Matt Marshak tells an Urban Folktale…or a dozen

You know, ladies and gents, some of the best things come in your mail. Free coupons for this. An invitation for that. A letter from an old friend. Or, as in my case, something funky.

Imagine my surprise, dear readers, when in the mail I got a dose of Carolina cool, a sweet melody, and infectious funk, told in a steel-string meander and familiar slide of fingers down the guitar’s fret.Yes, the new album by the new contender in jazz guitar is about to land, and the groove is strong with this one.

Just in opening the CD case, Marshak invites the potential listener to take a glass of a favorite merlot, and enjoy the stories told on the CD. That right there is a great message to send to listeners, and considering that music is often a tale of influence, and in jazz it’s lyrics-optional, there is a lot left to contemplate. Good, says I. The clear advantage with a guitar is that it’s open to versatile interpretations. Matt Marshak is, no doubt, clearly aware of it.

So I popped the CD into my Mac, turned up the volume, and within a few minutes, had to hand it to Matt for the merlot hint.

Now, my notables on this are:

1. Teddy P

Ah, old school. This commemoration to the soul singer whose name I’m sure you can surmise speaks in a tone that’s reminiscent of an empty upscale bar. Lights dissolving on windows. Click-click-clicks of glasses behind the bar. And a little meander of the strings with an echo of something not quite old-school, not quite new. .

3. and 4. Tell Me How You Feel

Now this is a good way to segue and kick it up. The vocals were faded in the the intro clip, brought up in the full track, and most crucially, this did not distract from the centerpiece. And as an overall, you can notice the album pace start to change without distracting from the quiet-chill vibe of it. This right there is much more the urban groove, slightly R&B-ish, and more than a bit John Tropea-like in keeping that faded-edge quality to his string-bending.

6. For So Long

Now this took me by surprise. At the intro, I expected the original tonality to carry, that faded-nightlife beat and melody. But then Matt turns up the electric, and takes a slightly rock-ish edge. And yes, keeping the original tonality.

How to describe the overall impression that I have of this track? I don’t quite know. It’s rich, a little stronger in its notes, a little more gritty than what you’d normally expect out of him, a little edgier, a little bolder. It’s quite spicy, the more I think about it.

7. Piece by Peace

Interesting, for sure. Lounge-y in its melody, but the gritty, raw weave through the obvious melody is captivating. The only bone I may have to pick on it is that the front melody is a little too strong; the harmonizing part needs to get a little more feature. Overall, however, it’s like a cup of good imported tea: just sink into it and savor.

9. Cackalacky Cool

Hearing a little something Southern on an album that had, so far, been a perfect example of best served chilled is a little bit of a surprise. And, considering that I heard both Gerald Albright and Kirk Whalum set a full-scale precedent on what Southern Charm a la jazz sounds like, I had to ask myself, “How does this one compute?

Pretty damn well, to be sure. It won’t become obvious until the chorus, but the Carolina is strong on this one, and the bass  slips through the overall vibe of the song on more than one occasion. And live on stage, Kenny Harris can take that bass line and give it a nice firm kick.

13. Dancin’ With My Daughter

Now, truthfully, this right here is a lot more Southern Charm. Richly accented with horns, undeniably expressive, this is Matt Marshak getting emotional and doing so without speaking. The arrangement is seemingly simple, but the melody takes a distinctly less lyrical tack. It’s definitely a contrast to the beginning vibe of the album, and a very personal way to wrap it up.

Having listened to this album twice – first to get the general vibe, and second to dissect it properly, I will say that this is both what you’d expect out of Matt Marshak, and something that’s completely new to him. This is definitely off the beaten path of jazz guitar, and a little meander off what you’d expect in the lines of contemporary jazz. The general impression of the album stays as I stated above: best served chilled.

And yes…with the merlot.

With a most hearty thank you to Matt Marshak, Nuance Music, and Steve Butler,


Catching up….

I’m at the office – yes, on Sunday, shush, it’s tax season! – and aside from the number-crunching while the Rippingtons blast from my speakers, there has been much going on.

First things first! Happy birthday to two amazing individuals: Bruce “The Digital Guy” Nazarian and Dave “Saxophonic” Koz! Enjoy, guys, celebrate aplenty, and raise a glass to another amazing year!

