September 19, 2006

Odder and Odder

Filed under: Autumn — dean @ 4:12 pm

What a funny place this internet, huh?

After my last posting which provided links to video treatments of my songs, ‘Company’ (co-written by Stuffy Shmitt) and ‘Lydia’, I received a comment from Mac reminding me of an hilarious video he shot, a while back, based on the Blenders version of my song, ‘McDonald’s Girl’. It was choreographed by two cheerleaders and performed by five seniors from the football squad in front of the entire school in Sedro-Woolley, a town in the Northwest Corner of the state of Washington. It put a big smile on my face. You can catch it at the following link:
http://www.youtube.com/watch?v=0r46BP_RGFU

But that’s not all, folks. Do check out this other video treatment of ‘McDonald’s Girl’, also using the Blenders recording and produced by dj/video producer, Kevin Holmes. I can’t tell you what a kick I got out of seeing this for the first time. For me it truly captures the feel of the song and the casting is perfect - she really is ‘an angel in a polyesther uniform’ (even if she was working at Arby’s!) Also at YouTube at the following link:

http://www.youtube.com/watch?v=NkC8AFeijoc

But that’s still not all! As I was checking these video links, I accidently stumbled upon one more videoclip on YouTube of the Blenders’ version of my song, McDonald’s Girl, mimed by some skinny kid complete with choreographed hand jive. I’m rofl’ing here, folks (rolling on the floor laughing). Watch it here at:

http://www.youtube.com/watch?v=UhdZCcp9Le4

So, what do you think? Is this a trend? I hereby invite every one of you to pick your favorite Dean Friedman song, set up your video camera and press record. Fancy production is not required. Uploading it to YouTube is easy as pie. Hey maybe we should even have a contest. Give away prizes. Let me know what you think.

Meanwhile, enjoy these delightful videos.

Catch you later.

Deano

September 17, 2006

Odd Clips

Filed under: Autumn — dean @ 12:27 pm

Like most of you, I enjoy the odd funny video clip that friends send my way. The world of YouTube can be a source of endless amusement - you’ll even find my own clips, ‘I Miss Monica’ and ‘4 More Years’ posted there.

But, now and then, I’ll receive a link, out of the blue, that leaves me completely bemused, flummoxed and dumbfounded. And I figured this is as good a place as any to mention two of ‘em.

videoclip #1: “Company”

This clip was created by 24 year old MusicGuru12 - who actually seems closer in age to 12 than 24 - and it put a big smile on my face. What the clip lacks in action and production values, it makes up for in sheer earnestness and sincerity. See what you think. http://www.youtube.com/watch?v=Rf9WIzvqUeI

videoclip #2: “Lydia”

Now, this second clip, well… I just don’t know how to characterize it. It was produced by ‘ twobob’ aka oggy, charlie, dan and jim. I must warn you that some of you may find it disturbing, violent and downright unpleasant - I did. But, at the same time, so much effort obviously went into the setup and production that it’s obvious to me these guys had an enormous amount of fun doing it and I actually found it amusing in a twisted sort of way. Please heed my warning, though, if you are particularly fond of the song ‘Lydia’ and would prefer not to have those musical associations tainted by some very bizarre images, I recommended you skip this clip altogether. But, I figured it was only fair to leave the choice up to you. http://www.youtube.com/watch?v=HUazBtb6CbM

And as I mentioned, you’ll also find ‘I Miss Monica’ and ‘4 More Years’ posted on YouTube at the following links:

I Miss Monica: http://www.youtube.com/watch?v=58U72zwxyJE

4 More Years: http://www.youtube.com/watch?v=Gt2LoEjAc_Q

Anyway, have a great week and enjoy the clips.

Deano

September 9, 2006

Keeping Musician Hours

Filed under: Autumn — dean @ 2:25 pm

My very first tour, following the release of my debut album, was a dizzying and tumultuous affair, with hurried rehearsals, circuitous routing, haphazard organization and a coke-impaired agent supposedly orchestrating it all. The one saving grace was that I was lucky enough to put together an able band of talented NY musicians including Mark Rivera on sax, Don Sarlin on guitar, Bruce Samuels on bass and Tom Rossetter on drums.

We had our first rehearsals in the Bottom Line nightclub, run by my managers, in the afternoons before the evening gigs. Donny missed the first few rehearsals because he was finishing up a tour in Japan. The big joke was whenever we came to a difficult vocal part, the refrain became, ‘Donny can sing that part’. Of course, when Donny finally showed up and started to sing, we all cracked up, realizing that his forte was definitely guitar playing, and not singing. And Donny was a fine guitar player, with a keen sense of tone and articulation and an impeccable feel for playing just the right lyrical phrase, or percussive pulse. Plus, a really good guy.

