on “Mr. P.C.” was explosive. Jason told us, “You’re welcome to come back and play any time you want.” It was an excellent learning experience.

And That is why I didn’t do any homework last weekend.

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1: “Equinox” is most commonly played in the key of C minor, but according to The Jazz Theory book, “the best players like to play it in its original key, C-sharp minor” (the latter being a harder key to play in). When Jason asked which key Fab and I played it in, he was quite impressed that we fall into the “best players” category.
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We played the following week as well, but only on two songs, and took a break on the third week. This coming sunday, we'll play again, and just an hour ago I learned a new song: "Maiden voyage" by Herbie Hancock. I'm going to aim to learn Wayne Shorter's "Footprints" soon as well.

Man from another place

In the last couple of days I've been experimenting on the newly acquired pianoforte, or forte as I tend to abbreviate it to. It's been called 'piano' for so long (when it should have been called pianoforte) that we must even it out. For every time it's been called 'piano', we must call it 'forte'.

I had been meaning to record one of these improvisations, because I thought it may help me to come up with some ideas. So today, I did just that. I'm presenting the improvisation here, in four sections. The total run time is about nine minutes. The website I'm using to publish them is new to me, so I'll link directly to the files.

The first section, Land of Sketchy opens with one chord repeated a few times in the bass, then the right hand enters and plays extensions of the chord before playing a very brief melody. An arpeggio in the deep bass ensues. Then more chords, with fairly fucked-up-sounding extensions. Then some large, hopeful chords mutate into horrible wrecks(melodic ones) and it ends with two blasts of, um, death.

The second section, I can't get comfortable is mostly a slow melody in very low registers. The notes slowly link and form a chord, which is repeated ploddingly while some high melody notes enter (again, altered extensions). The bass notes then crawl lower into extremely low registers, and the high melody continues. When the melody has finished talking, the bass thinks for a minute and then stops.

The third section, Hm(sigh). is very short and probably my favourite of the four. It opens with a mournful bass arpeggio that I most certainly will be using in the future. You're hearing it here first! Cookie contributes percussion and then chords, extensions, melodies succeed. It keeps its mood for a while, then begins to see the light. Then it gets extremely frustrated and it kills itself. Dramatic! But if you're not paying attention it will appear to fizzle out meaninglessly(and boringly).

The last section, Blunt Instrument emerges with a quiet percussion intro. Some seemingly happy chords begin and establish a 3/4 beat before minor extensions prevail. It speeds up and gets quite riled up, relaxes for half a second, then accelerates intensely before the percussion and plucked-string outro.