Now, although I’ve been busy – and how! – Gayle has kicked me back into the editing track. Chapter 8 of Book 3 has been officially corrected, save for one blurb that I can’t rephrase…yet…and I’ve started to cook up subplot scenes yet again. Although I originally slated to release this book roughly at tax deadline, both my editor and my common sense said, in perfect unison, “Are you insane?!”

Kind of, which is why I decided to re-slate release of Book 3 to July 1st. Spirit Season, and it gives plenty of time for me to cook up exactly why the Emperor has a vested interest to be suspicious of his daughter’s mother. For explanation…well, you’ll just have to see! :)

The Lemonade Weekend blog is also cooking something up – an interview, to be precise. Jaared Arosemena graciously sounded off on that lovely weekend, and it is all here. And, of course, keep your eyes and lemons peeled for information when this all will happen again. Yours truly will cook up something very fun on Photoshop when things are a bit more clear.

Just three more weeks of working straight through and on no sleep, but once that’s over…fun stuff will be abound.


Chasing Music: Jeff Lorber at the Iridium

Second show in 24 hours. Whew. The so-called “snow” – more like sludge, really – melted quickly enough, but the chill remained. What better way to warm up than with some music?

Now, the last time I saw Jeff at the Iridium, which was July 2010, I was less than impressed. The Iridium is a good club with excellent acoustics, but the sound at that show was painfully lackluster. Moreover, the saxophonist sitting in with Jeff that night not only did not impress me, but had the outright opposite effect. That show, truth be told, left a sour note in my mouth (no pun intended).

Take 2 – different story altogether. This is how I like Jeff Lorber’s shows to sound.

Same club, different lineup. Different choice of music – mostly handpicked from Now Is The Time – and likely a different sound setup as well, because the acoustics were exactly as I would expect them from that venue. And on top of that – Eric Marienthal came back on the saxes.

Now, ladies and gentlemen, what a world of difference does Eric make. What a world of difference. His own material shows it best; he knows his horns. He knows his soprano sax and does not have to do much to get to the sound as he wants. High notes – effortless. Low growls on the alto or tenor – no problem. There is no effort whatsoever needed for Marienthal to rock out with a solo, or accent with a lick or two, and he can stand out just as easily as he blends into the overall sound.

And the sound – to-die-for.

Jeff Lorber hadn’t used Fusion for some time now. Nonetheless, and this is especially true of Now Is The Time, the sound is quite a throwback. His is a style that is very reminiscent of straight-ahead, especially in the new album, and even with the sax being as subtle as it is, it’s throwing me back to the stylistic meanders that I often heard with the Weather Report. Definitely one of my favorite styles of music, and Jeff does an excellent job capturing it. You see a lot of it with his new album, and he brought it front and center at Iridium.

On that new album, and especially after the show, I strongly recommend Chinese Medicinal Herbs. No, not the herbs themselves, the track. It’s very much quintessential Lorber, and you see the simple ingenuity in the arrangement of it. Very old-school fusion as is most of his sound, and especially in live show, it has plenty of room for creative meandering – and Jeff more than knows it. He got into the track, enjoyed it, and worked his charm on both the Yamaha and Iridium’s onstage baby grand.

I mentioned before that Eric Marienthal made a major difference in the show and I firmly stand by that assessment. Having worked with Jeff for some time, it’s very plain to see how well he knows the intricacies of Jeff’s composition. He is keenly aware of what Jeff incorporates, and sets aside his mellower style to bring an extra oomph to what Jeff Lorber Fusion creates.

And the one thing I will never, ever have to say regarding Lorber’s music is the phrase, “Once more, with feeling.”

What a difference, and what a night!


A Crucial Workers’ Rights History Lesson

In light of what has been happening in Madison, WI, and all over various states within this country, I will pause temporarily in musical writeups and commemorate a very important anniversary, both for workers all over the country, and for my city in particular.

One hundred years ago today, the Triangle Shirtwaist Factory caught fire.There were many very grisly deaths. All of which would’ve been prevented 100%, had the owners of the Triangle Shirtwaist Factory given some thought about their employees.

Consider the time. Last century. This was still the Gilded Age, right before the Roaring Twenties, where prosperity for American companies was only beginning. The owners of the companies, much like the owners of major corporations of today, are concerned with getting the most work product for the dollars – or, as in this case, cents – paid to their employees. But back then, the industrialization of the garment world was still in progress. And so, the workers came into play.

