So that said, something totally huge is happening in my life right now which I can’t not talk about: I am going to work for Jet Propulsion Laboratory, the NASA OG’s who were doing rocket work before NASA even existed.  It’s genuinely blowing my mind that this is real because doing this is a fantasy come true for me.  To me JPL is like a place of power, where the best things about human kind have come into being, channeling intelligence, ingenuity, and unstoppable curiosity to see the cosmos, to know it.  So much history has happened there, so much understanding about what IS.  And to know that I get to be part of that–well the feeling is euphoric, stellar.  Honestly I have never had this sense that I’m making a big life-decision to go there, and it is unquestionably the right choice.  You pick a college, you pick a degree, you pick a place to live, you pick a car, you pick all this life-stuff and there is always doubt that maybe some other choice might have been a better one–but right now I don’t feel any of that.  There is no question life is pointing me to this, and it’s simply what I’m meant to do.

What this means for the site, I don’t know.  Life is about to change, big time.  Mountains and ocean waves are awaiting, and eventually the LA music scene too?  Maybe I’ll write about my career more, or maybe just post about cool west coast discoveries?  Idunno.  But I do know this much: I don’t think I’ve ever felt this clear-focused or confident as I step into a new phase of life.  That has to mean something positive.

What pulled me in from the very start and what keeps me coming back to No Man’s Sky is very simple: the freedom to explore and be awed by the places you see. I have three close friends who also bought NMS; one refunded it shortly after launch and the other two lost interest after a short amount of time and no longer play. Then there’s me, a whopping 3,804 screenshots and 408 hours into it as of this writing. And I’m not sure if I can fully articulate why this game has such incredible appeal to me, but I do want to ruminate on it just a bit.

Something about it keeps pulling me back. The zen. The quietness. The open-endedness of it, which seems to confound everyone, is central to why I like it. There’s nothing keeping you anywhere. You can set down and explore a planet very deeply; go discover every species of animal and search the caves, scan all the flora and search for rare resources… OR NOT. At any second you can just say, you know what, this place sucks I’m ghostin’, hop in your spaceship and boom, you’re gone and that whole world is probably never going to be seen by anyone ever again. The weight of that thought does something for me. The thought that the only thing holding you here is you own decision that you want to be here to try to see something awesome.

And see awesome things I have.

My Year One in No Man’s Sky

I don’t know what’s next and I’m trying not to expect much since expectations ruin everything. But whatever awaits, I have relished the last year of getting lost and tinkering around in the infinite playground at my own pace. Of course it’s hard to say right now, but I do think NMS might go down as one of my all-time top 5 titles that I’ve really been obsessed with. We’ll see if I’m right back here in 2018 saying the same stuff. See you around explorers!

I like No Man’s Sky. That’s right, I said it. I’ll go a step further too: I like No Man’s Sky right now, one month after the PC release. This is not a popular viewpoint so let’s unpack it.

Expectations can make or break the perception of music, movies, or videogames. From the very start this game had colossal expectations placed upon it, and I think that’s reason #1 behind the largely negative perception of the game right now. As documented previously I definitely rode the hype train hard on this title, but having put in well above 70 hours over the last month, right now I’m feeling like I actually got what I came for.  (Note that all screenshots in this post are captures that I took during my playthrough.  All were taken in 4k resolution although some are cropped; click to view them full size)

Reason #2 behind the negative perception of the game is that there’s a lot of things which were shown in trailers and talked about by the developers that were simply not in the game at all. You could call that a lot of different words. Mine would be strange and disappointing. Disingenuous might be another. But before we get too bogged down in the name-calling which inevitably results from dwelling on this for long, let me just back way, way up, and look at this whole thing from a top-level, macro perspective:

No Man’s Sky has delivered a universe-sized universe and it’s magnificent. The thing I want to focus on more than anything else is the aesthetic, because that’s what drew me in long ago when I first heard about the game, and that’s what held my interest when lots of other space games started coming out but I refused to play them, intentionally waiting and keeping my outlook fresh. The look and the feel of No Man’s Sky is what keeps me playing now and it’s what blew me away when I picked up the mouse and keyboard for the first time. None of the other space games that compete in this same genre have this stunning artistic style to them. Right off the bat when you start playing the game it’s magical. Most players agree with that. And importantly, in regard to the overall aesthetic, the final game we have now is exactly what was shown in the trailers.

So my individual perception is admittedly slanted. One, it was mainly the look, the feel, the style I saw in the trailers that I wanted to get, and I got that. And two, I haven’t been playing other space games or really that many games in general. Witcher 3 was the only other game I’ve been putting serious time into during 2016. Ironically the contrast could hardly be stronger between these two games. Witcher is story-driven with huge set-pieces, has a lengthy list of characters, and is hand-crafted in practically all aspects. On the other end of the spectrum No Man’s Sky has only two reoccurring characters and turns you loose in a randomly generated universe that essentially has no objective at all! Sure, there are things you can do, but really when you boil it down, those objectives are not what you’re playing this game for. (“Wait a minute… we’re not playing the game to try to beat the objectives…???”) And that right there is what I think totally throws 95% of people off about this game!!

I’m going to come back to that idea in a minute but first let me say this: I do think the main criticism being leveled at the game (boredom) would be there no matter what. If they added randomly generated fetch quests for NPCs, if they made the overall upgrade grind thirty times longer and more complex than it is now, if they made the periodic table eight times bigger, if they populated space with twenty times more bounties/battles/traders/cruisers—if they did all that and more, people will always get bored at some point.

Look at a game like Skyrim. It’s packed to the gills with scripted quests, books to read, skill trees to expand, or just broadly speaking, stuff to do that some other human being took hours and hours to create for you. And still people say they’re bored with Skyrim because they exhausted all that or did enough of it that they felt the underlying repetition even though new tasks remained. So people start a new character and “roleplay” within the world of Skyrim, imagining boundaries of what their character will or won’t do, what their personal goals might be, and charting their own specific path through the world. In my own playing, this mentality is how I’ve had the most fun in No Man’s Sky.

I would say this Skyrim roleplaying behavior, especially when taken to the extreme, is somewhat of an anomaly in the entertainment medium of videogames. Almost always, a game is telling you where to go and what to do. Sure you have choices and probably many other diversions but these ten quests and these five ways to build your character, these are what you’re supposed to be doing. Games constantly remind us, condition us to expect this framework. Broadly speaking, “task-completion” and “character-building” are the very foundation of practically all video games. And we expect that games will acknowledge this progression with a constant stream of trophies and points and pats on the back. This is the nearly universal “gaming mindset”. I do activities x, y, or z and the game tells me good job. Sitting on the couch and inventing some other activity for yourself that’s not an actual part of the game’s checklist—that’s not a normal game-playing behavior.

