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  <a href="/ruminations-and-rambles/blog/4841567/september-services-and-sundry-soirees">September Services and Sundry Soirees</a>&nbsp;
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  <div class="message"><p>One thing I enjoy as a musician and a creative person is developing/creating works that are spiritually and musically moving and satisfying. I enjoy the intricate challenges of merging my religious/spiritual life with my musical life and I have thrived on that for as long as I can remember. My Days of Awe and Further Definitions of the Days of Awe projects are good examples of how I have been able to find new ways to express traditional synagogue songs and music for the high holy days in an entirely new light. To that end I am excited to let you know about two synagogue services coming up this month that I have helped to develop and arrange and will be playing with the Afro-Semitic Experience. </p>
<p>The first service is coming up next weekend. We are playing a Selichot service in West Hartford at The Emanuel Synagogue. Yes, we’re beginning the High Holy Day season with some spiritual music making here in the state where I live. Playing a Selichot service is nothing new for the Afro-Semitic Experience. We’ve been involved in playing that service now for the past 15 years or so, ever since we began work on the music for the Days of Awe CD that we released back in 2003. And this year we are going to give a service not with one, not with two, but with five cantors!! We have some new pieces and some revised older pieces planned for the service. And yes, we are going to give a little sermon in song during the evening so look out for an Afro-Semitic Experience moment in the midst of it all. tiny tangent of respect and gratitude: One direct result of the Days of Awe project was that we were introduced to Cantor Jack Mendelson. We played our first Selichot service with him and accompanied him at his synagogue for over a decade. And through our experiences working with Cantor Mendelson our knowledge of the liturgy and music for Selichot also grew. Even though Cantor Mendelson is now retired we continue to be invited to play at synagogues and to share the music we have arranged and developed and we continue to be grateful for the guidance and support he gave us during those many years of learning together. </p>
<p>Our second synagogue service is going to be in South Orange, New Jersey at Temple Sharey Tefilo-Israel. We are going to be playing two services for Rosh Hashanah eve, one at 5:30 p.m. and the second at 7:30. For me this is a moment of arrival as I have wanted to make music for these services for a very long time and now we are getting to play not just for the service that comes just before the High Holy Days, but actually on the eve of Rosh Hashanah! How cool is that!! I mean, how many bands do you know that are playing for Rosh Hashanah services? I could imagine there might be a few, but the only one that I know about is the Afro-Semitic Experience. We’ve been talking, planning, and rehearsing these two services with Cantor Rebecca Moses and both services are going to be open to the public so if you wish to attend the synagogue will welcome you with open arms as long as you call in advance. If you want to observe Erev Rosh Hashannah with a wonderful community and share in our musical celebration of 5778 please contact the temple office of Temple Sharey Tefilo-Israel at 973-763-4116. The early service is going to be very family friendly with moments for dancing and interaction. The later service will be a little more somber and we’re planning some pretty interesting arrangements that are intended to bring you into the High Holy Days in a way that is spiritual and visceral. Please call the synagogue if you wish to join us. </p>
<p>Other gigs in the coming weeks. </p>
<p>This Saturday evening, September 9, I am hosting a jazz jam from 6:30-9:30 p.m. at Fornarelli’s in New Haven. I’ll be joined by Drew Fermo on piano and you are all invited to come hang out to hear the music. Musicians please come on over and sit in with us. We’re looking forward to a good evening of music making. Fornarelli’s Ristorante is located at 99 Orange Street in downtown New Haven. </p>
<p>Next weekend (not this one) is just before my birthday so I am going to celebrate my birthday at all of my gigs (well, maybe not my Selichot service, but who knows). The weekend begins with a Friday night performance (September 15) with my group Bassology at the 323 Restaurant and Bar. Music begins at 7:30 p.m. I’ll be joined by Will Bartlett on sax, Warren Byrd on piano and Jocelyn Pleasant on drums. The 323 Restaurant and Bar is located at 323 Main Street in Westport. </p>
<p>At 3:00 p.m. on Saturday, September 16, I will be playing with the Nu Haven Kapelye at the Whitneyville Fall Festival in Hamden. Enjoy a great community event with live music including our set of Klezmer. The festival takes place on the fields of the Whitney Cultural Commons, 1253 Whitney Avenue in Hamden. And later that day I will be in West Hartford for the Selichot service. </p>
<p>Then on Sunday, September 17, I am playing at the jazz brunch at Elm City Market with my swing and blues group, Bassology. For this performance, I’ll be joined by Will Bartlett on sax, Warren Byrd on the keys, and Jesse Chevan on drum set. Music begins at 10:30 and goes till 1:30. What a perfectly morning, you can shop, eat brunch, hear great jazz and then wish me a happy birthday. Elm City Market is located at the corner of State and Chapel streets in downtown New Haven. </p>
<p>I hope you will join me and my friends at one of these upcoming performances or worship services. </p>
<p>For all of you who celebrate I wish you a very Happy and Sweet New Year, </p>
<p>David </p>
<p>www.davidchevan.com</p></div>
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  <a href="/ruminations-and-rambles/blog/4790403/late-july-musical-soirees">Late July musical soirees</a>&nbsp;
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  <div class="message"><p>This last week of July is filled with music of all kinds and I’d be thrilled if you came out for one or more of these upcoming performances. I am basically having gigs with almost of all of my various projects and each one of them promises to be exciting. </p>
<p>This Friday, July 28, I am hoping for some good weather as I am playing outdoors at noon in Hartford at the Old State House Farmer’s Market with the Nu Haven Kapelye. That’s right Hartford friends. Now you can hear what kind of mishegas we’ve been up to in New Haven for the past twenty or so years. Klezmer and Yiddish swing come to Hartford and I hope you can join us. We’ll be playing music from What’s Nu, the CD we released earlier this past year as well as some new arrangements that I’ve put together for the group. Music begins at noon. The Old State House is located at 800 Main street in Hartford. </p>
<p>On Saturday, July 29, I’m back in New Haven for a duo gig with Jeff Fuller at Fornarelli’s, one of the last clubs in the New Haven area that still has a real piano and a regular jazz policy. I know you might think of Jeff as a bass player but his piano chops are off the chain. Last time we played at Fornarelli’s we had a blast. This time we’re inviting our students and friends to come and sit in with us. If you are a musician please bring your instrument and sit in with us! It’s going to be a blast. Music starts at 6:30 and who knows how late we’ll go. Fornarelli’s Ristorante is located at 99 Orange Street in downtown New Haven. </p>
<p>On Sunday, July 30, I am playing at the jazz brunch at Elm City Market with my swing and blues group, Bassology. For this performance, I’ll be joined by Will Bartlett on sax, Chris Casey on the keys, and Jocelyn Pleasant on drum set. Music begins at 10:30 and goes till 1:30. What a perfectly American experience, shop, eat brunch, and hear great jazz. Elm City Market is located at the corner of State and Chapel streets in downtown New Haven. </p>
<p>On Monday, July 31, at 7 pm the Afro-Semitic Experience is playing a concert at Tower One in New Haven. This concert is free and open to the public. The band is excited to get this chance to play together locally and we hope you’ll come out to hear us. Tower One is located at 18 Tower Lane in New Haven. </p>