Also consider that it was last century’s living and working conditions. There was no air-conditioning, that wouldn’t come along until 1927, and wouldn’t grow cheap enough to put into every household until at least two decades later. There were little to no background checks for immigration status, credit, etc. There were no computers. Hell, for what that’s worth, it was a good thing if the sewing machines in garment factories were up-to-date. And the women working at the Triangle Shirtwaist Factory were comprised of mostly immigrants, and poor women looking for a way to make ends meet.

Their workday was nine hours daily, including weekends.

Their pay was a pittance.

And they kept those jobs. Why? This was the life of the time. This was the only way to make the money to survive. If a woman wanted to put food on the family table, whether or not she had a working husband or a husband at all, this was the job climate of the time: work until you collapse, receive a salary that may or may not be enough, and hope that one day it gets better.

The owners of the factory wanted to, like many garment owners of the time, prevent theft. So what did they do? They locked the fire escapes, and locked the workers in. Because hey, if you keep them there, they would keep working, right? And they won’t steal, because the foremen could always search them, right?

Well, also think of it this way: this was a factory. With engines. Engines that, back at the time, would run very hot, without appropriate cooling systems.

Whether or not the fire was started by an errant cigarette butt, by a match, or by an engine that had gone too hot is, to this day, unknown. But what is known, and documented by photographs, eyewitnesses, and over a hundred tombstones, is that a fire broke out on the 9th floor, and one of the exits to the factory was locked to prevent theft.

What happened next is also well-documented. Workers tried their best to escape by the elevator, while it operated, and the elevator operators continued going up and down until it was impossible to continue going up. After which, the workers tried to escape by jumping down the elevator shafts. They died.

While one of the exits – down to Greene Street; Washington Place was the locked-up fire exit – was still operable, workers tried to escape by that route. Many did, and continued to go back for the others. Then the exit became unusable, because of smoke, fire, and debris. The workers then went up to the roof. Some stayed trapped there, until help arrived. Others jumped down to escape. 62 people were counted as those who jumped. They died.

Total death toll: 146.

And think about this: this could have been prevented, had the owners of the factory, back then, thought to not lock the fire escape, and to create safer working conditions for their employees.

The International Ladies’ Garment Workers’ Union has protested the working conditions relentlessly after that incident. It was plain and clear even back in those times that all of those deaths could have been prevented. And this was not all that long after Upton Sinclair’s classic The Jungle came out, detailing the unsanitary and deeply unsafe working conditions at meat factories. Coupled with these, the unions have united in a single quest: workers’ rights. No extravagances, just simple things: regular work hours, holiday and vacation time, safe working conditions, and some sort of protection for instances of injury on the job.

Do you notice a common theme here?

This is exactly what the workers of today are after as well. This is exactly what has led to the creation of workers’ compensation in states. This is exactly what some workers, particularly unionized workers, are still fighting for.

Think about your own job now. You have an eight-hour, 9-5 workday. Paid lunch. Paid overtime. You have paid vacation. Paid sick time. Paid personal time. Maybe health insurance, if your employer offers it. And you know that you have a right to all those things. But know this: people in factories, power plants, construction sites, meatpacking plants, shipyards, and slums were dying for years to make sure that you have those rights. And those people, and in some cases their children, were union workers. That is what unions protect: the right to that eight-hour workday. The right to have a paid lunch. The right to get reimbursed for overtime on the job.

The news of Madison, WI anti-union regulations have swept the country, and united people in their protests thereof. Public union employees are people that you and I see every day: policemen, firefighters, nurses, public-hospital physicians, crossing guards, teachers, construction workers on public transit systems, bus drivers, train operators. They are unionized in order to protect their rights on the job. Because we have already seen that every time state budgets get revised, their jobs get slashed.

If you have a pension as a part of your job, then the EMT who takes your relative or you to the ER should have one too.

And if you work in an office, you have the right to be safe in your office building, to have clearly marked and operating fire exits, and to be paid a fair wage for the work you do. Very much like the Triangle Shirtwaist Factory employees. But back then, and in some cases even right now, some employers disagree with that sentiment.

One hundred years to the day had passed since the Triangle Shirtwaist Factory fire, and the lessons have not changed. The main lesson of them all remains strong: it’s the people at the bottom, the people doing the gruntwork, that drive this country, and they have driven this country for years. Their rights supersede all and any profit margins, because without them, there is no profit margin.