For instance, visiting the inn and staying five nights there, talking to every NPC and inventing lines of dialogue or jokes that your own character may have said to each of them, that’s not something Skyrim tells you to do. Sure, you can do it, but the game doesn’t interact back with you when you do that. It doesn’t give you an achievement, it doesn’t unlock any new items, and moreover the game isn’t even aware that’s what you were doing. But those kinds of behaviors are what keep Skyrim fresh to many players out there, the kinds of activities that demand input from the players own imagination and a willingness to accept there will be no positive reinforcement for playing that way.

No Man’s Sky is a roleplayers game straight out of the gate. In this game it’s the opposite of what we normally expect. All main quests are all optional. Developing your character is optional. Both of these things, things which are usually the pillars on which nearly every game stands, are only excuses to drive the true “goal” in No Man’s Sky, which is simply wandering and finding something you personally think is weird, cool, or beautiful.

The game doesn’t acknowledge when you succeed at that. There’s no points rewarded for seeing something cool. And I kind of love that. It’s true to life and it’s true to great art as well. When Wee Bay throws the soda can in The Wire, there’s no musical cue or camera zoom to blatantly telegraph “hey pay attention to this, this was the special moment that’s more important than all those other inconsequential moments! We’re going to bludgeon you in the face with obviousness right here because otherwise we’re afraid you might be too dumb to follow along!” When you succeed in real life it’s often just quiet moments in solitude where you did something right, possibly not realizing how important it was until later. And when you succeed at finding something really neat in NMS, there’s not much, if any, reward built into that from a game mechanics or player feedback standpoint. Seeing something cool IS the reward.

And the universe is huge. So huge. It’s so indescribably huge. And you’re so tiny and mostly alone. The universe does not care at all about what insignificant resources you’re trying to scrap together to fix some broken thing you’re stuck on today. To the universe it doesn’t matter if you succeed or fail in your small little goals, and when you succeed and raise your hands to the sky in triumph there’s just silence. You have to find your own meaning in things. You have to decide what matters to you personally and set your own goals. Then find your own motivation for completing them, and develop the ability to enjoy the good moments when they happen. The cosmos simply will not spell everything out for you. All that’s true to life.

To me, the point of No Man’s Sky is to find beauty or majesty and capture that. With a screenshot or with your eye or with your sense of wonder. That’s my goal when I play. It’s an exquisite universe full of things worth seeing, no other game looks quite like it, and whatever you see is uniquely yours. Sure lots of other people will see very similar things but never ever will someone see precisely what you saw, in the context you saw it. It’s impossible! And that, like life, is what makes it special and worth experiencing.

Would it be a better game if it had rogue planets in deep space, working portals, orbital mechanics, desert planets, binary stars, and all that other stuff people are clamoring for? Hell yeah it would be! But would those things change the overall feeling I get while playing, or drastically alter the moment-to-moment of what I’m doing in the game? Well, no, probably not. They’d expand the replay and immersion yes, but their absence doesn’t kill the feeling I have when I crest a ridge and see a forest of blue trees with dragon-like creatures flying above the canopy. Whoa. It’s that feeling that we’re here for to begin with. And I think it’s amazing how many people have glossed over this. We all want more replay, yes, but stop and appreciate this feeling that’s being created right now, as-is. It’s fantastic.

At this moment in time the fan community is enraged, fixated on what’s absent rather than what exists. I understand the reasons why and I even agree with those reasons but obsessing over a hypothetical future and ignoring the present moment is the life-trap that Buddhists struggle to overcome. The present moment is sublime, if you can pause and truly see it. It’s like what astronaut Edgar Mitchell said about how our political squabbles seem so trite when you view the universe from a bigger lens, and how he wanted to take the political squabblers, “by the scruff of the neck and drag him a quarter million miles out and say, ‘Look at that, you son of a bitch!’” Look at it! The grandeur of the cosmos. Every time I hear some infant crying about lies or refunds or after 60 hours why they’ve given up on the game and it was only worth $20 I want to grab them by the scruff of the neck, show them the incredible screenshots and the wonder I have felt on my journey and tell them Look At That You Son Of A Bitch! They built a whole universe for you–a good one–and all you do is complain. It’s possibly the coolest-looking Sci-Fi random world generator ever made. In the words of Samuel L. Jackson from Pulp Fiction, “What we saw was a miracle, and I want you to acknowledge that!!”

It’s human nature to want more and to constantly be thinking of ways to make things better. It’s a strength that drives improvement but also need to be balanced against the knowledge that these tendencies are also handicaps that prevent us from enjoying what IS. By this point I’ve easily read 20 peoples different lists of what they wish MNS had in it or ways it could be better or features that they are hoping for. And I could make my own but I’m resisting that urge because let’s face it, Hello Games is 15 people, this is an indie game, and there will always be another list of “ten great features that could save No Man’s Sky”. Forget all that.

So back to what I was talking about with expectations and the “gaming mindset”. People expect a firm list of goals, a questline, and a character expansion tree all of which will score points which are the end-all-be-all of playing every game ever. Before the game came out everyone kept asking the question “but what do you do in No Man’s Sky?” Many times the creators answered that question it was followed with the statement “Or you could NOT do that”, the subtext of which was that those proposed activities were not the real point of the game. Which turned out to be the underlying truth I think. The point is to be in the universe and to see it. To enjoy that.

No Man’s Sky is sort of like the videogame equivalent of the movie Koyaanisqatsi; an ambitious, beautiful art piece that ditches all the usual tropes that bring people in.  No real dialogue, no real plot, no characters, none of that stuff.  It’s all up to you to find something for yourself within it.  Can a film be considered a great film if it’s purely incredible photography and practically nothing else?  Absolutely it can.  But if you walked into the theater to see Koyaanisqatsi and you were expecting a rom com instead, you’d almost surely hate it.  One it’s expectations and two, I think to even appreciate a film like Koyaanisqatsi you sort of have to know a little bit about what it’s trying to do and maybe even have someone else explain what you’re supposed to be getting out of it first.

Personally, I predict that this game will be seen as a landmark title once the dust has settled and the years have passed. Right now there’s a ton of confusion over what it actually is, and that’s muddying the water. I think it’s going to be a lot like Mirror’s Edge. When that game came out it got lots of bad reviews in the game journalism world and negative attention in general, centered around how the combat was awful. But this was an intentional choice by the designers! In most games containing combat you’re supposed to do that, but in Mirror’s Edge combat is the quicksand that drags you down, something to be avoided unless it’s a last resort. So people took a long time to wrap their heads around that! People hated on it and hated on it until enough time went by that the haters just moved on to something else and the voices singing its praise won out. Maybe it’s a niche audience, maybe it was never meant to be grouped in with so many other AAA titles out there, maybe it’s just a little different and you need to go in expecting that to properly enjoy it… Sound familiar?

