It’s Pizzarelli’s birthday!

Born this day in 1960.

I’ve been a fan of John Pizzarelli since his “I Like Jersey Best” days. His latest release is Stage & Screen which includes the delightful, “I Love Betsy.”

Pizzarelli is an excellent guitarist, a delightful vocalist, and an insightful jazz ambassador.  I’ve learned a lot about jazz and performance watching and listening to his videos and recordings.

Celebrate his birthday by checking out his website or by joining him at the Vogel at the Count Basie Center in Red Bank, NJ on June 27th.

As always, tell him M.T. sent ya.

Happy Birthday Neumann University

On this day in 1965 the charter was signed and Our Lady of Angels College was born in Aston, Pennsylvania.

Over the last 59 years it evolved first, to Neumann College, and finally, to Neumann University. 

This week, the community celebrated its history with various celebrations culminating with a liturgy in Our Lady of Angels chapel.

Faculty, staff, and students (including MT Glass) contributed to the music ministry.

To learn more, visit Neumann’s History and Mission page.

The i8 – a poor man’s WX-5?

The WX-5

My Yamaha WX-5 is almost 24 years old. It works perfectly and has never needed a repair in all those years. But in wind synth years, the WX-5 must be an octogenarian. And so, to give it some rest (and to give me some gig insurance) I picked up an IngPartner i8-pro for under eighty dollars.

It’s got all the usual sounds (89 total, including 3 clarinets and 7 saxes which is all I use) and all the usual features (a small built-in speaker, transpose, reverb, breath and volume

The i8-pro

settings; a choice of flute or sax fingering, built-in battery, USB-C charging, an 1/8” headphone jack, and a 1/4” line out jack). But the inclusion of a traditional 5-pin MIDI Out port tipped the scale for me and led me to choose the i8-pro over other available models (the midi port allows me to use my legacy sound modules, if needed).

Playing the i8 is more akin to an Akai EWI since the “keys” work on touch alone (capacitance) — no moving, mechanical parts like the venerable Yamaha WX series (or the current YDS series). And there’s only eight of them! However, working the pinky keys in combination allow adjustments for semitone up, semitone down and whole note down.

Again, borrowing from the EWI, octave changes are handled, not by a key, but by a series of rollers. The good news is that there’s few moving parts to break or wear out. The bad news is the instrument requires some adjustment in playing style. To my mind, it plays more like a clarinet than a saxophone.

For the price, it’s a great value. And for convenience it can’t be beat. After 24 years with the WX-5, it’s refreshing to just pick up the horn and play – no cables to connect horn to module and module to speaker.

Click here to check out the i8 on Amazon.

Keyboard rescue

Visited my local Sam Ash and picked up a used Casio CT-X800 for a song (literally). It needed plenty of TLC to restore it to full working order, but it was worth it.

I’ve been a fan of Casio’s AiX sound chip since its introduction but not enough to add another board (or retire my trusty CTK-7000).

Beyond low price, the 800 called to me for a few other reasons: its got the “new” chip, USB playback/record, and a pitch-bend wheel. In other words, it’s positioned between the CT-X700 and the CT-X3000 (perhaps that’s the reason it was not available in the US market).

The chip doesn’t disappoint — the new tenor sax alone is worth the price of admission. — MT

Meeting Mister Moody

James Moody (1925 – 2010)

Today marks the 98th anniversary of the birth of James Moody.

And today marks, approximately,  the 22nd anniversary of Moody meeting me.

April 2001. We were both involved with the Cape May Jazz Festival.

Yes, before the “Exit Zero” celebrations, it was simply the “Cape May Jazz Festival,” started in the ’90s by Carol Stone and Woody Woodland, and held twice each year (April and November).

This edition of the multi-venue Festival came a week after Moody’s 76th birthday [and shortly before MT’s 48th — ed.]   He was born in Georgia, but raised in New Jersey.  He started out with Dizzy Gillespie and earned high praise for his work on saxophone and flute. Eventually Moody performed and recorded as a leader and soloist. But oddly, perhaps his best known work is as a vocalist.

In the early 50s, Eddie Jefferson wrote and recorded lyrics to match a jazz solo Moody recorded while improvising on the popular tune, “I’m in the Mood for Love.”  Jefferson titled the song, “Moody’s Mood for Love,”  and it clicked with listeners.  Moody worked it into his appearances, often “singing” the lyrics himself. His unique vocal style endeared him to audiences and to the public.

I knew Moody generally by his recordings, and particularly by his recent CD saluting Sinatra. Personally, I was in my first year of learning to play sax and I knew seeing him play live would be educational. Couple that opportunity with a chance to chat and I’d have myself a Master Class.

But Moody was booked to play the Ballroom in the Grand Hotel and I would be at Carney’s in the Other Room. Fortunately, the sound check schedules were kinder. I’d be free during Moody’s sound check. So, at the appropriate time, my wife QT and I made our way to the Grand Hotel.

We quietly slipped into the rear entrance to the Ballroom. And there he was. James Moody at center stage.  We listened as he played a few solos and traded bars with Rowan and Maynard Ferguson’s own Denis DiBlasio (years earlier I followed DiBlasio in a now defunct Riverside, NJ jazz club).

Suddenly, we heard Moody say, “Hold it. Hold it.”  He removed his sax.