But there was one odd thing about, Donny.

He always woke up suspiciously early in the morning.

Suspiciously early for a musician, that is.

The rest of the band would stumble out of our hotel rooms, sometime around noon, and Donny would already be sitting in the lobby having woke hours ago, gone for a walk, had breakfast, read the paper, finished the crossword puzzle, changed his guitar strings, called home and written a letter.

No reflection on his excellent musicianship, but there was something decidedly odd about this behavior. Musicians weren’t supposed to rise up, bright eyed and bushy tailed, at the break of dawn, ready to face the glorious day. They were supposed to roll out of bed, mid-day at the earliest, one eye still closed, shielding their open eye from the glaring sunlight pouring in through the open curtains. Then they would drag themselves, half-dressed and unshaven, to breakfast, in slow motion, mumbling incoherently, until 8 or 16 or 32 ounces of coffee infused them with enough caffeine to convincingly simulate being wide awake.

Even this was a ruse, because it took another two hours, at least, for them to be able to string a coherent sentence together and it wouldn’t be until close to dusk that they’d be in full possession of their faculties and finally be able to play their asses off in front of a roaring crowd.

Drugs had nothing to do with this, by the way. We were being paid bubkes (Yiddish: nothing) and recreational drugs were in short supply. Pancakes were our big indulgence. No, this was purely a musician thing. A genetic marker, somehow associated with being able to play in tune combined with the basic reality of musician working hours. Just as all the doctors, lawyers, accountants, librarians and real-estate agents were settling down for the night, flipping through TV channels, preparing to drift off into slumber, we’d be starting our work day - playing our first set of the evening. While most of the world was counting sheep, we’d be firing up amps, tuning instruments and riding a great adrenaline rush as we walked on stage to begin our ‘regular’ jobs, making music, for ourselves, each other and any other adventurous spirits in the audience that didn’t have to wake up at 6:00am to catch the train to work, the next day.

We are not alone in this distinction. Musician hours are shared by other noble professions - police, firefighters, nurses, waitresses at the all night diner… - anyone who works a late shift, whose mid-day is mid-night, who greets the dawn at the end of their working day, knows what it’s like livng life upside down, so-to-speak, opposite the rest of the world. And they also know where to get a good bacon cheeseburger at 4:00 in the morning.

Although, to reiterate, it’s no reflection on his excellent musicianship, the fact that Donny eventually left the music business and went on to work for a large multinational finance company only served to confirm my suspicions at seeing him rise at the crack of dawn to start his day. (He’s still a great musician, even so. Maybe his great uncle was a baker, or something.)

In any case, sleeping late is not the only perk that comes with being a working musician (there are others, but my affiliation with the musician’s union local #802 - and common sense - prevents me from revealing them here) but, it is the one musician trait, which in my experience, irritates the straight world the most.

They just can’t stand it. It drives them nuts.

And why shouldn’t it? Who wouldn’t be jealous of someone who gets to ‘play’ for a living, and sleep late on top of it?

Of course, there are some problems associated with the lifestyle.

In musician’s parlance, these problems are referred to as… kids.

There is a basic conflict between finishing your last set at 2:00am, breaking down the gear, loading up the van, stopping off at an all-night diner to grab a cheeseburger deluxe, finally making it home by 4:00am, unloading the gear, rolling into bed a little before 5:00am and drifting off to sleep…

…just in time for the clock radio to go off like a bank alarm at 6:00am and send you leaping out of bed in order to drive the kids to school, ’cause it’s your turn.

Sans massive amphetamines, these two lifestyles are mutually incompatible, a fact that helps explain why married musicians with young kids walk around looking like zombie extras from the latest George Romero remake. Again, let me stress, it’s not the drugs… it’s the kids.

I confess to having tried various, ultimately unsuccessful, strategies to compensate for this incompatibility. Unfortunately, as I quickly discovered, 6 year olds are simply too young to drive themselves to school, even when perched atop a phone book, thus enabling them to see over the steering wheel.

But the point is, logistics aside, it’s the social stigma, more than anything else which musician suffer, for their insolence in sleeping late, regardless of how productive they might have been the night before.

Obviously, my crawling out of bed by noon is evidence of my being a lazy, good-for-nothing, commie-radical, with no self discipline or moral rectitude.