Me, I’ve been loving my time in the Euclid Galaxy. I’ve seen more badass, sleek looking spaceships than I can remember, more strange dinosaurs, creepy insects, and peaceful forest animals than I can think of names for. The plant life is often times cooler than the animal life: vast meadows that flow in the breeze, space cacti, weird neon things that grow on toxic planets, giant 200 foot tall mushrooms, and all manner of trees from familiar to exotic. Then there’s the stuff that strikes you as you look around: the huge planet that hangs in the sky when you’ve landed on a moon, the sunset over a sea filled with schools of what look like banana-peels, the two spaceships which sail overhead as you walk out of a bioluminescence-filled cave, the feeling of sudden alarm as you jetpack over a deep ravine you didn’t realize was there. The visuals of No Man’s Sky are spectacular, end of story, full-stop.

The wonder is real, and the Red-Dead-esque moments of captivation at the vistas are there. But if you’re pillaging through without slowing down to look around and smile at these little bits as you go along, too obsessed with 48 slots, too possessed by the grind, too hung up on all those video-gamey mechanics that prevent you from actually seeing what’s right in front of your face–you’re gonna miss the magic. That’s a fact, jack. First and foremost No Man’s Sky is a world generator, second an arcade-style space shooter, third a survival game, and lastly a resource-management trader/crafter/upgrader game. Sure, each of those categories could be more fleshed-out with deeper choices and consequences, but as it is today, it hasn’t stopped me from having fun.

I just might be part of some specially-geared sub-set of players who always relished the exploration more than the explosions in GTA, or in the minority who felt “the map” was the true main character in so many plot-driven open-world adventures (yes, even Red Dead), but c’mon, the firehose of gorgeous scenery this game engine is delivering cannot be denied and that’s not nothing. If Hello Games can put their resources into polishing what’s here and expanding the busywork for players in this universe over the next year, I think history will still be kind to this intergalactic trip through endless book-cover scenes.

One of the comments I heard that made me pause the longest was a person saying they hadn’t been this excited for a videogame release since Super Mario Brothers 2.  Just let that sink in for a second. Super Mario Brothers 2 came out for the NES in 1988.  Almost 30 years ago.  Which also says something maybe about the age-group of people who are really fired up for this game, and why.

If tomorrow there was a Call of Duty game released which attained perfect review scores and was praised for design of the highest caliber with exquisite attention to detail and peerless action, I doubt I’d play it.  Why?  It’s not because I’d doubt the reviews, it’s just because… I’ve “done that.”  Not only have I done it, I have done it so many times, that it’s been done, completely.  Done into dust.  I’m simply finished with doing that.  Over.  Finito.  This can happen with any genre within an art form.  Like heavy metal music.  There was a time in my life when I was totally into it and now the page has turned and I just can’t stomach any more.  Maybe it’s because you become so familiar with the common devices and the tropes of the genre that even what’s new doesn’t feel new anymore?  A new Metallica album?  I just can’t.  It might be new, but it sounds so familiar.  What’s new is no longer new.

This kind of fatigue has set in for me, and a lot of other players my age when it comes to games.  On top of that, as we grow older life expands to fill your free time.  Obligations, other hobbies, working, or broadly speaking other parts of life that you want to do—they all fill in the gaps and free time spent playing games gets put onto a smaller and smaller portion of the backburner.  And yet we still never forget this medium because we experienced the magic that it can contain.  We have seen, and felt that alchemy.

There was an excellent, far-reaching piece at Kotaku (which feels strange to say, given their recent track record) discussing why No Man’s Sky is the most necessary game of 2016—a great read even for the mildly interested.  While that author focuses on world events and social norms my own reasons are simpler.  Personally the last game I felt this excited for was Red Dead Redemption.  One, because it was a very underserved segment of the gaming market (westerns) and maybe two, because I was moving to Texas right as the game was coming out.  Red Dead promised to do something new: put you “there” in the wild west.  And when I played the game, that’s exactly the aspect which made it so great.  In Red Dead it’s all about the little moments between the action.  When you walk up to the edge of a cliff to take in the scenery and a hawk flies over your head with a searing call.  When you camp out in the wilderness and see a bold sunrise above the rocks in the distance.  When you pause your horse to get your bearings and some faint trumpets remind you that you’re in Mexican territory.

Little moments of color like those are what made Red Dead.  Before its release skeptics were panning it as GTA with horses.  And sure, there were plenty of action scenes where that’s pretty much what it was, but it also had its own tone going on, much different than GTA’s.  I never wrote about Red Dead on here, mostly because it was so loved and so praised by the gaming community that to heap a bunch more words onto that bandwagon didn’t seem necessary.  But action isn’t what made Red Dead—in fact it could have had far less action with worse mechanics and still been practically just as good, because the main strength of the game stood on atmosphere.

That’s the connection between Red Dead and No Man’s Sky: Atmosphere.  Moods.  For me personally, that’s the biggest unknown question about what it can provide.  With No Man’s Sky, the creators have deliberately withheld a ton of information about the game, even this close to launch.  Nowhere is this more glaringly obvious than the most recent trailers put out by Sony.  The whole premise of the “Fight” trailer is to showcase combat, yet we’re presented with 1 second quick-cuts showing just teasers.  Really?  Even with less than 20 days remaining until release we’re keeping things this close to the chest?  And the creators keep conflating the words galaxy and universe, in what I can only assume is either a running joke or more likely, a deliberate obfuscation of these terms to avoid any hint of what the “journey to the center” actually means.  This is in stark contrast to the information-rich, National Geographic documentary-style trailers that preceded the launch of RDR, which were some of the best gaming trailers I think I’ve ever seen.  This kind of secrecy right up to the 11th hour is maybe a red flag, but I’m going out on a limb and trust that Hello Games knows what they’re doing and just want to keep it fresh for individual players to discover.

Putting all those questions aside, the thing I’m most excited for in this game are the vistas.  The dramatic scenery and strange discoveries.  And that is the very beating heart of the game, the core of what it promises to deliver.  I gotta say I’m knocked out by the fantastic aesthetics of the buildings and the spaceships in this game and I will definitely spend a long time hunting neat looking stuff for screenshots.  Procedural generation will also lend a strange sense of responsibility to actually “experience” your experience since everything you see will likely be yours and yours alone.  It’s guaranteed that new designs will always keep coming and something really rad will be truly rare to the point that a sweet looking spaceship might literally never be seen again, by you or anyone else!  Let alone something even harder to find like a neat cave or a cool nocturnal creature.  Given the sheer vastness of the NMS universe, even the most beautiful, enchanting planet you find will probably never be explored again.