As the GOP rolls out more and more anti-worker legislation in an attempt to make something stick, remember this tried-and-true saying:

“Those who do not learn from history are doomed to repeat it.”

In Memoriam: the victims of the Triangle Shirtwaist Factory fire, 3/25/1911.

Chasing Music: Matt Marshak for Midweek

Now, some of you may know that I’m likely the least patient person under the sun – at least when it comes to chasing music. I sometimes…more than sometimes…bite off more than I can chew. And sometimes, I just look at a scheduled show happening that same day, and say, “You know what? I’m showing up!”

I got a message from Steve Butler the other day. “Coming to Matt Marshak’s?” he asked.

I believe the answer to that was of course.

Now, I’ve been coming to see Matt for a while now. The more I listen into his music, the more I see that I was right when I once asserted that a guitar – especially an electric – is likely the most versatile instrument there is. I’ve heard many guitarists, and seen just as many live. No two bend the strings quite the same way. Chuck Loeb and Russ Freeman have vastly different styles, and both are distinctive enough to tell them apart without looking at who’s playing.

The same is said for Matt. While you can tell the source influences of Wes and Benson, his guitar is so distinctive in its sound, that I can definitely pick him out of the string crowd. The funk is strong with this one, says I, and he infused a fantastic groove with a good bit of NY Attitude(tm).

This show was an excellent way to get the midweek point over, and SOB’s was the stage to do it with. Swathed in Brazilian colors and scents, the venue features a full array of artistic expression, from bhangra DJs to bossa nova brunch. And, once in a bit, you find yourself at SOB’s listening to contemporary jazz. Special EFX’s anniversary show? Check. Jeff Lorber Fusion? Oh yes. And so, Matt Marshak kicked it up.

With a new CD, Urban Folktales, hitting stands this week, fun and funk were the features of the show. I Will Be With You, off the Family Funktion album, was well spiced with Kenny Harris on the bass, and Chris Marshak on drums. The funk on that track just doesn’t quit, and in live show, Matt nearly always injects something else into it. A little growl here, a sharp swipe down a string, and all of a sudden, the guitar starts to take on an entirely different set of tones – old-school style.

Teddy P off the upcoming album was of the same style, and it wasn’t too far into it that I found myself thinking that if the guitar were a vinyl turntable, Matt Marshak is the perfect DJ for it. Really! On this track and on the James Brown cover, the name of which escapes me at the moment, I found the little swipes down the fret of the guitar make a sound very similar to a turntable scratch. Paired with Matt’s signature old-school/new-groove, suddenly, there’s a whole world of possibilities that could come with that.

And, of course, Matt knows it and uses it as only he can.

Needless to say, this was a very, very good treat to have middle of a tough workweek. With thanks to Steve Butler for convincing me (with little resistance on my part, I might add!) to traipse out in the snowy mess. :)


Notabene: Lynn Olson takes us straight into Matt’s new release! Mosey over to her blog at Lynn Lives Jazz.

Hey, what’s this I hear?

Could it be the lapping of waves and the chatter of people as they gather at Pier 61 to board a certain very happy, very particular ship in New York’s Chelsea Piers? With a selection of David Benoit, Marion Meadows, Paul Taylor, et al being piped through the PA system in welcome?

Oh yes, yes it is! The lineup for the Spirit Cruises is officially announced!

Now, let’s see here, what’s on my magnificent musical menu?

- Bobby Caldwell. Andrew Neu stole the show at BB King’s and my love of good instrumental wants to see if he’ll do it again.

- Spyro Gyra. Two words: yes please!

- Jazz Attack. Two more words: Bring it!

- The Rippingtons. I received Jeff Kashiwa’s Walk a Mile disc and always, always enjoy his material.

- Najee. Possibly, but really, past two years, I’ve missed him aboard these ships. This time, not missing him.

- Kirk Whalum and Jeff Golub. Memphis soul and ripping blues. Really, is this even a question?

- Norman Brown & Richard Elliot. Ahh, Norman. I’ve not seen him since the All Star Cruise, and part of me is wondering if he’d remember the snarky laptop.

- Pieces of a Dream. I would love to see those guys again, because the youngin they put on the horns is badass.