And even though that may well be the case, it doesn’t mean I wasn’t up all night working harder and more diligently than any bank clerk, orthodontist or school principal.

It just means I keep different hours. Musician hours.

Time hasn’t alleviated any of the stigma. Friends and relatives still call at 9:01am, exactly, presuming, completely erroneously, that any decent, responsible citizen has already completed their morning constitution and is alert and eager to engage in social discourse.

“…mmmnumbble, er, no, that’s fine… I’ve been awake for hours.”, is the diplomatic, yet humiliating, lie I am forced to tell, to keep from screaming into the phone at them, “stop calling me so f*cking early in the morning, you f*cking moron!”

But, alas, I am resigned to this social schism. There are those of us that keep musician hours. And those of us that don’t.

And then there are those of us that can’t wait ’til our 16 year old is finally old enough to drive himself to school, so his dear old musician dad can revert to waking up at a human hour.

In summary, to paraphrase that shampoo comercial, with the girl with the luscious locks…

Don’t hate us musicians because we get to sleep late.

Hate us because we have so much more fun staying up all night! ;-)

Sleepily yours,

Deano

Footnote: I was pleased to learn that the word ’schism’ has an early musical derivation. Other than its common use in Greek to refer to a crack in a wall or an egg, the original use of schisma (σχισμα) as a technical term was in ancient Greek music theory, and referred to a slight difference in pitch. The term is still used for that purpose in modern microtonal music and theoretical treatments of musical tuning. The term is used for a separation in pitch a few times less than a comma; usually a pitch difference of about 5 cents. Imagine that! source: wikipedia.org

September 2, 2006

Back to School

Filed under: Autumn — dean @ 2:46 pm

They say our sense of smell is the most primitive of our five (six?) senses. Although, I might argue for ‘dollars and sense’. But the sudden cool weather, here in the northeast, and the smokey, damp scent of autumn blustering in, brings me rushing right back to those going back to elementary school days - brand new looseleaf binders, book covers, sharpened pencils, ruler, protractor, compass. Excitement mixed with nervousness about what the new teacher would be like, where our desk would be, who else would be in the class.

Fall has always felt like a time to get busy. No small challenge when the brisk morning temperatures make it that much cozier to stay nestled under the bedcovers. But somewhere deep in our brainstem, at least up here north of the 40th parallel, is the genetic memory nudging us to start gathering acorns for the coming winter.

I recall one chilly September morning - I was around 7 or 8 - walking the half-mile to school with my classmate, Patty Scattaberg. She wore a dark blue knit hat with shiny plastic berries sewn on top, that covered her curly brown hair and ears. As we approached our low, brick schoolhouse, we were startled by a loud squawk and flapping of wings as a huge black crow swooped down on us, grabbed the berries on Patty’s knit hat and flew off into a nearby tree clutching Patty’s knit hat, plastic berries and all. By October, that crow had a fine collection of hats and buttoned gloves and a quite impressive nest. Although, I was never sure whether she was frustrated at having filched all that fake fruit or delighted at having stolen so much shiny stuff. Either way, she’d certainly been busy.

Of course back then, the question of why we were getting busy was irrelevant. We trusted, somehow, that the grownup world knew what they were doing and so assumed there was some plan in place to channel our youthful enthusiasm and energy in order to prepare us for some meaningful pursuit later on. When we were older. When we became grownups ourselves.

We may have been a little too trusting.

It would never have occured to us that we were simply being socialized, channeled to play our parts in a post-agrarian, numbingly industrial society. Our still innocent minds could never have conceived of a fear driven, socio-economic system, which was designed from the ground up - or more acurately, from the top, down - to train each new generation of serfs, middle managers and a handful of bosses merely to replicate and perpetuate the societal and corporate structures and systems already in place.

It was enough that we were assured by loving, if distracted, parents and teachers that what we were doing there, and what we were learning, was for the best.

And in a way it was. Because no nurturing parent or caring teacher wants to send off their children unprepared for survival in the real world of bills and mortages and taxes.

And therein lies the dilemma. Because while making a living (for most) is crucial, making a living doing something you care about - something meaningful - is, to my mind, more crucial. Yeah, I know that’s logically and grammatically incorrect, but true nonetheless. And I say that knowing full well that for so many people in the world, the latter option is an unattainable luxury.