Which brings us back to the idea of “new.”  With that stupefying number of eighteen quintillion planets available to explore in this universe (Wait, galaxy? Universe?  Galaxy?), how many hours can we pour into No Man’s Sky before what’s new no longer feels new anymore?  How much exploring will it take before the feeling of predictability sets in, and I begin to think to myself okay, here’s another new Starfighter design that I’ve never seen… but I’ve pretty much seen that design before in a slightly different paintjob or with different wings.  Answering that question is perhaps the main journey of No Man’s Sky and getting there, almost with zero doubt, will be a fascinating, entertaining time whether it resides at the center of the 1st galaxy or my 5th.

But backing up a step further, that journey isn’t the only factor in the longevity of NMS.  Obviously games don’t live or die by freshness, as the latest incarnation of Call of Duty 17 can attest.  Like in Red Dead, it’ll be the thousand little moments along the way.  The quiet moments between the action where you pause to look around, finding yourself transfixed by some calm scenery.  The sound of the wind as you stand atop a small hill on a planet of blue colored grasses.  The eerie stillness of a cratered moon, devoid of life.  The distant calls of three-headed dinosaur-like beasts moving in a herd on the horizon.  The feeling of relief as you find a cave to flee nocturnal predators on a planet where you explored until nightfall caught you off-guard, far away from your ship.  And the feeling of safety as you finally return to your ship, your spacefaring horse of steel, chock full of goodies you snagged on a dangerous planet, ready to escape to the nearest space station and cash in.  These moments are my hopes for the game.  We’ll see if I can find them among—without hyperbole—the largest explorable universe the medium of video gaming has ever produced.

The theme of this particular session was, as the name implies, combining electronic sounds (effects pedals/electrified instruments/samplers/etc) with traditional acoustic jazz instrumentation.  This particular session was a standout among my recordings from that era for two main reasons: one, Dave had some excellent musicial friends amassed for this evening.  Kris Myers (Umphrey’s McGee) on drums and Chris Clemente (Kick the Cat) on electric bass were the heaviest hitters in attendance but the whole supporting cast and crew were all creative and energetic in their own rights.  Alas, many of these people I never did stay in touch with and their names elude me through the fog of memory.  But the playing still speaks for itself.

Behind the excellent musicianship, the second main reason why this session is a standout to me is because of where I personally happened to be in my musical development.  I had started experimenting with effects pedals near the beginning of 2006 and by mid-year I had either borrowed or accumulated enough gear to do something interesting, and had also spent just enough time with it to somewhat know what I was doing or at least trying to do.  Thanks to the excellent cast assembled for this evening the grooves were guaranteed to be good and I was setup to do ‘my thing’ on the highest level that I could.

In hindsight I sort of view this session as a fork in the road with my musical development.  I had always been fascinated with effects and combining them with the instrument I had been practicing my whole life was an intriguing new twist to put it lightly.  But was this a gimmick–a transitory phase on the way to something else–or was there real substance worth developing with the use of effects on my horn?  It would take a few magic moments to cement the idea.  Instants where something special happened thanks to effects pedals, instants which would not have had the same impact without them.  And that’s exactly what this session had in spades.

I’ve always been a dedicated taper and archivalist of my own craft on the horn.  Most of the time these recordings have a short shelf life.  I try to listen to myself and identify what worked well and needs to be repeated, refined, and reiterated.  Most of the time it’s incremental improvements, maybe an unusually creative phrase, or a handful of spots where synchronicity of the group yielded a neat moment–this is what we’re usually hoping for when we play music.  Very seldom does an evening come along with a replay value measured in years, one where you say to yourself, “This is it.  This is what I’m working toward and what I’m trying to do.  I want to internalize this, be able to recreate this energy again.”  July 7th on 2006 was that moment for me, and it inspired me to double-down on playing with effects and commit to that as a core-element of ‘my thing’.  Of course there were many moments before and after that taught me how rewarding it is to play with effects, but this night and the many times I relistened to this night were probably the largest single motivational event that shaped my musical path foward.

So for that reason it’s a very special recording to me on a personal/developmental level.  All that said, I also think it’s a fantastic listen even without that story surrounding it.  Several months back I uploaded it to YouTube.  This isn’t the entire evening, since the whole thing is quite long, but what we have below is the middle and ending sections which gel together with a cohesive flow and make, to me, a thought-provoking, smile-inducing, and at times eyebrow-raising musical journey, a pivotal moment catapulting me toward where I am today.  I invite you to join in and listen to that journey:

It’s been amusing to share this news with my musical cohorts and hear their reactions. Several of them commented “new toy!” or “playing with new toys is always fun!” which is true… however I think that players on non-wind instruments don’t grasp what a leap this is for the core of my musicianship. Unlike pedals or other musical accouterments, to a horn player a new axe is the foundation of the sound, the origin of everything. And build quality changes a lot. Sitting in front of a new keyboard or a different drumset will certainly inspire a different result, but a better brass instrument is something even more powerful. Many instruments won’t affect the actual technical facility of the player… but this, this does.

Trumpet playing has been a constant in my life for close to three decades now. I’d say it’s maybe not the “main” quest in my life, but it’s the top side-quest. One with a sprawling cast of characters and a gigantic outlay of time invested. A lot of the time when you practice you’re working to improve some aspect of your capabilities; range, speed, clean attacks, tone, accuracy when doing lip slurs, etc. Well my level in all of those little skill-tree branches just jumped up, some of them significantly. That, and it all “feels” more natural and nimble as well. It’s super incredible!!

For twenty years I’ve been playing on a Bach Stradivarius model 37 ML bore. This is the “gold-standard” trumpet, the one that can be found in any bandroom almost without a doubt. And for good reason. Bach horns are respected for quality. Since they are hand-built in relatively large numbers, when you buy one of these you need to try several out and find the one that feels best to you. I tried probably close to a dozen before selecting mine as a teenager. I believe I chose wisely and the instrument has served me excellently for a long, long time. We went on some real odysseys together. Then two years ago a cornet showed up and changed the way I saw things.

My 1960s King Master Series Cornet built in Cleveland Ohio was bought for $120 by my mom at a farm auction. It had presumably sat in a closet for a very long time before being auctioned off. When I got it, for some reason it refused to play in tune. So it sat for a while longer before I took it to a professional for full chemical flush, and a complete servicing. After that was done, wow, it opened up my eyes to how a good horn could feel. My range instantly went up several steps, my sound seemed clearer, more focused. Everything felt just… better and easier. Suddenly the strad was second fiddle in terms of pure fun.

