I stumbled across this post on boing boing about the Mary Kaye Trio. I have heard this excellent singing group in various compilations but did not realize that she was the founder of the Vegas lounge show itself. These late night shows were credited with greatly expanding the success of the nascent casino industry by creating the party atmosphere that kept people awake and gambling the night away. I had no idea. I am once again humbled by the interweb. Mary Kaye was one impressive lounge singer:
She was a Spanish guitar virtuoso and played the first fender Stratocaster. The 1954 Mary Kaye model is one of the most valuable models in existence.
She is descended from Hawaiian royalty in the line of Queen Liliuokalani, Hawaii’s last reigning monarch.
In 1961, the trio were paid the $250,000 for a 22-week gig at the Sahara – that is $1,7M in modern dollars.
Still feeling like we have evolved to a higher plain of consciousness now that Celine rules the City of Lights? Then there is no hope for you.
I have come to realize that a healthy lust for classic microphones is something to be proud of. It shows an appreciation for the quality of a time gone by. It indicates a romantic desire to hold a beautiful sound in one’s hand. It is one of the affinities that separates men from apes. When I was a teenager I used to enjoy listening to the crusty old local jazz pros debating the relative merits of various models of RCA ribbons like some would argue sports cars. I am afraid I was never the same. My favorite mic site:
Rudy Van Gelder is considered to be the vital ‘fifth Beetle’ on a zillion of the best jazz records ever made. Though he considers himself strictly a recording engineer, the Van Gelder sound is as signature as any great musician’s. Have you ever mucked about trying to get his sound or even kinda sorta his sound on a direct to 2 track session at home? I have and it has not been pretty. I have come to the conclusion that there are 3 main reasons for my failure:
I don’t have his mikes and it is almost impossible to find out what his mikes are. He uses decoys in photos.
I don’t have his room nor do I have his understanding of room acoustics.
I am not Rudy Van Gelder.
If anyone can help me overcome any of the above please get in touch and I will try again.
Here is a 2008 NEA jazz interview of the man himself.
The subversive geniuses at Hobnox have just released one of the most musical browser based synths I have ever played. Nudge enables you to step-enter 8 sounds into a looping 4/4 grid. The grid is pentatonic instead of full chromatic but there is still a surprising amount of creative flexibility. It is as fun to just throw a lot of stuff in there and then reduce it down as it is to carefully build things up one piece as a time. You can adjust volume and pan for each sound and set the master volume and tempo. Once you are pleased with your little creation send it on to your friends with the included permalink or embed the player on your site like I have below. This thing is dangerously addictive if you have a synth problem.
Before American child rearing became neurotic and consumerist there was a time when we produced some really sophisticated, whimsical children’s television. Hoagy Carmichael’s Music Shop is one of these strange and charming experiments. Hoagy Carmichael shares the music with the excellent funk band The Stark Reality and there is some seriously trippy animated musical notation and melancholy photographs of children playing. I find the whole combination very reassuring.
Back when I was a wee lad my Dad used to bring me empty cigar boxes to play with. I had dozens of them. Some were converted into garages for matchbox cars, some became building materials, others were used to store priceless assets like string and wires. When I was about the same wee age, one of my favorite Christmas was one of those Science Fair 40 in 1 electronic science kits (bought at RadioShack of course). One of the coolest things you could build was a monophonic sine wave generator. I liked to hook it up to a telephone keypad. The mad scientists at Critter and Guitari have managed to combine these two seemingly disparate elements of my childhood into one working instrument : The Keypad Cigar Box Synthesizer. Brilliant.
In the last couple of years I have managed to achieve a noticeable improvement in my overall piano technique by focusing on scale and arpeggio excersizes. One piece of sloppiness remains – octaves. I am often sloppy in RH and worse in LH and I have difficulty doing accurate boogie woogie LH broken octaves. I have managed to scrounge up some useful octave exercises to address this and they appear to be helping. (though I am just starting this) Octave practice is pretty exausting so be careful and do not overuse arm motion as it tends to tire you out faster and negatively impact accuracy.
1. Regular and slurred octave scales CD DE EF FG GA AB BC C
2. Octave arpeggios varying the accent points
3. Single note octaves toggling from eighth-triplet-sixteenth
If you are feeling brave there is also the czerny octave studies [pdf]. I have not made it far with these yet.
Anyone who knows me well knows that this is one of my favorite standards. I have been working on it since I was about the same age as Billy Strayhorn when he first started writing it – 16. It is a very subtle and difficult to play really well. I think I can finally do it pretty good justice now on a good day. One of my favorite straight instrumental performances is by Phineas Newborn Jr. A tragic genius of jazz piano plays a tragic song written by a tragic genius songwriter. What could be better?
For vocal versions it is Johnny Hartman with the John Coltrane Quartet. Of course.
The brilliant and prolific Maurice Jarre passed away on Sunday. He wrote and recorded the entire score to Lawrence of Arabia in an astonishing 6 weeks – in reverse order. He achieved this by sleeping for 10 minutes every three hours for days at a time. One has to wonder if the crazed schedule and sleep deprivation added some useful DNA to the score. I have always loved the romantic, epic hugeness of this music. His aggressive use of timpani seems to perfectly convey the sudden release of trapped energy that one feels must lurk below the surface in vast, quiet spaces. The melody to the main theme is simple and instantly memorable yet it retains a fresh mystery throughout the film. Sadly, I have still only ever seen it on a wheezing 12 inch TV but I have listened to the score many times. It is definitely time to experience the real deal soon.