Projects
"The Creep" CD release and tour
"The Creep," my new recording, is scheduled for release on March 27th. There are so many personal precedents being set by this release, and I am very excited about every aspect of it.
I have decided, after years of being associated with an established record label, to release this myself, on my new label, Plastic Sax Records. I think this is great step in moving forward, and in keeping with the new market we are in. In addition to the CD format, we are printing up a limited edition of collectible vinyl, which will beautifully present the wonderful illustration by Jonathan Ashely. When you pre-order this LP you will also receive a download card, allowing you to enjoy the music digitally as well.
This is the first recording of mine on which I play only the alto sax. On most of my recordings I have favored the tenor, but for this music, I have embraced the alto full on. Some of the music was originally written for the film by Douglas Chang, "Chaography" (still in production) in which I act and perform with my quartet. My character is based loosely on late 50s Ornette Coleman.
This is also the first recording I have made without a chordal instrument. There is nowhere to hide in this very open environment; it feels free and loose, and I am very comfortable, supported by the beautiful playing by Ron Horton on trumpet, Paul Sikivie on bass, and Ulysses Owens on drums.
Immediately following the release of "The Creep," my quartet will be doing a tour of the West Coast, including my hometown Los Angeles. It's always great to come home. We are playing some great venues, many of which I have never played with my own group, including Anthology in San Diego, The Santa Barbara Museum of Art, Vitello's in Los Angeles, The Center for The Arts in Grass Valley, CA , Ivories Jazz in Portland, Yoshi's in San Francisco, and Kuumbway Jazz in Santa Cruz. For complete tour info, click here.
Suite for the Seven Chakras
I was commissioned to write a long-form piece based on the Seven Chakras. The idea and support for the creation came from someone who will remain anonymous, but who went through life-threatening illness, and discovered strength the healing powers through the use of chakra therapy.
His instructions were simple: large ensemble, about an hour long, seven movements, and get to your shit. I wrote most of it over a period of about six months. When I got to the 7th movement, I decided to wait until I was closer to having it either performed or recorded to deal with this final movement, which would be an important culmination, and I wanted to be at my most musically and (hopefully) spiritually developed when I wrote it. I keep putting it off. My friend Scott Jacobson, who agreed to produce the recording, set up a session for me to do work with a chakra specialist, which I did, but am still holding off to jump into that final movement. I think I am almost ready, however and will probably have one more session in this next month.
I had the good fortune of having a reading session, that doubled as a composition and arranging workshop, with the Manhattan School of Music Jazz Orchestra. I was a bit nervous of hearing the music read for the first time. They did a great job dealing with some pretty challenging stuff. It was great to hear these musical ideas that have been in my head finally expressed, and well interpreted by this wonderful, enthusiastic band. I learned a few things from hearing the music, a few things I want to change, but also that I think I accomplished what I set out to do.
If all goes well this will be my next release. I am thinking spring of 2013.
The Best You've Never Heard
This week I am in middle of shooting a pilot, or "sizzle," as it is referred to in the show biz vernacular. The show is called "The Best You've Never Heard," and it focusses on exposing the talents of musicians around the country that truly have something to express, but for whatever reason are not getting the kind of attention they deserve.
I will travel around the country in my 1971 VW camper (sort of my sidekick), hitting clubs in cities across the nation, finding these hidden gems (clubs and musicians). The show is a fusion of travel, reality TV, and performance.
Our first stop was the great jazz club Cecil's, in West Orange, NJ. This club is owned and run by the great jazz drummer Cecil Brooks III. Cecil has a lot to say about music, the jazz scene, politics, and running a club for nine years. He was reluctant to speak on camera, but I am hoping he will allow us to let him express his ideas when we return.
Once the sizzle is completed we will present it to sponsors and TV channels. I am so glad to be working with director Douglas Chang, and co-producer Ivette Dumeng. It's a great team. I worked with Doug last summer for the shooting of his movie "Chaography: Variations on the Theme of Freedom" in which I play a free-jazz alto player based loosely on Ornette Coleman. The film is clever and edgy, and gives a lot of room to let the musicians do their thing.
Valaida Snow
I've begun to write music for a Broadway show based on the life of Valaida Snow. Valaida was an African American entertainer who got her start during the jazz age, a sort of cross between Josephine Baker and Louis Armstrong. In fact, they sometimes called her Little Louie.
Candace Allen, who wrote the novel "Valaida" based on Valaida's life, approached me last year to write the music for a Broadway musical based on her life. I was hesitant at first, because, although I have a lot of writing experience, this genre is very specific. But after writing the first two songs (and getting my feet wet), I feel this is going to be a very gratifying and important project, and I'm excited to be involved.
Candace was very fortunate in acquiring the talents of the lyricist Susan Birkenhead, whose work on previous Broadway productions (Jelly's Last Jam, Working, High Society) has earned her Tony and Grammy nominations.
One of the challenges for this production will be finding the actress/musician to play the lead role. She will need to sing, dance a little, and play the trumpet. We are going to start putting the word out to find this special person. If you know of anyone...
Uncle Ted's autobiography
My Uncle Ted has been the subject of a few of my blogs. He passed away in May, and left quite a legacy, one that is larger than even I realized. For example, Benny Golson wrote this in an e-mail to me after he learned of his passing:
"John (Coltrane) and I started out together in Philadelphia as mere amateurs as we were mesmerized by your uncle's beautiful sound and superiority of the altissimo range of his saxophone. For years he was a goal so many of us sought. He was completely unique in his talent in that the things not only left the bowels of his saxophone striking the medium of the air and ears, but hearts as well, not always a common practice everyone is capable of."
Although I wasn't very close to him when I was growing up, he was a big influence on me. Maybe, not at first, when I was attracted to the fiery style of the hard-boppers, but a little later, in my 20s, when I had a chance to mature and understand the depth of his playing.
Here are a couple links to his playing:
Link 1 (his solo starts around 2:20)
Link 2 (his solo starts around :56)
The latter shows his unbelievable control in the "altissimo" register of the horn.
I got particularly close to my Uncle in the last few years of his life, visiting him as often as I could at his home in Carmel, Ca. My Uncle suffered a serious stroke about five years ago the prevented him from being able to finish his autobiography, I helped him finish the last couple chapters.
We are now looking for a publisher of this very witty and informative book, that I know so many people will enjoy, whether or not they are musicians.
Project Student Horn
I am pleased to tell you about a new initiative, Project Student Horn, which aims to provide high quality, professional saxophones at an extremely low cost to students who may otherwise not be able to afford them.
Through Project Student Horn, I have discovered vintage horns that have great sound, solid mechanics, and good intonation. These horns are fully repaired, with new mouthpieces from Beechler, neck straps, ligatures and caps. The horn will also come with a video of me playing and talking about the specific horn, along with some practice tips.
This year, I am working exclusively with alto saxophones and in very limited availability. Interested students must be able to demonstrate need for this highly discounted program and must have the recommendation of their middle or high school band directors, who can speak to the student's need.
For more information and to apply for a horn, please e-mail me:
trnash@aol.com.