But a cornet is still a cornet. I’ve had a killer time playing on the King and I will still keep playing it. But the intonation on a cornet is never going to be as good as a trumpet, something which has become painfully clear to me when I tried to use it to overdub more parts on recent recordings. When I begun listening for it, I found lots of intonation problems. In the crazy melange of sounds I’m shooting for with all these electronics, the basic fundamentals of musicality still apply. The cornet, as bright as it may be, also doesn’t project and ‘zing’ the same way a trumpet can. And in the end I want to be a trumpeter, not a cornetist. It’s time to get back to home base.

Looking into an upgrade for the Strad seemed hopeless at first. One, the Strad is a venerable horn and the list of horns that would play better than a strad (on paper) is far smaller than the list that plays worse. What’s “better” is often times wholly subjective so researching this in text format is somewhat of a fools errand. Really if want to upgrade you should travel to someplace like Woodwind Brasswind in Indiana and spend a whole day (or three) trying different models and comparing them back to back. Then you’d probably spend about 2 grand at a bare minimum buying whatever you liked better. This all sounded prohibitively expensive and would involve a trip and a hotel on top of it.

So I started reading around on the web and slowly looking older horns, thinking that certainly there have to be hidden gems out there like my King cornet. You just need to know what model to look for, what serial numbers and what years. That’s somewhat guarded knowledge among those who do know, but you can find out a bit by asking around. In the end though it still does comes down to luck finding a horn that somehow miraculously plays well among lesser instruments of the same make/model. And rarely do people ever get rid of something that’s excellent.

A name that kept coming up over and over though was Zig Kanstul. I won’t rehash his impressive biography here, but suffice it to say he has been a lifelong master craftsman at building trumpets. You can trace his career path by noting the models of older horns that are still well-revered despite their age: The Olds Ambassador & the Besson 609 are two, both designed or built by Kanstul in his younger days while he worked for those companies. In the 80s he founded his own company and they’ve been steadily producing small numbers of superb instruments.  If I were to buy a horn without being able to try multiple copies of the same instrument to select the best one, I’d want it to be from a manufacturer who had the highest level of consistent quality.  Which sounds like Kanstul from what I know.

As far as my own personal needs, I’m a jazz player, roughly speaking. Mostly small group fusion jazz, solos and melodies within the staff, but I do tear off on some high note overdubs now and then.  Listening back to my own playing I hear two main technical flaws that stand out. One, loose intonation as a whole, and two, too many chipped notes or “fracked” pitches upon the initial attack. Ideally whatever I get should help me with those shortcomings.

Ebay seemed impossible. Too many people watching, too hot demand. So it was Craigslist to the rescue. In Dallas Texas a band teacher had listed a used Kanstul WB for around a third of the retail price for a brand new one. Here we go!!  I began researching on this particular model and instantly loved what I was hearing about it.  Perhaps most exciting was the fact that this model is a custom “artist” horn.  That is to say Kanstul designed it for trumpeter Wayne Bergeron and when it was complete they decided it was appealing enough that it should be a production model, not just a one-off.  Below are a few snippets from reviews and comments from players who talked about using it which I’m compiling here for my own easy future reference:

“I have played for 35 years including Bach, Benge, Holton and Schilke (4 of them) … this is the absolute best horn I have ever played. The tone and intonation are superior as is the slotting (particularly in the upper register). The valves are fantastic. The slotting is phenomenal. The horn has a heavier feel to it (than the Schilkes & Yamahas); however, has a laser beam tone in the high end along with a rich beautiful tone in the low end. This horn has a very unique brushed lacquer finish with some nickel as well. I traded a custom gold plated Schilke in for mine and am very very happy with the Bergeron Kanstul”

“Picked up this horn about 2 weeks ago and I couldn’t be happier. The slotting is amazing, a joy to play.  I can play anything I want on it, jazz, lead, classical you name it. EXTREMELY versatile horn.  Sounds very mellow playing a 3c and can light the room on fire with my Monette b5L.”

“I drove up to WWBW not intending to buy a new horn and absolutely fell in love with this trumpet. It is absolutely beautiful; the craftsmanship is superior and the sound is fantastic. It plays very open and the slotting is magnificent in the high register. The appearance (finish) is very unique. I’ve played Bach, Holton, Benge and Schilkes, and this is the best all around horn I have ever played.”

“It’s great to hear all you trumpet players have discovered this great horn. I have sold more 1600WB trumpets to more elated great trumpet players than any other. It is truly multidimensional in the hands of an experienced player. It’s the trumpet to audition if you are looking for one that has the potential to do everything including lead work above high C.”

“slotting is very good for me. not to tight/not too loose. More core to my sound than on my 75 LA Benge and slots much better for me above high G.”

“One of the things I like about it is that it sounds nice and fat in the staff but when you go up above the staff it brightens up nicely (not too edgy though). What’s really cool about is if you give it some push you can actually feel this baby reverberate in your hands.”

“Oh yeh, don’t push your blow too much through either. Lay back and let the horn do the work. You follow that advice and you’ll catch on real fast on how to control this axe.   One last thing, you’ll love take’n it above the staff and listening to the after burner kick in! I always wondered how Kanstul could put an after burner in one of those 1600 “WB” and keep it so light????”

“If you are looking for the best projecting horn out there… Call it Superchops. Great lead horn!”

“Kanstul just makes an overall higher quality product than most other brands I’ve played, including Yamaha. I’ve auditioned the 1600 and love it. I can play literally any style of music I want to on it. The versatility is unmatched by any other horn I’ve played (including Bach, but they’re always in the game)…  absolutely incredible horn.”

“I was flippin’ Amazed how much improved Larry’s live sound was! Lots of color, and nuance, and a much improved presence all over the horn. I heard Larry a few days after he got it- he’s always been a masterful jazz player to be sure, but on the 1600 it was as if somebody from above had said “Hey, this guy’s playing some serious stuff here, let’s give him The Sound to go with it”.”

“But without a doubt the Kanstul WB was one of the finest trumpets that I ever played. In my opinion for Big Band, and especially jazz combo, it’s awesome. One way I would describe what I thought was that it had a very “CLEAN” sound… And this is coming from a guy that normally doesn’t play or like any horns made past 1964. The Kanstul was an exception. A great made trumpet.”

Wayne Bergeron is perhaps best known for being the lead trumpet player in Maynard Ferguson’s band, although his full biography is far more wide in scope than just that.  This horn was designed to his needs as a lead player and soloist.  It has a reverse lead pipe and a lightweight bell which is supposedly modeled after that of a Bach model 72, a very bright trumpet.  As some trumpet-savvy readers may know, Wayne Bergeron switched endorsement to Yamaha a while back, although some say it was purely because they’re a huge company with deep pockets that can give free promotion to their artists.  For that reason, the WB is currently sold as the “model 1600.”  However TrumpetHerald users also dropped this information:

“I was with Wayne yesterday and got to play his Yamaha with his new GR mouthpiece. I like the mouthpiece but I prefer his/my 1600. I got Charles to make me a rounded tuning slide for mine, it made a big difference with the resistance for me. I love it! The best horn I’ve ever played for every style in every situation.”