We all face the choice and fail or succeed to varying degrees. Luck and circumstance play a role but so does culture. While the economy makes the ground rules, assigning value to various pursuits, it’s culture that speaks to our inner selves. A culture that values education, scholarship, for its own sake, a culture that values the arts, pure science, individuality, risk taking, meaning… is a culture that will survive and flourish beyond its narrowly conceived, corporation serving, bottom-line.

My two teenage kids are both heading off to school, picking courses, in the early stages of fashioning some kind of direction. Do I encourage them to be practical or to follow their dreams? Is it possible to do both?

Ultimately, they each have to decide for themselves. I trust they’ll find the answer in themselves, and, hopefully, find a way to balance those often conflicting priorities in a way that makes them happiest - regarless of whether they reach for those nourishing morsels or all that cool shiny stuff - or both.

August 28, 2006

Pickin’ in Poughkeepsie

Filed under: SummerDays — dean @ 4:40 pm

In one of cinema’s classic lines, Gene Hackman, playing Detective ‘Popeye’ Doyle, in 1971’s film, ‘French Connection’, harrasses a local hood with the nonsensical query, ‘Ever pick your feet in Poughkeepsie?’ The scene is memorable, but not as memorable, for me at least, as Eric Johnson’s gig last night at The Chance in Poughkeepsie, NY, featuring bassist Roscoe Beck and drummer Tommy Taylor.

I went with my 16 year old, Sam, driving up a winding Rt. 9, in my rusted out Dodge Caravan, north past Garrison and Coldspring, underneath #84, straight up alongside the Hudson River to Poughkeepsie, or Po’ town, as it’s know to local denizens.

We parked on the main street, up the block from this venerable music venue. Walking inside, eyeing the music-hall layout, high stage, close balcony, I flashed back to a gig I played there, almost 30 years ago, standing alone on the stage, picking my D-35 acoustic, blinded by stage lights, but able to hear and feel the audience tucked tightly around me in an intimate semi-circle. It was, and still is, a real music venue, and we’d come to hear some real music. But first, let me take you back a few decades…

Sometime around 1979, following on the heels of the success of my 2nd album in the UK, I flew out to L.A. to meet with prospective producers for what was to be my 3rd album. I met with Roy Halee, Paul Simon’s producer, and Henry Lewy, who’d produced Joni Mitchell’s albums. Roy was cordial and frank in his criticisms of the production values of my first two albums, none of which I could argue. Henry Lewy was something else, entirely.

He welcomed me into a plush studio control room, where he was in the midst of producing Leonard Cohen’s latest album. I was introduced to some of the young band members who’d been cutting tracks, and the gruff voiced poet, himself, who drifted in and out of the control room like a ghost. With the day’s session winding up, the studio gradually started to empty and when only Lewy and I remained, he turned and asked, ‘Would you like to hear a track from Joni’s new album?’ As if I’d answer anything but, damn, yes. It was her collaboration with the legendary jazz musician, Charles Mingus, which she’d just recorded with a freeform fusion group which included players like Jaco Pastorius, Wayne Shorter and Herbie Hancock. He threaded the 1/4″ master, offered me a toke of a particularly pungent joint and dimmed the studio lights as the music flowed out of the speakers in what seemed like technicolor waves of sound. To say it was a heady experience, hardly expresses how I felt, listening to my musical idols, in full creative flow, in the very studio they’d recorded the work, just days before.

After listening to a few tracks, and seeing me appropriately awestruck, Lewy graciously took his leave, but, in parting, made mention of the young band, going by the name, Passenger, that had been playing tracks on the Leonard Cohen album, some of whom I’d just met. They were performing a college gig somewhere in L.A. and Lewy suggested I check them out. Which I did.

I suspect he was aware of the jazz fusion harmonic elements in some of my own writing and thought I might have an affinity for the group. And he was right. They were a tight, energetic fusion band in the spirit of Weather Report, with a set of cool original instrumentals, featuring an incredible fretless bass player, by the name of Roscoe Beck. It made an impression.

I flew back to New York City, somewhat dazed, definitely overwhelmed, but thrilled to have been exposed, even tangentially, to some of my biggest musical influences and to have gotten a glimpse of such an exciting music scene. Who knows what might have happened had I returned to the west coast? But awe inspiring as the experience was, I was a New York musician. And odd as it may seem, there were, and are, dramatic differences between the coasts and their musical styles. In addition to the west coast option, I also had chance to work in a new NY recording studio named, Rosebud, owned by top percussionist, Ralph McDonald. As it happened my brother, Aram, an audio/video engineer had helped build the studio and introduced me to Ralph and the studio engineer, Richard Alderson. It was a hot new NY studio, frequented by top NY producers and session players like Quincy Jones, Will Lee, and Chris Parker. And it had a decidedly New York vibe. More uptempo. Not so laid back, L.A.