<p>And then, on Thursday, August 3 I am playing, for the first time ever, in Stamford with a trio version of Bassology at Villa Italia. Joining me that evening will be my Afro-Semitic Experience bandmates, Warren Byrd and Saskia Laroo. Music begins at 7:30 p.m. Villa Italia is located at 26 Mill River Street in Stamford. </p>
<p>A busy couple of weeks and I do hope that you will join me for some very musical moments. </p>
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  <a href="/ruminations-and-rambles/blog/4602672/mardi-gras-2017">Mardi Gras 2017</a>&nbsp;
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  <div class="message"><p>Hey friends, <br><br>Just a little Mardi Gras reminder note and a rescheduled snowed out performance.    </p>
<p>This coming <strong>Tuesday, February 28</strong> is <strong>Fat Tuesday </strong>and that means that I will be directing  my annual <em><strong>Mardi Gras </strong></em>conc­­ert at <a contents="Southern Connecticut State University" data-link-label="" data-link-type="url" href="http://www.southernct.edu/academics/schools/arts/departments/music/upcomingconcerts.html" target="_blank">Southern Connecticut State University</a>.  I'm been working with my students on a program of music from New Orleans that runs the gamut from traditional jazz to New Orleans funk and rhythm and blues.  We’re having a lot of fun learning this material and I hope you can join us for a night that’s going to really have a big easy flavor to it. You can expect a parade, beads, and lots of good music.  We’ve got a program of songs made popular by Louis Armstrong,  Dr. John, Huey "Piano" Smith, the Dixiecups, Allen Toussaint and other legendary New Orleans artists. The concert is at 7:30 p.m. in the Charles Garner Recital Hall (located in rm C-112 in Engleman Hall). Admission to the general public is $5 a person.  For more information please call the SCSU Music Department, 203-392-6625. </p>
<p>As I mentioned in my last newsletter the centenary of what is generally acknowledged as the first jazz recording is coming up this Sunday, on February 26.  What’s surprised me is how little this major milestone has been mentioned anywhere in the media.  But we will be acknowledging and celebrating this milestone in jazz history at our concert on Tuesday. The SCSU jazz ensemble has been working hard to learn those two songs, Livery Stable Blues, and Dixieland Jass Band One-Step, that were recorded on February 26, 1917. We’re looking forward to sharing them.   <br><br>On Sunday, March 5, at 2:00 p.m.  I will play a duo jazz concert at the <a contents="Pequot Library " data-link-label="" data-link-type="url" href="http://www.pequotlibrary.org/" target="_blank">Pequot Library </a>in Southport with Rex Cadwallader.  We were supposed to give that concert a few weeks ago, but we were snowed out so we are grateful that the library was able to reschedule this performance.  The <a contents="Pequot Library " data-link-label="" data-link-type="url" href="http://www.pequotlibrary.org/" target="_blank">Pequot Library </a>is located at 720 Pequot Ave. in Southport. </p>
<p>Wishing you all the best in the coming weeks.  And since it is Mardi Gras season: <br><br><em><strong>Laissez les bon temps rouler!!! </strong></em><br><br>David<br><br> </p></div>
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  <a href="/ruminations-and-rambles/blog/4563504/the-next-few-weeks-in-music">the next few weeks in music</a>&nbsp;
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  <div class="message"><p>Hey friends, </p>
<p>The next few weeks for me are going to filled with some really interesting music and most of it is happening locally. I would be remiss if I didn't let you know what I am up to.  </p>
<p>Tomorrow night, at 8 pm I am playing a set of music with Isabella Mendes' new Bossa Nova Project at Best Video. Isabella has assembled some terrific players to accompany her in a tribute to Antonio Carlos Jobim, who if her were still alive, would be celebrating his 90th birthday today.  Joe Carter is on guitar, Tim Moran is covering the woodwinds, and Joe Murfin really lays it down with percussion and drum set.  Best Video, for those of you who haven't yet enjoyed this space, is located at 1842 Whitney Ave in Hamden. </p>
<p>On Sunday, January 29 at 4:00 p.m. the Afro-Semitic Experience will be participating in an interfaith worship service to Lift Ev'ry Voice in Song, a service to honor and celebrate the 50th anniversary of Christian Community Action. The service will be held at Star of Jacob Christian Church  at 506 Howard Avenue in New Haven. </p>
<p>For those of you who are unfamiliar with them, Christian Community Action is an organization that is the real deal. Every day they are in the community looking out for those who truly need help and support. Their mission is to provide help, housing, and hope to those who are poor in New Haven. And every single day, for the past 50 years, with no days off ever, that is what they have been doing. I'm honored that the Afro-Semitic Experience was invited to celebrate this organization and I hope you can take some time this coming Sunday to be a part of it. </p>
<p>Featured performers include The Heritage Chorale of New Haven, Inc., Afro-Semitic Experience, Morning Glory Dancers, Unity Boys Choir, Trinity Girls Choir, Salt and Pepper Gospel Choir, and Star of Jacob Christian Church Choir. All faiths and all people are welcome. <br>  <br>Parking provisions are at the Church and at Roberto Clemente Leadership Academy/School at 360 Howard Avenue. It is it about a block away. It's a service so there is no admission charge, it is free, but of course your support of this organization that is really making a difference in the community would be appreciated. <br>At an event like this I think you should expect to hear a joyous noise. </p>
<p>Those of you in the Hartford area will be happy to know that the Afro-Semitic Experience is finally coming back to share our music in the community. </p>
<p>On Sunday, February 5, the Afro-Semitic Experience will be giving a concert at the Hartford Public Library as a part of their Baby Grand Jazz Series. The concert begins at 3:00 p.m. and is free to the public! </p>
<p>Expect a joyous noise!!! <br>  <br>On Sunday, February 12, at 2:00 p.m.  I will play a duo jazz concert at the Pequot Library in Southport with Rex Cadwallader.  The Pequot library is located at 720 Pequot Ave. in Southport. </p>
<p>Again, I know what happens when I play with Rex so I think you can expect a joyous noise. <br>  <br>Finally, the centenary of what is often acknowledged as the first jazz recording* is coming up in just about a months time, on February 26, the same day as the Oscars.  Wouldn't it be cool if the people from La, La Land, the new jazz-inspired move and the rest of the Academy in some way honored this extraordinary landmark date.  I am dubious as to whether they will, but you can rest assured knowing know that whenever there is an opportunity and cause to celebrate with a joyful noise, I will be doing just that. </p>
<p>The coincidence of Fat Tuesday and the Centennial of Jazz is going to make for a special evening that I hope you attend. </p>
<p>On Tuesday, February 28, I will be directing  a Mardi Gras concert at Southern Connecticut State University.  I'm already working with my students to learn the two very first songs ever released as jazz numbers. And the rest of the music we're planning will really raise the Mardi Gras spirit to a proper level of celebration (songs by Louis Armstrong,  Dr. John, Huey "Piano" Smith, the Dixiecups, Allen Toussaint and other legendary New Orleans artists). The concert is at 7:30 p.m. in the Charles Garner Recital Hall (located in rm C-112 in Engleman Hall). Admission to the general public is $5 a person.  For more information please call the SCSU Music Department, 203-392-6625. </p>
<p>Busy month but in that good way.  Hope you can join me for some or all!! </p>
<p>best, <br>David <br><br>  </p>
<p>*"Livery Stable Blues" and "The Dixieland One Step", recorded on February 26, 1917 by the Original Dixieland Jass Band.  Yes, this recording's place as the first jazz recording has been contested, but like Louis Armstrong's believed versus real birthday, sometimes the myth has value in being knowingly perpetuated. <br> </p></div>
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</article>  <article class="post blog-article full-item post-full" data-controller="zoogle-video" data-action="message@window-&gt;zoogle-video#handleVimeoPostMessage">
    
<h2 class="heading-secondary heading-blog alt-font">
