Antennae Town by uglyrug

More updates coming. Thank you for your patience.

It’s true. On March 6th, we played at the absolutely magnificent Teatro Manzoni, an 800-seat theater right in the heart of Milan. We sold out the show, and the audience was so gracious and beautiful.

After the show, the audience stuck around and asked for autographs. I sat on the lip of the stage, and as I signed the programs, people touched my hair. When I looked up and smiled, they reached up and touched and held my face– it was the most beautiful, moving thing. Unfortunately, I only speak third-generation bastardized Italian (think Sopranos), but we didn’t need words to know that we made a real connection.

We played two shows: one at Mesa College, and the other at Dizzy’s (both on Wednesday, November 3). We enjoyed highly appreciative and responsive crowds, a band that is sounding tighter than ever in its new-old incarnation, and a presenter who really took care of us (the one and only Jim Romeo).

After the Dizzy’s gig, a few of us crashed at Romeo’s gorgeous home in the San Diego hills, an experience that made me think that maybe there is a future in this jazz thing after all. Here’s the view we woke up to:

Anyway, a splendid time was had by all, and blah blah blah. Made it back to PDX without incident. Two days later I found myself in the Alberta Rose Theater, listening to the Quadraphonnes (featuring IJG saxophonist Mary-Sue Tobin) perform their much-anticipated “tone-color-melody” concert, a multimedia extravaganza that I was very honored to be a part of. This show was, as Ellington used to say, “beyond category.” You can hear most of the tune I wrote for the Quads (+ marimba, cellos, and rhythm section) in the below clip. (Apologies for the unsteady camera. I swear I wasn’t drunk.)

All in all, a fantastic week.

(Now to start preparing for our trip to Italy.)

Introducing “The Seagull.”

First, live audio from the Hammer Museum show on August 19. The sound of the IJG in a big courtyard, at night. This was in fact the first time we had played this tune in public (I believe the technical term is “world premiere”). The trumpet solo is Dan Rosenboom, the tenor solo is Brian Walsh, and the alto solo is Evan Francis. Jill and Tany do an incredible seagull impression at the end.

(It sounds like someone in the audience breaks a glass at around the 17 second mark. Huh?)

Overall, not a perfect performance, but not a bad one either, and the energy is pretty intense, which I like.

The Seagull by uglyrug

And here’s the same tune the following night, at Dizzy’s in San Diego. You can hear the trumpets a little better in this one, so some of the time displacements might make a little more sense. Video courtesy of Tany Ling / Matt Lichtenwalner.

Thanks to everyone who came out to our SoCal shows last week. I’m going to post a rundown of the music we played on both nights (both shows were basically the same), starting with set one, which was as follows:

1. “The Truth and the Abstract Blues” (from Industrial Jazz a Go Go!). At one point, our drummer, Dan, asked for some chord changes to be written into his part to help him keep track of the form of this piece, which was dropped from the set back in 2005. In the process of doing so I realized that “Truth” is actually pretty polytonal in spots. I guess the effect is almost like having three or four different blues records, in different keys but at the same tempo, playing at once. Oh yes, and the title is an obvious inversion of a favorite Oliver Nelson album.

2. “The Bee Dance” (unreleased, though you can hear a rough mix on the ReverbNation player widget, off to the right there). With any luck, this tune will appear on the next album. Though the composition dates from 2007, it wasn’t until 2008 that the arrangement fell into place. Based on one of our heavier grooves, this particular arrangement is adjusted slightly in order to make the Rimsky-Korsakov references a little shinier.

3. “Howl” (from LEEF). Like “Truth,” this one is heavily blues inflected. The title refers not so much to Alan Ginsberg (though I love Alan Ginsberg), but to Chester Burnett (aka Howlin’ Wolf), whose importance to me is somewhat greater: without him I might not even still be making music. It is probably easy enough for the other Wolf fans out there to disentangle the various lupine riffs that have been folded into the first part of this piece. Exhibit A: the trumpet line at about a minute in (again, you can check the version of “Howl” that is cued up in ReverbNation player if you’ve never heard the tune), adapted from the classic Roosevelt Sykes song “44,” of which my favorite version is still Wolf’s. The whole thing ends with a rather dissonant vaudeville two-step sort of thing. Because why not?

4. “The Seagull” (unreleased). One of two brand-new tunes we performed on this tour. There is some serious time displacement nonsense happening here (7/4 against 8/4, or some such thing). I’m not sure I understand it, actually, and I know for a fact that I can’t let my guard down for a second in performance, because there is so much to concentrate on, but I swear the whole thing makes sense once you know how it all fits together. Take away the time madness, and you’ll find the song is based on a pretty simple set of riffs, one of which is very firmly in the “surf sax” genre. You can hear some of the craziness excerpted in this lo-fi video (note how at various points my conducting doesn’t seem to match up with the actual piece — even though I swear it does). Also, this one was originally called “The Pelican,” until I realized it sounded much more like a seagull.

5. “Bajaja” (unreleased). Wow, this is yet another thing you can hear on our ReverbNation player (a veritable potpourri, that). This is a Go-Go era song, and it almost made it onto that album, but was dropped at the last minute, for reasons I don’t quite remember. The tune takes its cue from the Baja peninsula, SoCal culture in general, and Mingus’s New Tijuana Moods stuff. The last time we performed it was in 2005.

