big ole butt

when i was a kid, i had posters on my walls.  posters i bought with my own dinero.  i had magic johnson, dwight gooden, and walter payton posters, both of them those autographed sports illustrated posters.  i had a small paula abdul poster next to a janet jackson pull out poster from some magazine.  i had a cool dj jazzy jeff & the fresh prince poster one on wall, and a breakdance how-to poster on the back of my door.

but the crowning jewel was an awesome ll cool j poster.  he was rocking the kangol, the four finger ring that said Cool J, and a fat gold chain. (which has become an inside joke in our family) (we've got a lot of these).  

i taped i need love off the radio and pumped it in my walkman until the cheap tape wore out.  i bought bigger and deffer from easters (the catch-all store in town, with groceries and all sorts of and other stuff).  i was taken with the cool kangol and bought into the rivalry with kool moe dee.  walking with a panther was next on cassette, and i couldn't stop listening to it.  plus, i really wanted those panther contact lenses he was wearing, although i don't wear contacts now because i can't stand to touch my eyeball (or watch others do it either).  i bought both cassette and cd versions of mama said knock you out.  i got into bench pressing weights after watching uncle L put up stacks in the title track video.

*i need love - when i'm alone in my room sometimes i stare at the wall
*i'm bad - forget oreos eat cool j cookies
*goin back to cali - she says she likes the ocean
*jingling baby - prominent dominant mccoy and i'm real
*around the way girl - with your new edition bobby brown button on your sleeve
*the boomin system - C to the O to the O to the L to the I to the N to the F to the R to the O to the N to the T to the I to the N ... that means i'm chillin

the misnomer in jazz music (and music school shit, btw) is that you have to like that particular type of music exclusively.  wanna be an opera star?  start listening to pavarotti and callas.  jazz tenor player?  get some coltrane and dex and sonny and check back in two years.  concert pianist?  rubenstein and horowitz, but be careful with the gould.  YES you should be checking out this stuff so you can know how high the masters have set the bar, but NO need to quit digging the music that turns your crank.

so yeah. i like ll cool j.  always have.  he turned 42 today. happy birthday james todd smith.  i'm still working on that lip lick move.

chasing a different carrot

i have never been enthralled by big band music.  a variety of reasons, i suppose.  i admittedly rarely listen to it on recordings, and occasionally check it out live.  i don't know a lot about the history of that style.  i appreciate the writing and arranging when listening and playing, but have a hard time getting comfortable with the multitude of concepts of time and swing and intonation amongst the players.  i like reading, but wish there were more opportunities for blowing. i don't double, and don't plan to start.  yet, i enjoy doing big band gigs and get a kick out of leading my own group.

i've got friends that really dig this music, who run their own bands, and i absolutely respect their tastes.  i value their friendship and acknowledge their musicianship.  nothing personal at ALL ... big band music just ain't my thing.  i played it a bunch in college and do some occasionally now, and that's plenty for me.  my head is into other stuff.

last night, i had the pleasure of playing with the jazz coalition big band, under the direction of my great friend russ kramer.  he is a music nut, a mobile jazz encyclopedia, a clever trumpeter, a quick-witted audio sabelotodo.  he has assembled a working big band, with a monthly club date in the sleepy town of mason city and some occasional concert work throughout the state.  they play good rep, can fill many solo spots, and keep a regular roster of players that help with continuity and ensemble sound.

this is not a picture of the band.  

they don't rehearse.  some of the guys are band directors while others have regular day jobs.  the gig  doesn't pay.  we had a false start on a tune.  but that's not the point...

the folks in the band are positive.  they all seem to truly enjoy being there.  nobody is bitching about the money or passing blame onto others when the form gets botched.  they hoop and holler for good solos.  they laugh at russ's jokes (which are generally pretty funny).  they take the gig seriously, but not themselves.  they are considerate, sharing solos and deferring to others.  they actually give me plenty of solo space and are very supportive of my sonic explorations.  their personal stories are interesting too. one gal just got married and talks to me about how to use my digital slr camera.  one guy introduced me to his young boy, whom he is raising all by himself.  another talked with me about his three sons coming home for christmas.  one guy is in his 70s, and his joyful approach to life and music is infectious.  these are my friends...

and they can swing too.  sure, there are reading mishaps and chipped notes and sluggish tempos every once in a while.  but there are also plenty of nice ensemble moments, some authentic and inspired solos, and an encouraging vibe amongst bandmates. they have a large following of appreciative listeners of all ages, who understand the etiquette of jazz performances.  they eat, drink, and i even saw one guy turn off the tvs by himself (after the packers game, of course).

i am blessed to have the opportunity to play with these folks from time to time.  i drive 80 minutes one way for no money, but leave with a blackened chicken sandwich for the road, a stack of cds that russ has burnt for me, a bunch of new knowledge about the history of this music, and a smile across my face the size of texas.