  <a href="/ruminations-and-rambles/blog/4473975/what-s-nu-on-line-liner-notes-that-are-more-or-less-some-reflections-ruminations-and-details-reg">What&#39;s Nu?  On-line liner notes that are, more or less, some reflections, ruminations and details regarding the What’s Nu project </a>&nbsp;
</h2>

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	font-family:"Calibri","sans-serif"; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:"Times New Roman"; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:"Times New Roman"; 	mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <br><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">Where does this all begin?<span style="mso-spacerun: yes;">  </span>Hard to say.<span style="mso-spacerun: yes;">  </span>I imagine the first inkling of this project would mostly likely be in the fall of 1998 when I suggested the idea of organizing and putting on a concert on December 25 to Cantor Shoshana Lash at Congregation Mishkan Israel in Hamden.<span style="mso-spacerun: yes;">  </span>She was willing to run with the idea and see where it would go. There were enough people interested so I pulled together some lead sheets and we had a few rehearsals and managed to present something nice that maybe lasted about 45 minutes or so.<span style="mso-spacerun: yes;">  </span>And by some standard we decided that the concert was a success.<span style="mso-spacerun: yes;">  </span>I’m not sure what the turnout was for that first concert, but by the third or fourth concert we were well over 100 people in attendance.<span style="mso-spacerun: yes;">  </span>And over the years the audience has grown so that we have had as many as 200-250 people in attendance.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">So far this concert has managed to exist for 18 straight years.<span style="mso-spacerun: yes;">  </span>And that includes one year when I took a break so that my family could visit our son who was working in Qatar.<span style="mso-spacerun: yes;">  </span>The December 25 concert has evolved from just a break in my year into a source of creative inspiration.<span style="mso-spacerun: yes;">  </span>Musically, for me, there is always the feeling that somehow every year the December 25 concert has to be fresh and new and better than the previous year.<span style="mso-spacerun: yes;">  </span>And for me that has meant constantly being on the hunt for repertoire. <span style="mso-spacerun: yes;"> </span>The music I seek or perhaps initially sought was preferably something that wouldn’t be too hard to adapt as I needed to prepare and organize everything as expeditiously as possible. <span style="mso-spacerun: yes;"> </span>For the first few years that we did the concert I would hunt around for lead sheets of Klezmer and Jewish music. Plus people who wanted to sing songs were welcome to bring in their songs and we would hammer out pretty quick arrangements for the show.<span style="mso-spacerun: yes;">  </span>Over time I was able to build a library of Jewish music that we really liked playing. </div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;">My guilty confession (in the form of an analogy)</i>: I don’t make my own butter, I buy it already made at the store.<span style="mso-spacerun: yes;">  </span>Similarly, most of the time I don’t bake my own bread, instead I buy it already made from the store. In other words, I suppose at this point I should add, somewhat parenthetically that yes, I could gone about this process very differently and transcribed tunes from recordings.<span style="mso-spacerun: yes;">  </span>That is a great valid way to deeply connect with a music practice while finding cool new pieces to play.<span style="mso-spacerun: yes;">  </span>But, when I first started I had limited time to do this work and with everything else I was doing (teaching, parenting, gigging) I was reticent about putting too much of my energy into a once-a-year concert event.<span style="mso-spacerun: yes;">  </span>As I hope you can imagine, my attitude toward this project and my involvement evolved over the years. I still rely on sheet music as one of my resources, but there are now many arrangements in the Nu Haven Kapelye repertoire that have been distilled from my transcriptions of recordings. (<i style="mso-bidi-font-style: normal;">and the guilt from this confession make me actually feel worse, not better. Oy.</i>)</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">It took quite a few years of searching and collecting but in time I accumulated a number of collections of music that I found reliable musically and that I could use for developing arrangements for the group.<span style="mso-spacerun: yes;">  </span>How did I even learn about these collections is its own story.<span style="mso-spacerun: yes;">  </span>One thing that really helped in my education was being a member of an online e-mail chat group.<span style="mso-spacerun: yes;">  </span>The jewish-music list, curated by Ari Davidow was an invaluable resource. So much good information was and continues to be passed around in that group. I don’t know where I first learned about each of these sources, but I know I must have encountered at least a few as a result of being a member of this on-line community of like-minded music lovers. The first resource I came across that really resonated with me was a pair of music books, the two <a href="http://www.sheetmusicplus.com/title/kammen-international-dance-folio-1-guitar-or-violin-mandolin-sheet-music/3601649">International Dance Folios</a> originally published by Kammen Music in 1924.<span style="mso-spacerun: yes;">  </span>These two folios were collections for dance band musicians and were terrific resources. <span style="mso-spacerun: yes;"> </span>Essentially the books contained melody lines in all keys, as well as rhythm section parts. Over the years we have played a lot of music from those books.<span style="mso-spacerun: yes;">  </span>Next I got hold of <a href="http://www.stacyphillips.com/">Stacy Phillips</a>’ book of <a href="http://www.stacyphillips.com/fiddlebooks.html#klezmer">Klezmer tunes</a> published by Mel Bay and that helped us a great deal as well. Those lead sheets were used a great deal in the earliest years of the December 25 concert. </div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">One of the big repertoire breakthroughs was tracking down and getting the only two collections of Klezmer ensemble arrangements that had parts for instruments in all keys. Most collections were strictly in C and Bb and there was little written for Eb instruments (in a way that should have been a clue to me that I was veering out of the zone of tradition since the most common of all Eb instruments, the alto saxophone, is not a traditional Klezmer instrument).<span style="mso-spacerun: yes;">  </span>First I found Ken Richmond’s book of charts that he wrote for the Yale Klezmer band and then soon after the Maxwell Street Klezmer band published their terrific collection of Klezmer arrangements.<span style="mso-spacerun: yes;">  </span>To this day we open most of our performances with the <a href="http://klezmerband.com/">Maxwell Street</a> arrangement of <a href="http://klezmerband.com/store.html">“Russian Sher</a>”. </div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">My search for musical material eventually led to <a href="https://www.amazon.com/Jewish-Instrumental-Folk-Music-Collection/dp/0815606915">Beregovski’s collections</a><a href="https://www.blogger.com/null" name="_GoBack"></a> of Klezmer and Jewish music from Russia and I soon used many of the pieces in those collections to write my own lead sheets for the band.<span style="mso-spacerun: yes;">  </span>But from a creative point of view I think the big moment of creative transition for me happened in 2011 when I was invited by <a href="http://www.gregwall.com/">Rabbi Greg Wall</a>to play bass in the Ayn Sof Arkestra, a Jewish big band he had founded.<span style="mso-spacerun: yes;">  </span>The group had a monthly gig at the East Sixth Street Synagogue in New York.<span style="mso-spacerun: yes;">  </span>I began traveling down from New Haven to New York once a month to be a part of this project.<span style="mso-spacerun: yes;">  </span>I loved meeting and playing with these musicians all of whom were strong players with great reading and improvising chops.<span style="mso-spacerun: yes;">  </span>As the group developed Greg invited the members of the band to bring in their own tunes and arrangements and to write for the group.