June 2024

The Dirty Gerund Poetry Show is a weekly open mic at Ralph's Rock Diner on Grove Street in Worcester. I am the house band leader and a regular performer. Any and all are welcome to sign up to express themselves creatively with this loving and supportive community. Open mic list goes up at 8pm, the show starts at 9pm.

Fair Dinkum, my and Andrew's jazz duo, has been invited to open for the final musical performance ever at Andy's Neighborhood Canteen in Webster, MA. We're so excited to share what we've been working on, and hope that you'll join us at 7pm sharp on Saturday June 1.

Additionally, you are invited to join us in the main room at the Hotel Vernon at 8pm. We'll be playing all our favorite tunes all night long. Stop by a for a cheap beer, a free show, and to watch the Celtics win Game 3 of the Finals!

GOOD NEWS, EVERYONE!

At long last, my alto saxophone has been repaired and returned to me!

Huge thanks once again to Mr. Akiba Davis for lending me his horn in the interim - that guy is so cool! Check out his bands Zigmont and Moshi

Current Creative Endeavors:

The Baritone Saxophone

I have recently acquired a new instrument, and I am very excited about it (thanks, Jeff!!).

Playing bari is not new to me - I became proficient with it in my high school and college jazz bands, but those horns belonged to the school. I had to leave them behind, pass them on to future generations of bass clef lovers, when I graduated.

Admittedly, my motive for picking up the bari after playing alto for 4 years was to stand out even more among my peers. I was one of several alto players, and knew that I would be if I continued to pursue jazz. But the band only needed one bari player, and those were hard to come by. I wanted to feel important and needed.

The bari sax is a unique member of a jazz big band: often doubling parts with the 4th trombone or bass, its big and solid sound serves as an anchor for the sax section, but it is also able to command the audience's attention with a solo. A good bari player knows when it is appropriate to blend in with or stand out, and understands the absolute power that they possess.

Since leaving Clark, I’ve lost some of the chops I’ve built on bari. Getting back into it has been a challenge, and reminds me that playing music is indeed a sport: I feel the need to sit down after standing with it for several minutes, and take big deep breaths in between phrases, but I know proficiency will return with regular practice and exercise.

As a treat for my newsletter subscribers (that’s you! Thanks for reading this far!) I'm giving exclusive access to a video that I have not yet made public. Here is my rendition of Duke Ellington’s “Come Sunday."

In Reflection

Moon Hooch: A Concert Review

On a quiet Friday evening in March, while sitting in my kitchen waiting for my leftover soup to head up, I received a text from my good buddy, Nark, which included a link. Before following it, the words “moon hooch” “tour” “worcester”, and “electric haze” jumped right out at me and I knew exactly what that link would bring me to. Within minutes, I possessed a ticket to see the dynamic trio right here in town. Nark advised me to “prepare to sweat” and to dress accordingly.

I knew of Moon Hooch, but wasn’t very familiar with their works. I don’t know their songs by name, but I was aware of their vibe: big, bold, brash, infectious dance beats. Saxophonists Michael Wilbur and Wenzl McGowen create an innovative hip-hop- and electronic-inspired experience that has revolutionized the perception of the saxophone. Drummer Jules Jenssen keeps time and supports the enormous sound with his eclectic and elaborate equipment setup. All three members perform in perfect rhythmic lockstep, while Michael and Wenzl incorporate synchronized dance moves.

We gathered a posse to attend this show, and the five of us were among the first to enter the venue as doors opened. I made my way to the stage to check out all the instruments that were on display: tenor, baritone, and bass saxophones, a contrabass clarinet, and a basic drum kit (bass, floor tom, snare) surrounded by cymbals of all shapes and sizes, including one that spiraled down from the top of a 4ft stand.

As soon as the tenacious three took the stage, we bolted to the front of the crowd, ready to receive. It had been years since I spent an entire concert down in front, and I felt like I was 21 again: I could not help but move my body as these fellas filled the room with pure energy. And when I wasn't dancing, I had my hands on my head, jaw on the floor, and eyes wide with wonder as I witnessed the magic before me. So smooth, so clean, each player possessed such a definitive and unique voice which could only be projected through their horns. I felt as if they were speaking with their instruments; while I was unable to translate what they were saying into spoken word, I understood it perfectly.

After the show, I sought out each musician to express my impressions to them, and to show them a picture of my new bari saxophone (see above). The best way I could compliment them was to say, “Your show made me realize that I need to go home and practice!”

While the venue slowly emptied, Nark and I were gushing and reflecting; they said that they regard me as a sax player to the same level that they do Moon Hooch. While that compliment is incredibly flattering, I know that I am realistically at least several years away from that level of skill and mastery. These guys got their start busking in NYC subway stations in 2010. Fourteen years and seven albums later, they’re on a national tour. I’ve only been doing my thing for almost a year, and I know that building a career, reputation, and a platform takes several years of persistent work. That night, I got to look up at what I hope to be like in fourteen years, and it only inspired me to stay the course of my creative journey.

Thanks again for being here with me 💜