“The old “WB” horn had a heavy bottom cap on 3rd valve.  “1600” has all normal caps.  Wayne used heavy caps on 1st and 3rd valve when I met him(few years ago).  He said 1st valve heavy cap has a better slot for D.”

So far I’ve had two sessions with the horn and I’d say I agree with the majority of what the reviewers had to say.  My immediate reaction was one of  joy, freedom.  This Kanstul just feels so easy and fun.  I think of a phrase and I play it with no fighting, and it sings out however intensely I choose.  If I want smokey and dark, I can get airy and contemplative.  If I want bold and melodic, this horn can be positively searing when you push it.  The versatility is real.  The horn is exciting, the same way it is to drive a car with a ton of horsepower.  You just push it and it goes.  It’s very cool the way you can feel the sound vibrate the instrument, more than any other brass instrument I’ve played.  This is probably due to the fact that the WB is designed with an unusually thin bell which keeps it light in terms of weight and allows the bright, brassy sound the WB can have.  This has the awesome effect of making it feel alive in your hands when you ‘push the accelerator’ and make the horn light up…  Man.  Super fun to play.

This Kanstul really is a phenomenal axe. I can’t get over it. Maybe my Strad is in need of a valve alignment or something? When I went to try it out (a five hour drive each way) I was hoping it would be a clear, obvious difference over the Strad and indeed; the jump to this instrument is quite significant. Maybe it’s due to the fact that I do all my practicing on a mega open-blowing Holton Cornet from 1911 with a large 1X mouthpiece, but I don’t feel like the WB is a dauntingly open horn the way some people have characterized it. Stacked up against my Holton, the WB does offer some resistance.  Perhaps the best feeling about this horn, to me, is that I feel like I’ve truly “leveled up” to it.  I put in the years, I invested the time to where I knew the difference right away and had built up enough skill that this upgrade felt earned not just bought.

On all sessions from 7/11/14 until 3/13/16 I played almost entirely cornet, and it’s been a year and a half of great sessions for sure. That first session on 7/11/14 yielded some glorious cornet “moments” that I still look back upon fondly. Similarly, the session on 4/10/16 was one for the books. That excitement and “freshness” is back, even more with the Kanstul. The King added range and zip, but the Kanstul, properly piloted, adds accuracy and speed, which is even more electrifying. That, and the vibration of the horn itself is a real treat.  My 1960s King Master cornet is a surprisingly responsive instrument and a pleasure to play. It’s easy to jump between dynamics/timbres/ranges on the King but I always felt dissatisfied with the intonation and the overall tone. Over the past year and a half on cornet I have been struggling with the acoustic sound, not liking what I’m getting (and for that reason favoring the wet signal more). However this Kanstul is giving me a beautiful brassy tone straight out of the gate, and sounds full even when I lean heavy on the stand-mounted Sennheiser e609 which always felt thin and abrasive with the King. In terms of the “dry” trumpet mics I am feeling positively thrilled with what the Kanstul has given me, which is why in this latest session from 4/10 I leaned heavier than I think I ever have on the acoustic signal. I see that trend continuing.

Below is a video of a brand new tune, first time I’ve ever played “Red Baron” by Billy Cobham, and my first new posting with this magnificent instrument:

So one, the tone, and two the speed of the Kanstul is really popping out to me on the recordings. The King is not that far off from the Kanstul in terms of ease and upper range openness, but where the Kanstul pulls away from it is in the dexterity. Sure the valves are very quick but when you combine that fact with how strongly it slots, even within the staff, the Kanstul is really lightning fast. The real limiting factor on speed is mental clarity. You can hear what I’m talking about in the phrases at 5:33-5:42 in the video. I knew what I wanted to play right there and it comes off clean and crisp. Shortly after that I biff a few notes and that’s because I wasn’t mentally committed to the phrase as it was happening. So if I can keep up, mentally, in the moment as the improv is happening, I see a lot of really ambitious and intricate phrases being within my reach which is very exciting for me.

All this isn’t to say that the Kanstul won’t be limited by the shortcomings of the performer. It can still frack and play out of tune if I drive it poorly, a fact I’ve already proven to myself. I still need improve my skills in all 12 keys and always focus on the fundamentals of intonation, attack, phrasing, mental clarity, and timbre. All the rules still apply. But. The ceiling of what’s possible just jumped up and I can feel that. If I can play up to the ability of the instrument, there are a series of new magical things awaiting me that weren’t unlocked until just now.

It’s exciting to have this bad boy completed. I’ve been enjoying the sounds over the last week and its been surprising me with the way that a subwoofer really adds power and heft to almost any track. It’s been a while since the last sub was around so it’s a real pleasure to have this guy in the house. I already went into detail about the design goals and component selection in my prior entry so I won’t get too nerdy here. As a final touch I added some handles on each side since this thing weighs a LOT and it’s cumbersome to move. The feet I ordered for it had optional “tiptoes” (ie supersharp spikes) on the ends of them, which I elected to remove because of the weight. Those things would go straight through any carpet, no question. I also filled the bottom half of the enclosure with cheap polyester batting used for making pillows.  For more technical information, take a look at this post.

Overall I’d say it turned out excellent! I’ll get a feel for its performance in the weeks to come, as I continue listening to different material and the cone itself gets broken in. I think this is the beginning of a beautiful friendship.

2015 In Funk Pt 1: The October Bear Creek that wasn’t

This year the Legendary Bear Creek Music Festival which I’ve written about time and time and time again was initially rescheduled about a month earlier than its traditional mid-November timeframe, which was a tantalizing proposition for literally hotter dancing and brand-new-good-old times, however due to undisclosed complexities, the organizers cancelled the fest this year which was… devastating news. According to at least one trusted source the odds are not favorable that it will return (although never say never). This is pretty sad news for the feet and the spirit….

About one year and some weeks ago my friend Bill and I were taking a breather after a long day of soaking in the incredible vibes at Bear Creek 2014. We were sitting by the edge of a pond to let our feet rest and I said to him, ‘you know some day they’re going to stop putting this fest on, for one reason or another, and we’re going to look back at this time period like it was some kind of utopia or a golden age for music like this.’ Little did I know at the time how prescient of a thought it was. I wish it hadn’t been.

Me, I hate to wear bracelets so as soon as I got home from the fest I clipped mine off and kept it to put inside the frame with the festival poster I had picked up. But Bill loves to keep his on as a daily reminder of the fest. When I heard the news I texted him right away and you can see his reply in the screenshot here. When I talked to him on the phone about it later he said “Man, I wore that thing to work every single day… every business meeting.”