<span style="mso-spacerun: yes;">  </span>I was excited by the possibility of getting to hear some of my ideas played by a big band and over the year I put together about three or four arrangements and original pieces for that group.<span style="mso-spacerun: yes;">  </span>It was my first time writing seriously for a large ensemble and when that project ended for me I was disappointed. I’d gotten bit by the writing bug and I wanted to continue to write for a large Jewish big band.<span style="mso-spacerun: yes;">  </span>And then it hit me.<span style="mso-spacerun: yes;">  </span>I had been writing and arranging for a big Jewish band since 1998 but because of my own narrow mindedness I had not been thinking about it that way.<span style="mso-spacerun: yes;">  </span>It took the end of my tenure with Ayn Sof and my continued desire to write for a big group to help me understand the gift that was this December 25 ensemble.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">As I wrote and transcribed simple lead sheet arrangements for the December 25<sup>th</sup> group I discovered that these players possess an insatiable appetite for new music. Anything I presented they were ready and willing and (mostly) able to play.<span style="mso-spacerun: yes;">  </span>I was so used to working mostly with ear players, however, and it took me a while to understand that some of these musicians really wanted notated guidance.<span style="mso-spacerun: yes;">  </span>Ear players are more than willing to take musical risks, but so many of the players who were involved did not have that agenda and I wanted to be open to finding ways to keep them involved in the project.<span style="mso-spacerun: yes;">  </span>And so I began to become more aware of arrangement and how to present the music.<span style="mso-spacerun: yes;">  </span>While that might seem obvious to a trained musician, for me it was a process of becoming aware.<span style="mso-spacerun: yes;">  </span>I became aware that I could shape a piece and not just play it straight forwardly.<span style="mso-spacerun: yes;">  </span>I became aware that the group could really reach and pull itself into a shape that would allow a group of community musicians to really play this music.<span style="mso-spacerun: yes;">  </span>And I began to get even more aware of nuance than I ever had been before.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">And so about a decade or so into this project I began to get serious about the arrangements for the group.<span style="mso-spacerun: yes;">  </span>Over time I found myself writing more and more frequently for the band. And I also have encouraged other members of the group to also contribute their work. <a href="http://www.yonibattat.com/">Yoni Battat</a> brought in a number of vocal arrangements, <a href="http://www.bivolita.com/who/">Christina Crowder</a>gave us an instrumental arrangement and also wrote several arrangements for the vocalists. And <a href="https://www.templeisraelcenter.org/About_Us/Who_We_Are/Clergy">Louis Polisson</a>transcribed and arranged Gross by <a href="http://balkanbeatbox.com/">Balkan Beat Box</a>.<span style="mso-spacerun: yes;">  </span>We were finally to the point where at least two or three of the arrangements for the concert were developed by me or some other member of the group.<span style="mso-spacerun: yes;">  </span>
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">My musical tastes are wide and so it should come as no surprise that the arrangements I’ve developed really run the gamut.<span style="mso-spacerun: yes;">  </span>Some are through composed without any room for soloists to improvise and others are almost like a jazz-big band chart in their structure with significant room left for improvisers to do their thing.<span style="mso-spacerun: yes;">  </span>What most of these current arrangements have in common is that I have a group of musicians who really want to play them and turn them into something tangible and musical.<span style="mso-spacerun: yes;">  </span>And there is great satisfaction in having an outlet for my explorations of arranging, instrumentation and part writing.<span style="mso-spacerun: yes;">  </span>About a year and a half ago I decided that time had come to document some of the work we had been doing and I was able to obtain a grant to record my arrangements.<span style="mso-spacerun: yes;">  </span>Here we are, nearly 19 years into this project and we are finally making to have a studio quality recording that nicely documents some of the music that we have been making here in New Haven on December 25 and otherwise.<span style="mso-spacerun: yes;">  </span>It’s a great feeling.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">The room matters</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">Okay, we’re almost at the part of this essay where I tell you a bit about each of the tunes on the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">What’s Nu</i></b> CD. But before I talk about the music I want to talk a bit about where we recorded the music.<span style="mso-spacerun: yes;">  </span>I knew from the start that where we recorded the basic tracks for this album was going to matter a lot.<span style="mso-spacerun: yes;">  </span>I was concerned with finding a room with a good sound and also a room that would work from some kind of spiritual perspective. I was also aware that there were a lot of musicians in the group who were recording for the first time and so having the right feel to the space mattered to me.<span style="mso-spacerun: yes;">  </span>And there were some obstacles to overcome.<span style="mso-spacerun: yes;">  </span>Getting a good sounding recording and recording over 30 people at once is not an easy combination to make happen.<span style="mso-spacerun: yes;">  </span>And I really wanted to use a room that was large enough to accommodate the full ensemble. That turned out to be its own challenge.<span style="mso-spacerun: yes;">  </span>The old cavernous New York recording studios where Duke Ellington and other big band leaders recorded don’t exist anymore and besides if they did they would have been well outside of our budget.<span style="mso-spacerun: yes;">  </span>Room after room in the New Haven area turned out to be unavailable for this recording project.<span style="mso-spacerun: yes;">  </span>And then, at almost the last minute we were given the okay to record in the Chapel, the smaller sanctuary space at <a href="http://cmihamden.org/">Congregation Mishkan Israel</a> in Hamden.<span style="mso-spacerun: yes;">  </span>Spiritually this made a lot of sense, since we have been playing Mishkan Israel (albeit in the social hall) every December 25 since 1998.<span style="mso-spacerun: yes;">  </span>But this space turned out to be more than just great from the karmic spiritual perspective, the room turned out to be an acoustic space that was perfect for a large ensemble.<span style="mso-spacerun: yes;">  </span>For example, please take a moment to give a listen to the drum sound on this recording.<span style="mso-spacerun: yes;">  </span>It’s really amazing.<span style="mso-spacerun: yes;">  </span>And it’s all natural. We didn’t use any added reverb to find that big deep reverberating drum voice and that great splashy sound on the cymbals.<span style="mso-spacerun: yes;">  </span>That is all the sound of the CMI small sanctuary.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">The pieces</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">We recorded basic tracks for 13 different pieces in two days.<span style="mso-spacerun: yes;">  </span>That might sound impressive but that’s what you’re stuck doing when you are working on a tight budget. You make do. And so we made did.<span style="mso-spacerun: yes;">  </span>Here are some thoughts about the songs, the arrangements, and I have also sprinkled a few origin stories here and there.<span style="mso-spacerun: yes;">  </span>Hope the stories and rambles are enlightening are worth slogging through.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 16.0pt;">Kiev Sher</span></i> is a tune I found while reading through tunes in the <a href="https://www.amazon.com/Jewish-Instrumental-Folk-Music-Collection/dp/0815606915">Beregovski collection</a>.<span style="mso-spacerun: yes;">  </span>There was about a three year period where I used the music in that collection for my daily sight reading practice.