It was a tough decision, but I’d recorded both previous albums in NYC, loved the city and its sound, and even the intoxicating allure of the west coast and the possibility of getting to meet Joni, weren’t enough to send me cross country.

I opted for New York and booked sessions at Rosebud. Richard Alderson would engineer and I would co-produce with Rob Stevens who’d produced the first two albums. I started putting together a band consisting of Don Sarlin, an excellent guitar player, who’d toured with me following a stint with Van Morrison, and played on my 2nd album; Bette Sussman, a superb keyboard player, who toured with Whitney Houston and had done a brief UK tour with me, Chris Parker, a top NY studio player who’d recorded with Steeley Dan and was a member of the cool-funk band, Stuff. I still needed a bass player and placed a call to the amazing fretless player I’d heard out in L.A., Roscoe Beck, inviting him to NY for a few weeks to record basics.

To my delight, he agreed, and a few weeks later I started sessions for what would have been my third album. The band sounded great and they provided a polish and maturity that enhanced my new tunes, which included, among others, Saturday Fathers, Under a Canopy and No One Knows.

It was turning into a special album, when two weeks into the sessions, Rob Stevens, my co-producer, announced that he was quitting. He apparently had a problem with my production style or approach on the project, but my opinion is, simply, that he was unable to handle having to relinquish some of the decision making process. And so Lifesong Records pulled the plug.

That was 26 odd years ago and the last time I saw Roscoe. Fortunately, the aborted sessions didn’t slow Roscoe down. In the interim, from his home base in Austin, TX (though, funilly enough, he actually grew up in Poughkeepsie, NY) he produced Jennifer Warnes’ million selling album, ‘Famous Blue Raincoat’, toured with the Dixie Chicks, became a founding member of Robben Ford and the Blue Line and has become so highly regarded a musician’s musician that Fender guitar has released, not one, but two Roscoe Beck signature bass guitars - a four and a five string. Not bad for a skinny kid from Poughkeepsie. But it was always a deep regret of mine, not having been able to complete those sessions, with musicians I so admired. But such is the music business.

And yet, it was as if no time had passed, when Eric Johnson’s trio walked on stage and charged into their spirited set, driven by Eric’s virtuoso guitar playing, Tommy Taylor’s emphatic drumming and underpinned by the stunning lyricism, subtle articulation and raw power of Roscoe Beck on bass.

The music doesn’t fit into any fixed genre. It’s an eclectic hybrid of southern rock, blues, and jazz fusion with a sprinkling of progressive rock. They played with both intense feel and exhilarating precision and the head-on impact of their power-trio made them seem like a Texas ‘Cream’. Labels aside, they made great, inspiring music. And the packed Chance audience, Sam and I included, were completely blown away by their two hour set.

So, I know this is not so much a gig review as it is a long-winded reminiscence, but that’s how I wound up in downtown Poughkeepsie a few nights ago, psyched to hear one of my favorite musicians making great music. So, if you ever happen to see Roscoe or his cohorts playing in your town, be sure and check ‘em out. I promise the evening will be memorable.

Deano

Roscoe Beck and Dean

Dean & Roscoe at The Chance in Poughkeepsie Aug. 24, ‘06

Roscoe Beck Website

Eric Johnson Website

August 23, 2006

Gettin’ the hang of it.

Filed under: SummerDays — dean @ 12:31 pm

Hmmmm… I think I might be gettin’ the hang of all this blog and stylesheet stuff. Have to push everything live pretty soon, now. Weather’s too nice to be inside, though. See ya, later.

August 20, 2006

Gettin’ There… Gradually.

Filed under: SummerDays — dean @ 6:01 pm

Been spending odd moments trying to figure out how this blog stuff works. The last thing I planned on doing this summer was learning about CSS style sheets, but with some helpful input from Ron and Andrea who designed the pre-modified Sticky Notes theme, I’m slowly getting the hang of it. Ah, the wonders of the internet.

July 29, 2006

Everybody loses it at Summer Camp!

Filed under: SummerDays — dean @ 4:22 pm

Here it is, my first ever WordPress blog attempt. Feeling like a technical virgin about to get literal. Creeping into the neighboring cabin, getting up to mischief. Shhhhh…, don’t wake the counselors.

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