Over his shoulder, to the band he said, “Gimme a few minutes.”  He stepped from the stage to the floor. He walked straight down the center aisle.

He pointed to me, and gestured. He wanted me to meet him in the aisle.

We arrived at the end of the row about the same time.

I smiled. “Mr. Moody,” I said and extended my hand.

He shook my hand. He smiled.

He said, “Hey buddy. You know where the men’s room is?”

My smile became a grin. “I sure do,” I said. “I’ll walk you right to the door.”

I saw him play live and had a chance to chat. I had myself a Master Class.

Moody found the men’s room and I was flushed with pride.

MT’s new Melodica – the Hohner Superforce 37

Hohner Superforce 37

In 2012, I wrote about the Hohner Ocean melodica (read Discover the Melodica).

Now, almost 11 years later, I’ve added the Hohner Superforce to my collection

(which also includes the Suzuki B-24 bass melodica and the Schoenhut 37 key melodica).

Suzuki B-24

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I’ve been playing the melodica since high school (starting with the Silvertone “Orgamonica” from Sears Roebuck and Company).

Sears Orgamonica

The instrument is great for learning, practicing, and composing.

No batteries, cables, or cork grease required!

As Lauren Bacall might say, “Just put your lips together and blow.”

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Check them out on Amazon or Sweetwater.

As always, tell ’em MT sent ya.

M.T. and family visit Martin Guitar

MT Glass with the special edition Martin Guitar created for the 75th anniversary of the Grand Ole Opry (1925-2000). It also salutes radio station WSM (650 AM).

MT Glass, his wife QT, and children KT and RT, returned to Martin Guitar in Nazareth, PA today for a factory tour, a trip through the museum, and stops in the pickin’ parlor and gift shop.

“I highly recommend the tour,” said MT. “It blends old-fashioned craftsmanship with 21st century technology.” 

He noted that YouTube videos do not compare to the in-person experience. “Until we invent ‘smellevision’ you won’t get the beautiful scent of cut wood,” said MT.

The Glass family first visited Martin in 2013.

Click the link above to schedule your tour.

As always, tell ’em MT sent ya.

Doyle Dykes at First Baptist in Dallas

I first posted about finger-style guitarist Doyle Dykes in 2018 and he continues to inspire.

Enjoy this video of his patriotic/spiritual medley performed on Sunday September 20th at First Baptist Church in Dallas.

 

For more about Doyle, visit his homepage.

As always, tell ’em MT sent ya.

Guitar Glory — MT’s new solo EP

MT Glass solo. But not alone.

That’s the message of Guitar Glory — a simple, short set of songs to inspire (see track list & preview below).

Social distancing? Sometimes.

Spiritual distancing? Never.

We “come to the garden alone, while the dew is still on the roses” only to find God walks with us, and talks with us. We never walk alone.

Celebrate the faith passed to us, remember those on whose shoulders we stand, and tell others the story with joy and confidence.

The Way, the Truth, and the Life marches on, uniting us to each other and to the Father.

Guitar Glory – Songs of Inspiration

Track Listing:

a. Sweet Hour of Prayer – Bradbury/Walford (2:45)
1. You’ll Never Walk Alone – Rogers and Hammerstein (1:58)
2. In the Garden – C.Austin Miles (2:29)
3. Battle Hymn of the Republic (chorus) – Howe/Steffe (1:14)
4. Faith of Our Fathers/I Love to Tell the Story – Faber/Walton; Hankey/Fischer (2:38)
5. Going Home – Dvorak (from New World Symphony) (1:34)

Recorded in real time; no overdubs or sequencing: May, 2020; the Mx3 Studio at Notre Vir.

Another NAMM, Another Keytar

It’s that time of year…

Winter NAMM is upon us and, for the third year in a row, the gathering of the National Association of Music Merchants in Anaheim brings us another keytar.

In 2019 Yamaha introduced the Sonogenic.

In 2018 Roland introduced the Edge.

Now, in 2020, Korg introduces the RK-100 — for the third time.

The world first met plain ole RK-100 in 1984. Korg brought it back 30 years later as the RK-100S, since the 2014 reincarnation featured an internal sound engine.

After a very brief appearance 100S was quietly removed from the market (rumor attributes this to buggy software causing notes to hang, settings to change, etc.). And now it’s back as the, you guessed it, RK-100S-2.

Here’s the teaser from Korg:

“More beautiful than ever.
The long-awaited rebirth of KORG’s famous keytar.
Since its appearance, the RK-100S keytar has been a hit for its uniquely ergonomic styling, powerful sound engine, and standout looks. Now by popular demand, the RK-100S returns in a big way.

The artisanal wooden body inherited from the original RK-100 is a hallmark of the 100S, which is now available in a finish that accentuates its wood grain. Numerous sounds ideal for solo performance have been added, making the RK-100S fit instantly into any musician’s stage performance.

The RK-100S returns.”

So there you have it. Three keytars introduced in three years. But questions remain:

Will these three keytars be enough?

Should we expect Casio to drop a keytar at NAMM 2021?

And, introductions aside, how many keytars were actually sold in three years? Manufacturers are introducing, but are musicians buying?

 

Click to see and hear more from Korg about the RK-100-S 2