<span style="mso-spacerun: yes;">  </span>I learned a lot from the exploration of the Klezmer themes that Beregovski compiled.<span style="mso-spacerun: yes;">  </span>And I learned a bit about me and my relationship to phrasing as I tried to make sense of how these melodies all strung together.<span style="mso-spacerun: yes;">  </span>So this was one of the tunes that I sight read in that collection that I liked so much I put a star next to it and would come back and revisit from time to time.<span style="mso-spacerun: yes;">  </span>The ideas for this arrangement were primarily generated from the music of David Bowie and the drumming and generous spirit of Aaron Alexander. The David Bowie influence can be is in the way the rhythm section supports the melody (think “Fashion” or “Stay”) as well as the horn lines during the solo section.<span style="mso-spacerun: yes;">  </span><a href="http://www.aaronalexander.com/shortBio.html">Aaron Alexander</a> has this great way of making klezmer drumming sound traditional and super funky at the same time.<span style="mso-spacerun: yes;">  </span>A few years ago I was attending a wedding (<a href="https://www.templeisraelcenter.org/About_Us/Who_We_Are/Clergy">Louis Polisson</a> and Gabriella Feingold’s) and Aaron was playing drums with this great group of Klezmer musicians.<span style="mso-spacerun: yes;">  </span>Aaron didn’t play <i style="mso-bidi-font-style: normal;">Kiev Sher</i>, but he played with some of the energy that this arrangement tries to express.<span style="mso-spacerun: yes;">  </span>Especially the last part of the piece.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Joseph, Joseph (Yosl, Yosl)</span></i><span style="font-size: 14.0pt;">.</span><span style="mso-spacerun: yes;">  </span>I was playing a gig in Brooklyn with <a href="http://www.paulshapiromusic.com/paulshapiromusic.com/Home.html">Paul Shapiro</a> where we were asked to play some background music. Paul suggested that we play <i style="mso-bidi-font-style: normal;">Yosl, Yosl</i>. <span style="mso-spacerun: yes;"> </span>But I couldn’t. I didn’t have a fake book and I didn’t know the tune. Paul suggested I check it out and for whatever reason that suggestion stuck.<span style="mso-spacerun: yes;">  </span>And it was the beginning of a fascinating exploration.<span style="mso-spacerun: yes;">  </span>I began by finding recordings and listening. I really got into this song in every configuration that I discovered.<span style="mso-spacerun: yes;">  </span>And then I began to listen to try and find my arrangement.<span style="mso-spacerun: yes;">  </span>What did I want to put that would work for the Seltzers singing with the Kapelye?<span style="mso-spacerun: yes;">  </span>Before Paul had suggested the song I’d never played it before and so my first listen sessions began. I started with a recording by Abe Schwartz and it just grabbed my ears and wouldn’t let go.<span style="mso-spacerun: yes;">  </span>And of course when I start listening to a song, every new discovery seemed to lead to two more (the longer story here which I won’t go into is that I am now on the lookout for these Yiddish swing tunes that can be both jazzy and klezzy).<span style="mso-spacerun: yes;">  </span>The slightly shorter version of the story involves discovering the popularity of this song under the name <i style="mso-bidi-font-style: normal;">Joseph,</i> or <i style="mso-bidi-font-style: normal;">Joseph, Joseph</i> on the Gypsy Jazz scene and then from there discovering the Andrews Sisters version.<span style="mso-spacerun: yes;">  </span>I think this arrangement has a little bit from each of those explorations, though to me what Jackie and Hedda have created with this arrangement goes beyond homage and presents another cool perspective on this song.<span style="mso-spacerun: yes;">  </span>I like the way the band swings on this tune and our featured soloist really has a time with this one.<span style="mso-spacerun: yes;">  </span>At the time of this recording tenor soloist Miles Singer was in his freshman year in high school.<span style="mso-spacerun: yes;">  </span>His tone is perfect for this tune and he really struts his stuff.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Belaia Tserkov Freylekh and Skotshne</span></i> are pair of dance tunes I found in the Beregovski collection.<span style="mso-spacerun: yes;">  </span>It’s one of my earliest attempts at taking my arranging skills beyond playing lead sheets.<span style="mso-spacerun: yes;">  </span>I had some basic personal goals for this particular arrangement. I was interested in writing a feature for a member of the ensemble and I was interested in trying to create something that would last longer if we were playing for dancers.<span style="mso-spacerun: yes;">  </span>So I thought I’d try arranging a little medley of Klezmer dance songs.<span style="mso-spacerun: yes;">  </span>Making a medley could have been a pretty simple and straight forward task.<span style="mso-spacerun: yes;">  </span>I’d heard plenty of medleys where the switch from song to song was done without any transitions.<span style="mso-spacerun: yes;">  </span>But I wanted to try and write a transition. I tried a few and this is the latest iteration.<span style="mso-spacerun: yes;">  </span>When we play it right it really pushes you into the <i style="mso-bidi-font-style: normal;">Skotshne</i>.<span style="mso-spacerun: yes;">  </span>And that brings us to my first foray into writing a Klezmer feature. I found this tricky little melody and I knew that <a href="http://www.cooperlaw.net/bio.html">Isaiah Cooper</a>, one of our long time trombone players would have some fun learning to play this.<span style="mso-spacerun: yes;">  </span>And I think it shows in his playing on this recording.<span style="mso-spacerun: yes;">  </span>So getting to this took a bit of work, a key change and some reimagining of the tempo, but the end result is a nice trombone feature.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Bei Mir Bistdu Schon</span></i> is one of those songs that has a number of iconic performances.<span style="mso-spacerun: yes;">  </span>So it took a while to figure out how much we would play homage to those performances and how much we would forge our own interpretation of the piece.<span style="mso-spacerun: yes;">  </span>This arrangement has been rewritten so many times that I fully expect it may yet change again.<span style="mso-spacerun: yes;">  </span>There’s lots of part doubling so that everyone can lock in just by listening to one another.<span style="mso-spacerun: yes;">  </span>I enjoyed writing the call and response for Dalton’s solo and the band really starts swinging hard on the call and response between the brass and everyone else.<span style="mso-spacerun: yes;">  </span>Jackie and Hedda sound so tight on this song.<span style="mso-spacerun: yes;">  </span>You can hear how well they blend on it.<span style="mso-spacerun: yes;">  </span>And while working on this chart I found some ways to write that mostly allow for the horns and the voices to work together.<span style="mso-spacerun: yes;">  </span>
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Chiribiribom</span></i>is an arrangement by Christina Crowder that features the Seltzer Sisters interpreting the song in a way that’s a tribute to the legacy of the Barry Sisters. I like the way Christina’s lines support the singers and stay out of the way of their trickiest lines and some fun little moments where everyone really has to focus to make the lines all work.<span style="mso-spacerun: yes;">  </span>Lots of energy throughout this chart. Christina has a great solo in the middle.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Ale Brider</span></i> has been in and out of the Nu Haven Kapelye repertoire several times over the years.<span style="mso-spacerun: yes;">  </span>It was arranged and brought to the group by one of our violinists, <a href="http://www.yonibattat.com/">Yoni Battat</a>.<span style="mso-spacerun: yes;">  </span>Yoni sang the song at least two different times at December 25 concerts.<span style="mso-spacerun: yes;">  </span>But then Yoni moved to Boston--at first for school and now for his career--and he couldn’t play or sing with the Kapelye as much (and the fact that he took time out of his schedule to come and be a part of these sessions is something I will always be grateful for).