6. “The Star Chamber” (from The Star Chamber (duh!)). One of the harder tunes in our repertoire, not least because of the infamous letter E, in which one portion of the band is in 13/8 and another portion is in 13/4. “Chamber” dates from 2002, making it one of the older things in our current set. I think that the next time out I really need to re-insert the piano part (a la the album version), but for this last tour I was too busy trying to make sure everything fit together the way it was supposed to.

7. “Antennae Town” (unreleased). Another one that I hope to have on the next album. A rather sharp shift from “The Star Chamber” in the context of this set, as “Antennae” is an unabashedly melodic and singable tune. I have to say, this is one of my little babies.

8. “Tuxedo Trouble” (from City of Angles). Comically, the twitter pseudo-avatar “Jazz Nerds International” recently posted a tweet that refers to audiences sitting on their hands in the presence of a song that happened to be in 11/8. This tune is in 11/8! (Most of the time, anyway.) And yet people danced when we played it. I guess that’s more evidence that the IJG is not nerdy enough to be jazz nerds, but too nerdy to be jazz non-nerds. Great.

9. And what better way to end set one than with “Jazz-Pop Jerkoff” (unreleased, slated for next album)? Apparently this one caused a bit of a titter in the audience when I announced it, because of course we were performing as part of the Hammer’s “JazzPOP” series, and there was a gigantic sign that said “JazzPOP” hanging right above us as we played. I swear that was just a big old coincidence.

Next: set two.

photo credit: Steven Noreyko

Just when you thought it was safe to go out and hear a show… California, here we come.

On August 19 the Industrial Jazz Group will be at the beautiful Hammer Museum, at 10899 Wilshire Boulevard, in Los Angeles, as part of the museum’s JazzPOP series. If you don’t know the Hammer, check out their summer performance schedule, and you’ll get an idea of why this is such a cool gig. 8 PM, Free. Also: partially funded by Leonard Nimoy. (No kidding.)

On August 20 we return to a venue that has been a long-standing favorite for us: Dizzy’s in San Diego. Located in the San Diego Wine & Culinary Center, at 2nd and J Street. 8 PM, $15 ($10 for students). It’s not necessary to drink fine wine to enjoy our music, but it certainly doesn’t hurt to do so.

We’ll be debuting a slightly revised edition of the group at these shows:

Cory Wright (sax)
Damon Zick (sax)
Evan Francis (sax)
Brian Walsh (sax)
Mary-Sue Tobin (sax)

Dan Rosenboom (trumpet)
Josh Aguiar (trumpet)
Kris Tiner (trumpet)

Mike Richardson (trombone)
Ian Carroll (trombone)

Damian Erskine (bass)
Dan Schnelle (drums)

Tany Ling (vox)
Jill Knapp (vox)

Andrew Durkin (compositions, conducting, piano)

We’ll also be playing some new (and some new versions of old) IJG music. A splendid time is guaranteed for all.

it’s fucking hot, getting worse

I wrote this on April 30th, 2010, so forgive the present verb tenses:

I had to go to the Claymont post office today to mail some stuff. As I was walking out, I heard some music blasting from someone’s car stereo. I walked through the parking lot towards my car, and I saw a mid-20s guy with long hair sitting in his beater with the windows down, unabashedly rocking out to In the Air Tonight. He was waiting for the big drum fill of awesomeness, and he was singing along in full voice, shamelessly.

I smiled to myself at his I-don’t-care-who’s-watching groove, and I walked to my car. But then I thought hmmmm… wait a minute.

I turned on my heels walked over to his open drivers side window about 35 seconds before the big drum fill (Well I remember…and I remember don’t worry…), and as he looked up at me I said, “Dude, I just need to hear the drum fill.” He gave me that 100% acceptance nod because he totally knew that this was a necessity. It wasn’t weird at all; no pretense. It just was two people about to ROCK.

And then… “The hurt doesn’t show; but the pain still grows / It’s no stranger to you or me!”

DUD-DAT, DUD-DAT, DUD-DAT, DUD-DAT, DJAT! DJAT! / DOOM dugga djat-jat etc. etc…

I played some delicious air drums! He banged on the steering wheel!

And after a few seconds of the chorus had passed, I said “Thank you!” and he said, “Right on!” and I walked to my car to drive away, both of us wearing doofy grins of pure happy.

By the time I got my car started and my seatbelt on, the guy had gotten out of his car and walked over to mine to wave goodbye.

That was it.

I love people.

So with that said, what are your favorite drum fills? You know, the ones where you can’t turn off the song until you’re basking in the drumfill afterglow? These don’t have to be epic “quaalude thunder” fills; I also wanna know about the delicate pizzelles of drum fills.

• So the obvious one is In The Air Tonight. Duh.
• Durkin’s post mentions D’yer Mak’er by Led Zepplin… also fabulous.
• Neil Peart’s killer fill in the intro to 2112
• Misunderstood by Dream Theater — the fill from 5:31 to 5:40 is awesome.
• But I’m also a fan of the gloriously simple fill that consists only of two simple quarter notes in Sundown by Gordon Lightfoot, about 47 seconds from the end of the tune. (Yes, Gordon Lightfoot. I love him.)

What else?
Talk to me!

soon, my soon will he be here

the finale to Lost struck a frightfully spiritual chord with me, but I would argue that the device used to conclude the series had nothing to do with the series

anyway