It’s a testament to the power of what happens when everything goes right at a fest and some incredible magic is created which can only happen there, away from the business meetings and the grind of existence. Something ‘big’ enough that it becomes part of who you are. Bear Creek inspired me to push off in certain direction with my own music for sure. With the concentrated dose of pure funk, jazz, and soul I think that fest tipped my scales toward a certain sensibility much more than an eclectic fest could have done, and drastically more than a series of small concerts peppered througout the year in a drip-feed. If you love this kind of music, if it speaks to a certain thing inside your being, Bear Creek was a lightning strike to the soul.

These days there are tons of great fests out there, and plenty of them offer what feels like an escape to some alternate reality, or at least a vacation from your typical reality. But Bear Creek was that and something more. It was a meeting of the minds. A congress of groove-seekers unmatched. It was a place where the headlining acts were Lettuce and The New Mastersounds, a place where heroes of the genre got to really get up there and rip it at 200%, boosted beyond the normally possible range by the energy of this crowd. Everyone could feel that vibe.

It was a place where, when the final act had finished, the crowd chanted for an encore by singing a looping rendition of the chorus from the Parliment anthem “We Want The Funk”. Replete with the falsetto “ooohhh weeeeeee” it went on until the musicians came back out and fired up the jams once more. We Want The Funk.

Word, Bear Creek. Word.

2015 In Funk Pt 2: Top Tier Inspiration on the Stereo

Within the last month, two superb albums have dropped and I feel it’s worth discussing them together. 1. Made For Pleasure by The New Mastersounds and 2. Crush by Lettuce. These two bands are sort of like two sides of the same coin. They both are well-established and highly-talented groups of musicians making original funk music although they’ve each got a different philosophy on how. Lettuce is pushing further into their own direction with a huge number of members in the band, lots of effects, a clean/modern mastering sound, and complex song structures. Their identity is still evolving. The New Mastersounds are rooted in their quartet playing tunes of simple structure, mastered with a vintage/analog sensibility; all of which have been refined to such a beautiful richness that there’s really no need to start flipping knobs around. NMS are pretty well “dialed-in” as far as their identity and what you might expect from them, but they do manage to toss in plenty of treats for their returning listeners.

A common theme between these two albums is the studio-implementation of things they’ve been doing live for quite some time now. In the case of the New Mastersounds, I’ve seen them perform reggae grooves as far back as 2008 but until “Made For Pleasure” there’s never been a proper reggae tune on one of their albums. Adding to the novelty is the fact that it’s a cover of the Iggy Azalea tune “Fancy” transplated into a reggae groove with the lyrics “I’m so Irie”. That’s perfect.

A very welcome additional treat for this listener is the presence of the peppy and crisp West Coast Horns on four of the album’s eleven tracks. In particular their trumpeter adds a hot sizzle to the action which I really love. In the words of my friend Vince “try as I might, I just can’t get into Mastersounds with vocals” and I will echo that sentiment. The tunes with Charly Lowry, on their own, are a great soul tribute that would feel good on an album of their own. But sandwich them between the high-level instrumentals at which the Mastersounds are so adept and cranking out, the the vocal-driven tunes feel like a sideshow, a distraction.

“Pho Baby” centers around a chord progression style which feels abnormal for the Mastersounds, but in a pleasing way. I imagine that tune would feel great toward the end of a festival set. “Let’s Do Another” gives you a dose of vibraphone, tabla, and horn section on top of the mastersounds which was a wholly unexpected combo that continues to please on repeated listens. But my favorite track is definitely “Cigar Time” which is a no-frills tune that simply delivers what the mastersounds do best: a steady groove with that magic ratio of funk and jazz behind some superb-sounding guitar and organ solos that compel you to nod your head. How these guys keep producing such quality material album after album is a marvel to me, one I plan to continue studying indefinitely.

And then there’s Crush, the 4th album from Lettuce. This record’s got a lot of meat and a lot of attitude, as you’d expect from the boys. I gotta admit, I’m not sure I’m totally a fan of how they mastered this album. Compared to other offerings in the genre (as described above!) this album sounds thin and digital to my ears. In particular the obvious noise gate on the beginning of “Phyllis” is a confounding production fail, if you ask me. One thing I AM totally (read: predictably) loving about this new Lettuce album though, is the amount of effects on the horns! In track 2 “Get Greasy” Ryan Zoidis has a killer solo using what sounds like envelope and a synth pedal. it’s making me want to dig into my own synth pedal capabilties…

This is also the first studio album with trumpeter Eric Benny Bloom and he fills the large shoes of Rashawn Ross nicely I think. Rashawn’s high range is… formidible. Bloom takes the “screamer” dial to about 80% of where Rashawn had it, but he makes up for the rest with his much more thoughtful solo capability. The sheer firepower of his successor was always a thrill but given a choice I’d take Eric. Plus, this guy is into effects and I have… let’s say “more than just a casual penchant” for that. In 2014 he was present for Bear Creek and I got a taste of his approach.

That year’s fest was also the moment in which the stylistic shift on this record was first displayed. There were a lot more spaceout/dubout moments than ever before, which I think is a fantastic counterpoint to the “Rage” funk. In so many different ways, musicians of all genres try to take their listeners up to a high place then give them some breathing room to cool off. That’s the essence of dynamics since staying planted at 100% all the time turns into a grind.

I’m glad to see Lettuce taking this new direction. My friend Bill had a more tepid reception to the change and prefers the tone set on their previous record Fly. I’d argue there are still plenty of in-yo-face numbers here, in particular “The Lobbyist” stands tall for me, and “The Force” is a spectacularly dramatic opening theme. I’d love to see them open a show with that, and maybe reprise it once before the end.

2015 In Funk Pt 3: Art Outside

As chronicled previously, the incredible Bear Creek music fest was cancelled this year, leaving an opening for some other musical experience to fill. Fortunately for our heroes, right here in our Texan backyard there was a gathering called Art Outside which had a very enticing lineup of both funk and electronic music. I had been badgering my wife to come along with me to a music festival for a long time and the variables had lined up to persuade her to join in. Only problem was the weather. Hurricane Patricia was just making landfall in Mexico and the effects would soon be sweeping across the state, leaving just enough of a window for two glorious days before the drought-cracked soil of Rockdale TX would get all the moisture it could handle and more…

I opted for the 4-day pass since my favorite band, The New Mastersounds were playing that day, along with soul virtuosos The Nth Power and TAUK whom I heard for the first time at Bear Creek 2013.