<span style="mso-spacerun: yes;">  </span>I got the thumbs up from Yoni to take his arrangement, change the key, and make just a few other fixes and voila, a feature for the Seltzer Sisters.<span style="mso-spacerun: yes;">  </span>The entire group even gets to sing a few bars at the beginning. </div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Gross</span></i>is an arrangement by Louis Polisson. Lou grew up playing the concert every December 25 and I can still remember how excited he was to have the Kapelye play one of his arrangements.<span style="mso-spacerun: yes;">  </span>This is our most modern piece on the album, it’s a tune by the fantastic Israeli group, Balkan Beat Box.<span style="mso-spacerun: yes;">  </span>The arrangement features Lou and Henry Sidle in an epic guitar battle.<span style="mso-spacerun: yes;">  </span>And when we’ve played this song live we really stretch out the drum solo.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Zorg Nit Mama</span></i>.<span style="mso-spacerun: yes;">  </span>As I mentioned earlier, for the past few years I have been using music from various collections of Klezmer and Jewish dance music for practicing sight reading.<span style="mso-spacerun: yes;">  </span>I find the recursive aspect of practice teaches me elemental language and phrase ideas from the music and I enjoy seeing what something I like hearing looks like.<span style="mso-spacerun: yes;">   </span>But all of this is such a slow process. So slow I don’t know if I can really tell when things have at all changed.<span style="mso-spacerun: yes;">  </span>I just know when things come more easily than they have in the past.<span style="mso-spacerun: yes;">  </span>So I was surprised when I came across <i style="mso-bidi-font-style: normal;">Zorg</i>, in a copy of some music that I had borrowed from clarinetist Jim Serling<i style="mso-bidi-font-style: normal;">.</i> <span style="mso-spacerun: yes;">  </span>When I played the melody for the first time I was grabbed.<span style="mso-spacerun: yes;">  </span>The ideas for this arrangement came fast.<span style="mso-spacerun: yes;">  </span>I heard that repeating trombone line grooving hard against the melody and I stuck with my first impression. I began to hear how it would feel if it was accompanied by a Motown/Stax influenced rhythm section.<span style="mso-spacerun: yes;">  </span>Then it was just a matter of figuring out the horn parts and the various accented hits that the piece would need to come alive.<span style="mso-spacerun: yes;">  </span>The organ solo by <a href="https://www.reverbnation.com/eggylivemusic" target="_blank">Dani Battat</a> is the only overdub on this track. Everything else happened in the moment, including the upright bass and drum interaction during the organ solo which Jesse and I improvised in an inspired moment during the sessions.<span style="mso-spacerun: yes;">  </span>One last thing, as you might guess from their last names, Dani and Yoni are family—they’re first cousins and this track is their first recording together.<span style="mso-spacerun: yes;">  </span>
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Dovidl Bazezt Die Kalleh</span></i> is a reimagining of some music I first heard on a recording made by clarinetist Dave Tarras in 1926.<span style="mso-spacerun: yes;">  </span>Anna Reisman replaces Tarras’ clarinet with her flute and she plays the opening doina and after she makes us all cry the rest of the band kicks into gear when we get to the happy celebratory freylekh. <span style="mso-spacerun: yes;"> </span>I opened up the solo section here and created a solid backdrop for the instrumentalists to improvise.<span style="mso-spacerun: yes;">  </span>I could imagine a live version where we open it up even more.<span style="mso-spacerun: yes;">  </span>
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Gas Nign</span></i>.<span style="mso-spacerun: yes;">  </span>This tune has been in and out of the Kapelye’s repertoire for at least the past five years.<span style="mso-spacerun: yes;">  </span>We first started playing it long before I began trying to write more elaborate arrangements. I found this melody early in my reading of Beregovski’s collection and made some basic lead sheets for it.<span style="mso-spacerun: yes;">  </span>To date I have yet to go back and do something more with this tune.<span style="mso-spacerun: yes;">  </span>This performance continues that practice. I worked out this head arrangement on the day of the recording.<span style="mso-spacerun: yes;">  </span>Jesse counted us in and away we went. <span style="mso-spacerun: yes;"> </span>Everyone had a chance to be featured and we all listened to each other. Nice feel from beginning to end. Everyone really sounds like they are listening to one another.</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Hora Midor di Romania</span></i> is an arrangement based on the 1920 Abe Schwartz recording.<span style="mso-spacerun: yes;">  </span>I had a lot of fun figuring out how to arrange this piece for a large group.<span style="mso-spacerun: yes;">  </span>I like the way violins and other instruments interact in the second section of the hora.<span style="mso-spacerun: yes;">  </span>Everyone was singing on their instruments.<span style="mso-spacerun: yes;">  </span>And then the band leaps into dance mode and transitions into a solid Freylekh dance feel.<span style="mso-spacerun: yes;">  </span>There’s a lot of energy in this part of the arrangement and I think the soloists, Eli Zabin and Steve Jacobs really play of that.<span style="mso-spacerun: yes;">  </span>Finally the band comes back in after the solos to bring the song home. There’s a great feeling throughout the band as they come into a classic Klezmer ending.<span style="mso-spacerun: yes;">  </span>Really happy with how that came out.<span style="mso-spacerun: yes;">  </span>
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Eliyahu HaNavi</span></i> began as an arrangement almost 18 years ago. I first wrote and played it with <a href="http://davidchevan.com/bassology" target="_blank">Bassology</a>, a band that I led mostly in the late 1990s.<span style="mso-spacerun: yes;">  </span>And the tune has continued to follow me.<span style="mso-spacerun: yes;">  </span>This arrangement was developed by Will Bartlett for a high school jazz band in Ohio.<span style="mso-spacerun: yes;">   </span>I adapted it for the Kapelye and we have been playing it ever since. It’s a great feature for the band members and Will’s quote of “Joshua Fought the Battle of Jericho” is a great start to the energetic finish of a chart that equally engages and entertains the band and the audience.<span style="mso-spacerun: yes;">  </span>
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Kostakowski Bulgar #2</span></i> is one of the more recent arrangements for the Kapelye. As my arranging skills have gotten a little better I’ve started trying out some ideas that involve more give and take, call and response and interaction between voices.<span style="mso-spacerun: yes;">  </span>For this piece, a song I found while leafing through yet another good printed source, the Ultimate Klezmer collection I wanted to write a dance arrangement with contrasting sections</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br></div></div>
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</article>  <article class="post blog-article full-item post-full" data-controller="zoogle-video" data-action="message@window-&gt;zoogle-video#handleVimeoPostMessage">
    
<h2 class="heading-secondary heading-blog alt-font">
  <a href="/ruminations-and-rambles/blog/4217089/gig-this-wednesday-at-the-outer-space">Gig this Wednesday at the Outer Space</a>&nbsp;
</h2>

<div class="post">