Yes, ’tis the season to get into the spirit – Spirit Cruises! With the lovely Candy Dulfer as the kickoff special, this is an excellent season! Some of the people that I expected to be aboard, such as Mindi Abair and Marion Meadows, are not aboard, and are giving way to those whom NY hadn’t seen live since the CD 101.9. I don’t remember Norman Brown passing through NYC in the past three years at all. Rachelle Ferrell is new to me, and I will confess myself curious to hear what she is about, considering that she is in the lineup for CapJazz 2011. I’m definitely thinking about seeing Jonathan Butler again as well…

Man oh man, I’m about to do it to myself again, aren’t I? That little conundrum where I find myself sleep-deprived and wired because I’m chasing music all over the place… Oh yes, I feel it already.

Honestly, though, Jazz Attack I’m looking forward to, in a huge way. I don’t see Gerald Albright very often, and of all the saxmen out there, his is one of the more spirited styles. Pushing the Envelope did exactly that to everyone who thought they knew how he plays.

Here we go, ladies and gents, the next season of musical meandering is upon us!


And so, the fun begins

In the dead heat of tax season, I got a message from the one, the only, Bruce Nazarian. And the email answered the question that I had percolating for a while, a question echoed by many people  who attended the first Lemonade Weekend in San Diego, CA.

The question was simple, and flowed thusly: “Can we do this again?”

And the answer is a resounding hell yeah!

It gives me great honor to announce that K.G. Creative Enterprises will be involved in helping to make this event happen. Please follow me on twitter @kgilraine, or search the #LemonadeWeekend hashtag for updates as they happen. The first Lemonade Weekend rocked out and made wonderful things happen, and I have no doubt in my mind that the next one will be all the more delicious.

And now, I direct thee to the beginnings of the Lemonade Weekend Blog, wherein I will contribute. Put it on your RSS feeds, and check back often! I will cross-post some of the updates and interviews here, so worry not.

Needless to say…come and join us the next time!

AW March Blog Chain

Apologies to my fellow bloggers from AbsoluteWrite Water Cooler forums for this. I was technically supposed to have written this much earlier, but as you can understand, things got in the way.

The challenge is, like before, a two-fold.

Part one: Describe the character in your novel in 50 words or less.

Part two: Post a scene that shows why this character is special in in 100 words or less.

I don’t much like to feature the main character from my book, because the main character is on par with and as important as her supporting cast. And the characters in the supporting case are pretty damn cool too.

So, let me feature one of my lesser-featured, but really curious people: Charlotte Stevens.

Part One

The proper word for her is resourceful. The other two are fiercely protective. And nothing’s more important to her than survival. She had to fight for it before.

Part Two

(From Book 3)

She stared at the com-link device that was rigged to her cell. To use an intergalactic scrambler on a PDA that technically wasn’t supposed to be used for any calls not related to her underground job was life-threatening if anyone managed to decode the scrambler. Not just for her – for her intended target.

She slipped out of the lavatory and tapped a flight attendant on the shoulder.

“My cell phone isn’t working,” she said, lowering her eyes in a perfect mask of sheepishness. “Might I borrow yours?”



My Post-
Yoghurtelf- Link to her post.
Proach- Link to her post.
Knotane- http://knotane.wordpress.comLink to her post
Dolores Haze- Link to her post
Orion mk3- - Link to his post
Smaddux- http://www.stephaniemaddux.blogspot.comLink to her post

On Japan and Radiation

This is by no means an easy post to write. Every day, I venture onto a news site and channel, and see the news about the devastation in that country. This soon after the Haiti earthquake, to watch this is painful. And most of all, it’s extremely humbling to see just how vulnerable to nature we still are as a species. No matter what we invent to withstand it, nature still rules supreme over everything and everyone. That we cannot forget, especially as we gather to help Japan recover from this.

However, that said, there are a few things that need to be talked about that cannot go ignored.

The nuclear situation, specifically. And I will be frank, I am very frightened for the people of Japan and, considering proximity, China as well.

On the US news, I see the nuclear situation covered with a statement that it may be a worse disaster than Chernobyl of 1986. To me, that is utterly frightening, because in one fit of sleeplessness, I began to research that incident. And what I found made my hair curl from halfway across the world. The one thing that I found that completely disturbed me was that, until the radiation in Chernobyl set off alarms in Sweden (think about it!) the nearby town of Pripyat’ was not evacuated.

