In this second incarnation of Jazz Stream beginning 2003 (call the Smithsonian!) the trio was joined by Paul Chafin on tenor sax and sometimes clarinet. So many wonderful gigs over that two year period, including the 2004 and 2005 Major League Baseball Spring Training seasons in Jupiter Florida for the entire month of March. Paul inspired the band to swing harder than ever. We love you, PC, and always will.
The tracks here represent Jazz Stream's first and only foray into the studio thus far. The cd is filled with first takes; Joe Noto used to say "rehearsal ruins a good jazz concert." Paul's ethereal sound, honed over the decades, shines ever brightly in all its powerful understatement; this gem among us was 75 at time of this recording. Mark "Square" Doyle nails number after number, wreaking havoc on his keyboard while John Luzi's rich vocal talent is finally given its due in the studio. Keith Bell, a veritable chimpanzee with sticks, can't help but marvel after some of these 28 takes over two sessions. Much thanks to recording engineer, Michael Uhrich.
Sweet Georgia Brown was mixed 8/9/07 at Sanctuary Sound by Earl Bennett.
The Squirrel, captured using a video camera as stereo mic during Spring Training 2005, represents the "Salvation Army Effect" utilizing three horns within the quartet. Keith plays baritone horn and drums simultaneously while Mark sports coronet at the piano. Add the sax and baseball ambience . . .
Check out the Christmas Bear player on the left for more music, including both studio and live recordings from Artigras, Roger Dean Stadium, L'Anjou French Restaurant, Taste of the Gardens and more . . . where else can you hear PC sing "Georgia" or balladeer, John Luzi?
Thanks so much. The drummer on Caravan is the one, the only Lenny Steinberg. You have to love him. Wow, I'll check out that recording. I love your Caravan too. beautiful melodious horn.
Hi Keith: I was trying out a new master buss compressor yesterday using the "Sweet Georgia Brown" track. I was thinking how much I'd like to do a project with you guys. Hopefully we will do one in 2008. Also lets do that drummer hang thing after the new year ... I got a great DVD on brush playing that you might like to check out sometime. Take Care, Earl
thanks for that post, and the question you posed - I know HW wrote essays on spirals and 'organic line' vs geometry... it was key to his art/design theory!
In honesty, I personally have to acknowledge that geometry occurs in countless natural organic phenomena - shells, beehives, crystals etc but here is a passage I just quickly dug up off the net to help you close in on your answer...
Spirals are the primary shapes in Hundertwasser's paintings. They can be seen both literally and figuratively in most of his work. Hundertwasser felt that other artistic movements had "destroyed all forms . . . it was necessary to give oneself new rules and forms. Only one of these forms is worthy of confidence - the one that corresponds to the motion which is made when opposites begin to move. This movement is the spiral."
Although Klimt shared his interest in spirals, but Hundertwasser's spirals stray from the exacting mathematical form and thin line of Klimt's. Hundertwasser gives both line and form equal emphasis. The spiral is irregular in shape, and although both helix and core are maintained, neither is given more significance. Hundertwasser's spirals also defy the categorization of spiraling inwards or outwards, leaving the viewer wondering if the relationship is centripetal or centrifugal. Spirals have been described as Hundertwasser's way of beginning a painting when no other form comes to mind - a convenient receptacle into which other forms might be introduced. Hundertwasser has described spirals as "a bulwark for myself against my environment." He sees himself as the core, simultaneously protected and isolated by the surrounding cell or enclosure.