The New Mastersounds had the closing slot on Thursday night where the elite crew of 4-day warriors kicked off the festivities. Having seen them over a dozen times now, I’d say it was a lovely festival set with a great song list. Summercamp with it’s delicate and sparse breakdown flowing into a 4-on-the-floor dance groove was a favorite for me, as well as their rendition of “Hey Fela” with West African master percussionist Weedie Braimah from the Nth Power imbuing the tune with an afrobeat feel. Eddie Roberts seemed a bit reserved that night, opting for cerebral jazzy phrases and never really rocking out full-tilt the way I know he can. I’m not certain but I’m pretty sure they played a dubbed-out cover of Justin Timberlake’s “Well Dressed Man” in which Roberts actually used a delay pedal; a common piece of guitar equipment he purposely eschews.

Having seen these fellows at their finest there was a feedback loop which never connected that night–Eddie seemed visibly annoyed at times with the lack of crowd reaction to push the band higher and likewise the crowd never really went wild because the band never really took-it-there. “Are you all still awake out there?” he asked at one point. That aside, the set delivered the goods in a mellower way for sure. I did a lot more standing and listening than dancing, but my ears were thoroughly engaged for the entirety of their set.

The Friday itinerary was a sandwich stacked high with lots of wonderful ingredients. The Easy-Star Allstars performed their reggae cover of “Dark Side of The Moon” in its entirety along with a smattering of Micheal Jackson, Radiohead, and The Beatles. As a last-minute surprise to close the set they broke into Led Zepplin (could it be foreshadowing for their next album??) and out of nowhere 4 or 5 people in the crowd started throwing long streamer ribbons which zigzagged the audience in a web of colors. That was a very cool festival moment.

Coming off the Easy-Star streamer surprise we caught Nightmares on Wax, who opened up with “Les Nuits” one of my all-time favorite downtempo tracks. In a live setting it felt totally different than it does on the stereo at home though! His set was surprisingly packed with soul-tunes: “Sir Duke” from Stevie Wonder, “Give The People What They Want” from the O’Jays, and a very memorable Marvin Gaye “Inner City Blues” remix. The sound was bone-jarringly loud and we kept telling ourselves we were going to move back ‘after this track ended’ but his DJ set kept it locked and there was no good time to come up for air! It feels weird to say it but even among all the other great artists, this set was my favorite moment in the fest. The buzz of the crowd, the tune selection, and the DJ mixing from NOW was on-point. The dome stage which wrapped around the audience definitely added something as well.

Third heavy hitters on the Friday night agenda were Lettuce, touring the country to promote their aforementioned new album. The show was a fun time, I’d even say it was great, but after talking to 4 different people about it at length, the jury agrees unanimously that something was… off. First off, Eric Krasno wasn’t there. Lettuce has about all the musical firepower that you can wish for but Krasno really is a soloist of unusual caliber. His sound, soaring above the raging rhythm section and searing hornlines, is what has sent many a Lettuce jam over the top. Without him, something just feels missing. Chatting about this at a party, I later learned that Krasno is only playing certain Lettuce shows these days. That’s a pretty unfortunate changeup. But all that aside, they did play a crazy-fast version of Lettsanity, many of their older classics including Squadlive, and the new tune “Sounds Like A Party To Me” which I was feelin. Nigel Hall hooked it up there.

Finally the last show that we stuck around for was a Bonobo DJ set. Gotta say, I liked what I heard. I’ve seen Bonobo play a live set before, with drumset, horn soloists and the whole nine yards and it had just felt… low energy. So my expectations weren’t very high. His set sort of started out with a simmering energy and gradually built up, with a lot of rich-sounding atmospheric tracks that had a steady 4-on-th-floor beneath it all. I honestly didn’t think Bonobo had what it took to keep the dancing masses moving from 2-4am, especially after a Lettuce set, but he proved otherwise.

After Bonobo handed the turntables over to the next act we adjourned for the night, pausing to grab a slice of late night pizza on the way back to our tent, and that’s when it hit: An incredibly loud thunderclap signaled the flipping of a switch in the atmosphere above us. About five minutes after that sound a steady, strong downpour began which did not relent until perhaps two days later. By sunrise the grounds had been utterly drenched and the soil turned from cracked and hardened into a mud-pocalypse the likes of which I had never been involved with until that weekend.

2015 In Funk Pt 4: Onward and Upward in the Living Room

This year has been an incredibly great period in my own musical development and productivity. It saw the creation of a new project, The Acropolis Of Soul and the conclusion–on a high note–of my long-running group 100% Juice. I’ve refined my recording and mastering techniques along the way and finally started to produce a few YouTube videos as well, something I’ve long wanted to do. I also became a member of PedalGenie.com which is an effects pedal rental service, allowing me to try out lots of new sounds. And of course, we had lots of great jams which allowed me to grow as a player. Listening back to these moments has been enjoyable on a visceral level but also deeply enriching on a cerebral level as well.

I was sad to hear the news that Bob Saviano, the drummer for 100% Juice had decided to move to Colorado, but the silver lining was that it gave us a push to polish up our songs and have that two-day recording session we’d been talking about for a long time. 6/27 and 6/28 produced several top-tier improvised jams and a few “best-ever” takes on songs we’ve been playing for a long time. The fact that these would be our last sessions also gave me a blank check to spend as much time as I wanted on post-production to clean everything to a spotless finish and add all the overdubs I might want. Adding overdubs–that is also another thing I had always wanted to do but didn’t begin until 2015!

In retrospect, 100% Juice has been one of the best musical projects I’ve ever had in terms of personal development into the kind of music I want to make. I’m feel very proud of the sounds that came out of it, even though I can still nitpick my own playing to death. We did some video recording on 6/28 and there are still several tracks remaining to publish from that day. As of this writing, two tracks are completed and published to YouTube. The video below is our take on the Lettuce tune “Blast Off”. For this video I took our multitrack recording and bounced it to quarter inch tape on reel to reel to get that analog warmth. Again, another thing I’ve wanted to do for a long time. Hear it for yourself:

My musical partner in crime, Vince Chihak has joined up with our new group The Acropolis of Soul, which first met in February of this year. Over the year we’ve had 11 sessions and there’s been some killer stuff to come out of those. Our soundcloud page is accessible by clicking on the cassette below:

Schedules have been a challenge with this group since everyone has busy lives. The Acropolis will probably never become as prolific as 100% Juice was, but the flip side to that coin is that it gives me more time to work on the production for each session and add overdubs more often. To reflect all these nice things that have been happening I made a few updates on the music section of Microcosmologist which now has links to my soundcloud and YouTube pages as well as links to download some of my favorite recordings under the Trumpet section.

One never knows what the future may hold but right now at the end of the year, looking back, I’m feeling fantastic about everything that’s transpired musically, thankful for my excellent counterparts, and couldn’t be more jazzed to see where the adventures take us next… on to 2016.

Here is 100% Juice covering The New Mastersounds song “Hey Fela!”

I have also been putting more of our jams onto YouTube, where they can be streamed in higher quality than Soundcloud offers. Check out this link for some listening.