Work

Last week the total number of visits to this page was 1. And it was probably by me.

Since it's been several weeks since the last post, maybe it's a good idea for me to get back up here. I had all intentions of posting during the weekend of the Pittsburgh Jazz Festival. Even thought about doing it the night of the jam session that I saw. Sonoma Grille was so crowded that I decided not to fight my way to the bar for a drink. The less I had to drink, the more stamina I would have throughout the evening.

It was a good move because I was able to stand and watch the band play for about two straight hours, and there were no breaks. In fact it got to the point where instruments were getting new musicians mid-song. The perfect example of that came when none other than Reggie Workman came up mid-song and had the bass handed to him by Paul Thompson. Both are extremely good bass players, but when Reggie took over, things shot into the stratosphere. He played in a way that made you think, Okay we are now in the presence of a heavy dude.

That week I was assigned to write a piece for JazzTimes on Sean Jones, and luckily I got his number from him between solos. That was the only way I was going to do it because he was running the whole thing. We sat down for an interview this past week.

This is my first big profile for JT in about 10 years. I've done a couple articles for the college issue, but it's been a looooooooooooong time since there's been a long story on one person. Of course I'm feeling apprehensive, even though things are clicking into place.

In other news, more mixing is being done by the Love Letters. We got another mix of "Semi Dark Crush Museum" back from John Collins. Then Buck, Aimee and I went into Machine Age to start a mix on "Champagne Lady." That still needs some tweaking but it's on the way. Just have to find the time to book another session.

And then we might have a worthy candidate to join the band and fill the spot vacated by Aimee. The new person isn't a keyboard player. Or a dame.