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Locked="false" Priority="33" SemiHidden="false"    UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>  <w:LsdException Locked="false" Priority="37" Name="Bibliography"/>  <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */  table.MsoNormalTable  {mso-style-name:"Table Normal";  mso-tstyle-rowband-size:0;  mso-tstyle-colband-size:0;  mso-style-noshow:yes;  mso-style-priority:99;  mso-style-qformat:yes;  mso-style-parent:"";  mso-padding-alt:0in 5.4pt 0in 5.4pt;  mso-para-margin-top:0in;  mso-para-margin-right:0in;  mso-para-margin-bottom:10.0pt;  mso-para-margin-left:0in;  line-height:115%;  mso-pagination:widow-orphan;  font-size:11.0pt;  font-family:"Calibri","sans-serif";  mso-ascii-font-family:Calibri;  mso-ascii-theme-font:minor-latin;  mso-fareast-font-family:"Times New Roman";  mso-fareast-theme-font:minor-fareast;  mso-hansi-font-family:Calibri;  mso-hansi-theme-font:minor-latin;  mso-bidi-font-family:"Times New Roman";  mso-bidi-theme-font:minor-bidi;} </style><![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults v:ext="edit" spidmax="1026"/></xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout v:ext="edit">  <o:idmap v:ext="edit" data="1"/> </o:shapelayout></xml><![endif]--> <br><div class="MsoNormal"><span style="font-size: 22.0pt; line-height: 115%;">And as I finish pasting the announcement into the blog post a voice in my head with a thick Eastern European accent says, "Oy, and so now he uses the blog to announce gigs?"</span></div><div class="MsoNormal"></div><div class="MsoNormal">
<span style="font-size: 22.0pt; line-height: 115%;">Coming to </span><a href="http://theouterspace.net/event/?p=18175"><span style="font-size: 22.0pt; line-height: 115%;">the Outer Space</span></a><span style="font-size: 22.0pt; line-height: 115%;"> on Wednesday, June 8</span>
</div><div class="MsoNormal"><span style="font-size: 22.0pt; line-height: 115%;">the return of </span></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 22.0pt; line-height: 115%;">David Chevan meets the Spies of the Balkans</span></i></b></div><div class="MsoNormal"><span style="font-size: 22.0pt; line-height: 115%;">6:30-8:00 p.m. </span></div><div class="MsoNormal">
<a href="http://theouterspace.net/event/?p=18175"><span style="font-size: 22.0pt; line-height: 115%;">The Outer Space</span></a><span style="font-size: 22.0pt; line-height: 115%;"></span>
</div><div class="MsoNormal"><span style="font-size: 22.0pt; line-height: 115%;">295 Treadwell Street</span></div><div class="MsoNormal"><span style="font-size: 22.0pt; line-height: 115%;">Hamden, CT</span></div><div class="MsoNormal"><span style="font-size: 22.0pt; line-height: 115%;">Hope you can come to the Outer Space on Wednesday to hear me play some new tunes, some old tunes, some introverted jams and some rock solid grooves </span></div><div class="MsoNormal"><span style="font-size: 22.0pt; line-height: 115%;">with an ever changing configuration of musicians known as</span></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 22.0pt; line-height: 115%;">The Spies of the Balkans</span></i></b></div><div class="MsoNormal"><span style="font-size: 14.0pt; line-height: 115%;">The Spies of the Balkans is a musical configuration whose music is shrouded in enigma and mystery.<span style="mso-spacerun: yes;">  </span>Reputedly the group plays music that explores the intersections between cultural identity, groove and the harmonic minor scale. What does that mean?<span style="mso-spacerun: yes;">  </span>Well, as spies the group is willing to take on different identities and explore the sounds of those identities. Of late that has mostly been music from Eastern Europe with a mix of funk, jazz and jam.<span style="mso-spacerun: yes;">  </span>But if needed, this identity could be shed and abandoned for something completely different.<span style="mso-spacerun: yes;">  </span>Curious? Frightened? So is the NSA.<span style="mso-spacerun: yes;">  </span>Come hear the band that no one will admit on record to knowing anything about.</span></div><div class="MsoNormal"><span style="font-size: 14.0pt; line-height: 115%;">Hope to see you there!!</span></div><div class="MsoNormal"><span style="font-size: 14.0pt; line-height: 115%;">David</span></div></div>
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    <p class="post-info"><span data-time="2016-06-07T07:37:00-04:00" title="June 07, 2016 07:37">06/07/2016</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/ruminations-and-rambles/blog/3916667/some-thoughts-about-playing-the-same-tune-for-a-year">Some thoughts about playing the same tune for a year</a>&nbsp;
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font-family:"Calibri","sans-serif";  mso-ascii-font-family:Calibri;  mso-ascii-theme-font:minor-latin;  mso-fareast-font-family:"Times New Roman";  mso-fareast-theme-font:minor-fareast;  mso-hansi-font-family:Calibri;  mso-hansi-theme-font:minor-latin;  mso-bidi-font-family:"Times New Roman";  mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <br><div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="line-height: 107%;">About a month and a half ago I reached a personal milestone that felt important to me but I was very busy and I didn’t have time to write about<span>  </span>it, but for the first time in a very long time I felt a compelling need to get something written.<span>  </span>I had passed the one year anniversary of regularly and systematically playing one tune over and over, practice session after session. The idea isn’t original to me. I have long been familiar with some of the teachings of Lennie Tristano though I haven’t always used them in my own practice routine. I knew that he had his students work through their ideas using only a limited number of chord progressions.<span>  </span>I’d dabbled with the idea before, but now I wanted to take it to a much deeper level.</span></span></span></div><div class="MsoNormal"><br></div><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span><div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="line-height: 107%;">The germination of the playing began sometime in August/September 2014. Sometime in there I decided to systematically work through a series of rhythmic exercises while working exclusively on one piece of music.<span>  </span>And I knew just the piece that I wanted to learn, John Coltrane’s “Giant Steps.” That piece, long considered a milestone work by me and my many friends in jazz, was something of an Achilles’ heel for me. I’d played it quite a few times, but found it hard to follow and I often got lost playing it. I found it in some way to be the kind of tune that seemed more like a test than a tune.<span>  </span>“Can you play “Giant Steps”?” was an intimidating question and one that would cause me worry if it was asked on a bandstand, especially if it was my first time playing with someone.<span>  </span>I didn’t want to show my ignorance or reveal my inability to keep those tricky changes properly organized in my head. And so every year or so I’d play “Giant Steps”. Invariably I would get lost somewhere in the jam, and have little or nothing I could say profoundly on it on my instrument.<span>  </span>And then not play it again for a long, long time.</span></span></span></div><div class="MsoNormal"><br></div><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span><div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="line-height: 107%;">(I have a distinct memory of going to the Newport Jazz Festival and going to one of the small stages where Don Byron was leading his Ivey Divey band. And there on the stage, seated in a chair, Byron was playing ”Giant Steps”.<span>  </span>But he was playing in a way that was not what I was used to hearing from him. What I heard or what I was feeling from what I heard was Byron searching, ides that were certainly deliberate and yet somehow incomplete, it was as though he was working on “Giant Steps” in public.<span>  </span>In any case, that experience was a reminder that even someone I admire and taken for granted as a fully formed artist and soloist continues to work on their craft. ) </span></span></span></div><div class="MsoNormal"><br></div><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span><div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="line-height: 107%;">So, over a year ago I made it my practice to work on “Giant Steps” at least 3 or 4 times a week.<span>  </span>I’m a person with limited practice time so I tend to create intentional activities that can teach as well as reinforce more than one conceptual aspect of my development at once.<span>  </span>And so I knew or at least I hoped that by picking a piece and picking an exercise I would learn both at a profound level. The exercise I was doing comes from one of Jerry Bergonzi’s books on Improvisation, Melodic Rhythms.<span>  </span>Early in the book there is a multi-page series of exercises that takes 22 short one bar rhythms and moves each rhythm through the bar so that if you do all of the exercise you will<span>  </span>end up playing the same figure but displacing it so that eventually you play it <a href="https://www.blogger.com/null" name="_GoBack"></a>beginning on every possible part of the beat. I’d done the exercise a number of years ago, but this time I was going to apply it systematically to this one tune “Giant Steps”. </span></span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span><div class="MsoNormal"><br></div><div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="line-height: 107%;">At first my practice sessions were quite difficult. I had trouble keeping focus.