As a result, the after-effects are ongoing. One of the elements released when Chernobyl blew was a radioactive isotope of strontium, which has a half-life in the three figures. In other words, it is still very much radioactive to this day. The town of Pripyat’ remains frozen as it was in April of 1986, devoid of people and setting off the Geiger counters of anyone who thinks to venture there.The people and the nature around the area had suffered immensely, and the people who have been exposed to the radiation are continuing to suffer the after-effects. The firefighters from the area who had gone in to extinguish the reactor fires have all either died within a very short time of going in there, or have had an uphill battle against cancers and radiation sickness since. They knew the risks, but they had to go in there. That was their duty. Their lives ensured that others have survived, because Chernobyl could have been much worse, no matter how bad it already was.

This is what Japan is facing right now, as the brave 50 workers inside the power plant are working against time to contain whatever damage is there. The core containment units at the plant, as very recently reported by BBC and ABC News, are rumored to be cracked, and even the slightest crack is a threat of meltdown. It is pretty much now a race to save the rest of the country, which already had the bombings at Hiroshima and Nagasaki to show exactly what nuclear damage can do. It is also a race to make sure that the radiation, what of it that had leaked out already, does not contaminate the ocean, seeing as Japan is an island country, and it is an island country that just had its coast shift by eight feet.

So yes, the situation is bad. And, considering historical precedent, I think it’s a lot worse than what the media would have you know. And, considering how the House has moved to defund NPR at an emergency meeting, I think the situation in Japan is pretty damn close to a Chernobyl-like level. It’s a pretty fair assessment that the fifty plant workers inside the Fukushima Daiichi plant right now are heroes in their own right, and will either not come out of the plant alive, or will not see very long after they do.

Considering what Chernobyl radiation had done to the nearby flora and fauna (look up the Red Forest to see how the radiation affected the local plant life), this scares the living crap out of me. Granted, it’s halfway across the world. But we are a global people already, and it is safe to say that the rest of the world will feel the after-effects of this too.

I have to commend the rest of the world for coming together in this. The Japanese Prime Minister Naoto Kan is encouraging that Japan will be rebuild from scratch if need be; hundreds of thousands are homeless, hungry, and the countries from across the world are accepting refugees who are concerned for the radiation threat. Donations are being funneled to Japan in the relief effort. And the power plant operating Fukushima is tossing around entombing the plant in concrete, which was done in Chernobyl to contain whatever radiation that was – or, I should perhaps say is – still coming from the ruins of the reactor.

However, the radiation is preventing a lot of what could be done, namely to reconnect power to the cooling pumps. And the Fukushima 50 are struggling. The reconnection of the power to the pumps is hampered by the radiation.

Source of the latest: BBC

Please donate to the American Red Cross, people. I cannot put enough of an emphasis on how important this is.

And also, a small announcement. If any reader of mine will purchase either Book 1 or Book 2 of The Index Series, be it as an e-book or a hard-copy book, I will donate the entire proceeds of my royalties to the Red Cross continuously through the end of April. Because, seriously, to hell with profits. There are certain things that are more important, such as helping a fractured country get itself back together again as it struggles with preventing Chernobyl Part 2 atop the natural devastation that it suffered.


Book 1 Hard Copy, Amazon Kindle, B&N Nook

Book 2 Hard Copy, Amazon Kindle, B&N Nook

I know my readers are across the world. So let’s help out a part of the world that needs us now.


Turning Lemons into Lemonade

Not 24 hours past since I put up my last post regarding the abrupt cancellation of the Oasis Contemporary Jazz Awards, and already the wheels have been set into motion. Before Tuesday elapsed, Ken Levinson, Bruce Nazarian, the artists, the people at Anthology, the people at Spaghettini’s, and everyone else who was left in the lurch by this turn of events had pulled together and engineered what has become known now as the Lemonade Weekend.

This astounds me, in the very best of ways. This is exactly why I call jazz “Our Music” when I’m with fellow fans. We took a failed, poorly-marketed event, and turned it into a makeshift festival. I’m not sure who will be part of this makeshift festival, but there is much to be said for the tenacity, gumption, and love that we have for the artists.

We, the fans, made this happen.

Unfortunately, due to the prior cold having degenerated into bronchitis, and the original turn of events, I’ve decided to forgo this trip in favor of Newport Beach Jazz Festival, and parlay the airline credit either into that or into visiting some close friends later this summer.

Three cheers to Ken, Bruce, the artists, and the fans who had taken a wrecked event and turned into something all its own. All my love to you from NYC!


ETA More info here at this link.