<span>  </span>I could not play through the tune without some kind of major error.<span>  </span>I got lost a LOT.<span>  </span>I had trouble hearing the chord progression despite the fact that I was using a play-along recording.<span>  </span>But little by little I noticed that I remembered more of the changes and could successfully get through the tune with fewer memory issues or problems finding the tonally correct notes for the chord at hand. After a while I could, with some effort, work my way through the daily rhythmic figure and play it very slowly, and then a little faster along with the play-along CD.<span>  </span>I was like a musical version of the little engine that could.<span>  </span>I kept at it each day. One of the big breakthroughs was when the chord progression was finally deeply embedded in my mind and I wasn’t relying on looking at the chords.<span>  </span>When that happened I could begin to imagine what I was about to play.<span>  </span>As that happened I was able to create different musical shapes and they often came out the way I wanted and correctly. Of course there were and still continue to be plenty of moments where I have train wrecks.<span>  </span>But somehow I am more comfortable with them and I can hear my way out of them and back into the chord changes.<span>  </span></span></span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span><div class="MsoNormal"><br></div><div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="line-height: 107%;">The thought came to me early this September. I thought to myself, I’ve been doing this project for a while now, how long have I been doing it? <span> </span>I thumbed through my practice log and traced my work back to last August.<span>  </span>It had happened and I’d missed it.<span>  </span>I was so busy doing the work I missed the anniversary. I’d played the tune for over a year. This discovery, for me, <span> </span>was anticlimactic.<span>  </span>As far as I had gotten I am close but not done with this exercise.<span>  </span>I still haven’t finished working through every permutation of the rhythmic figures in the exercise.<span>  </span>And in the year since I've started this project I've come up with a list of other exercises I want to explore. The problem with limited practice times is there is just never enough.<span>  </span>And there is so much that I want to work on (But I here I begin to ramble as there is no conclusion.<span>  </span>There's just getting back in the practice room and continuing the process. With any luck I'll be inspired again in the near future to write, but the music comes first!).</span></span></span></div></div>
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  <a href="/ruminations-and-rambles/blog/3911027/at-eldridge-street">At Eldridge Street </a>&nbsp;
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  <div class="message">Last Sunday several band members were invited to accompany Cantor Jack Mendelson at a baby naming. Jack was in great voice and we all had fun making music together.<br><br>Here are some candid shots from the day.<br><div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-17ApmByDXbI/VTevWXburgI/AAAAAAAAAxc/LFhAqjH8_Sk/s1600/0419151528b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="//3.bp.blogspot.com/-17ApmByDXbI/VTevWXburgI/AAAAAAAAAxc/LFhAqjH8_Sk/s1600/0419151528b.jpg" class="size_orig justify_inline border_" height="225" width="400" /></a></div>Jesse Chevan<span id="goog_1100126170"></span><span id="goog_1100126171"></span><br><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-TSf6YZ1WORE/VTevtXuQtXI/AAAAAAAAAxk/aEKWe-OpuvU/s1600/0419151519a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="//3.bp.blogspot.com/-TSf6YZ1WORE/VTevtXuQtXI/AAAAAAAAAxk/aEKWe-OpuvU/s1600/0419151519a.jpg" class="size_orig justify_inline border_" height="225" width="400" /></a></div>Will Bartlett</div><div style="text-align: center;"><br></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-46AXhItre8A/VTev_HxzXjI/AAAAAAAAAxs/RSFt-ImkdzQ/s1600/0419151518a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="//4.bp.blogspot.com/-46AXhItre8A/VTev_HxzXjI/AAAAAAAAAxs/RSFt-ImkdzQ/s1600/0419151518a.jpg" class="size_orig justify_inline border_" height="225" width="400" /></a></div><div style="text-align: center;">Warren Byrd</div><div style="text-align: center;"><br></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-J23TbU15cHg/VTewWZly-FI/AAAAAAAAAx0/5xDMoy0R87M/s1600/0419151527.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="//3.bp.blogspot.com/-J23TbU15cHg/VTewWZly-FI/AAAAAAAAAx0/5xDMoy0R87M/s1600/0419151527.jpg" class="size_orig justify_inline border_" height="225" width="400" /></a></div><div style="text-align: center;">cantor Jack Mendelson with mom, dad, and baby Isabella</div><div style="text-align: center;"><br></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-iqMeWdrOlGU/VTew_Qxy2-I/AAAAAAAAAx8/XMDQR3xE7bo/s1600/0419151528c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="//2.bp.blogspot.com/-iqMeWdrOlGU/VTew_Qxy2-I/AAAAAAAAAx8/XMDQR3xE7bo/s1600/0419151528c.jpg" class="size_orig justify_inline border_" height="225" width="400" /></a></div><div style="text-align: center;">David and Jesse Chevan</div><div>
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    <p class="post-info"><span data-time="2015-04-22T10:35:00-04:00" title="April 22, 2015 10:35">04/22/2015</span></p>

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  <a href="/ruminations-and-rambles/blog/3911028/plea-for-peace">PLEA FOR PEACE</a>&nbsp;
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</style><![endif]--> <br><div class="MsoNormal"><span style='font-family: "Calibri","sans-serif";'>The Afro-Semitic Experience is saddened by the events in Ferguson, Missouri. We mourn the killing of Michael Brown and we are troubled by the violence that has been inflicted upon the community.  We are reminded once again that the Civil Rights movement is far from over and that this nation is in need of an ongoing dialogue on race, bigotry and unity in the community.  As musicians there is only so much we can do.  But do it we shall.  We are healers. And so we share this link to a piece dedicated to healing. Healing in Ferguson. Healing in the United States of America.  Healing wherever there is strife of any kind. Plea for Peace.</span></div><div class="MsoNormal"><a href="https://soundcloud.com/afro-semitic-experience/plea-for-peace"><span style='font-family: "Calibri","sans-serif";'>https://soundcloud.com/afro-semitic-experience/plea-for-peace</span></a></div></div>
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    <p class="post-info"><span data-time="2014-08-26T10:40:00-04:00" title="August 26, 2014 10:40">08/26/2014</span></p>

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  <a href="/ruminations-and-rambles/blog/3911029/afro-semitic-experience-coming-to-thomaston-connecticut-this-summer">Afro-Semitic Experience coming to Thomaston Connecticut this summer!!</a>&nbsp;
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  <div class="message"><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-PrflNo98SmU/U6HEf3R_uvI/AAAAAAAAAwU/EoIsaakloRY/s1600/2014+Concert+Poster+-+Web+format.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="//4.bp.blogspot.com/-PrflNo98SmU/U6HEf3R_uvI/AAAAAAAAAwU/EoIsaakloRY/s1600/2014+Concert+Poster+-+Web+format.jpg" class="size_orig justify_inline border_" height="640" width="414" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-PrflNo98SmU/U6HEf3R_uvI/AAAAAAAAAwU/EoIsaakloRY/s1600/2014+Concert+Poster+-+Web+format.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br></a></div><div style="text-align: center;"><br></div><div style="text-align: center;">How great it is to be a part of a summer series. Hope you go out and enjoy some of these other groups.  See you on August 4 in Thomaston!</div></div>
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    <p class="post-info"><span data-time="2014-06-18T12:59:00-04:00" title="June 18, 2014 12:59">06/18/2014</span></p>

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