poltr1: (Bitstrips)
Continuing my march down memory lane....

My high school -- Sweet Home -- was in Section VI, Division I of the New York State Public High School Athletic Association (NYSPHSAA). Section VI covered western New York -- Niagara, Erie, Chautauqua, and Cattaraugus counties. Division I was for the larger schools. The schools (and teams) I remember us playing against were Amherst (Tigers), Kenmore East (Bulldogs), Kenmore West (Blue Devils), North Tonawanda (Lumberjacks), and Jamestown (Red Raiders). Games were held on Saturday afternoons, and occastionally on Friday nights.

Read more... )
poltr1: (Bitstrips)
A few weeks ago, one of the memes I came across asked if I could still sing my high school fight song.

I remember what our fight song was -- "Mister Touchdown USA" -- but I never sang it, because I was too busy playing it along with the rest of the marching band. And we never played the bridge section; just the verse. Here's the song. . (Trivia: It's one of the songs that the University of Nebraska's marching band often plays.)

The original lyrics are on the website of one of the song's writers, Ruth Roberts. But we had our own set of words. Here they are, courtesy of one of my classmates, John Pfetsch. (Thanks, John!)

We’re gonna fight for Sweet Home Central
We’re gonna fight for Sweet Home High
Blue and Gold we cheer your name
March down the field and we’ll win the game

We’re gonna Fight Fight Fight for our alma mater true
Fight for that sweet victory
We’re gonna do or die
All together Sweet Home High
This is the song of Gold and Blue

We also had the book of Big Ten Fight Songs. It had a yellow cover, and was published by MPL Communications -- Sir Paul McCartney's music publishing company. The songs we played from this book were "On Wisconsin" (Wisconsin), "Notre Dame Victory March" (Notre Dame), "The Victors" (Michigan), "Across the Field" (Ohio State), and "Go U Northwestern" (Northwestern).

I was in the marching band all four years of high school. I was disappointed to find out at the jazz ensemble reunion in 2014 that the marching band program had been discontinued, and the uniforms were sold or auctioned off. I'll talk about the uniforms, the trips, and the good times I had in a future post.
poltr1: (Minimoog panel)
So, in the past year or so, I added a few pieces to my collection of musical instruments, collectively known as the "Sonic Arsenal".

Read more... )
poltr1: (Marcus in basket)
After taking off a year from all filk conventions, I attended OVFF this year.

Rather than give a detailed con report, I'll give some of my own personal highlights as buillet points:
- Arriving early enough on Friday afternoon to talk with fellow attendees. Most were happy to see me and were glad I attended. (That was not my experience two years ago.)
- Performing "Starlight and Saxophone" with [livejournal.com profile] billroper, who was drafted at the 11th hour to play the song after [livejournal.com profile] filkertom was unable to attend due to missing car keys.
- Listening to Copy Red Leader while I was trying to figure out my new Novation Launchpad S controller.
- Karen Lindsley's concert.
- Being a "melodica ninja" at Debs & Errol's concert. (If I knew their song was to the tune of "If I Had A Million Dollars", and knew the key, I could have played it myself.)
- Hanging out with [livejournal.com profile] rms_butterfly and [livejournal.com profile] maedbh7 at the registration table.
- The Sunday afternoon jam, led by [livejournal.com profile] min0taur.
- The dead dog dinner party at BD's Mongolian Barbeque, and chatting with a convention attendee who knew of Raquy and Carmine.
- And most importantly for me, the feeling that I'm still wanted and welcome in the filk community.

And why was this so important to me? )
poltr1: (Minimoog panel)
Album cover image for Tangram by Tangerine Dream

It was either 1983, 1984, or 1985. _Contemporary Keyboard_ magazine had recently done a feature article on a German electronic music trio called Tangerine Dream. I found one of their albums in stock at a record store: "Tangram", which was released in 1980. I bought the album, took it home with me, and performed the "first listening" ritual as I had always done: with headphones.

I was wowed.

Most electronic music I had been exposed to before this was mostly collections of sounds that weren't exactly connected melodically. TD changed that. It showed me what was possible with synthesizers and sequencers. The music was divided into two album-side-long suites: "Tangram Set 1" and "Tangram Set 2". Each of the sets/suites were comprosed of several short pieces connected together. (Or to use a musical term, one segues into another.) A few of the sections had repeating bass lines and chord progressions, with either a guitar or keyboard playing a solo line over it. TD is renowned for their ostinato patterns, which were performed via sequencers or tape loops.

I still remember the night I recorded a cassette tape of this album, with the help of college friend Jim Ramberg.

One of its members, Chris Franke, went solo in the late 80s, and recorded music for movies and TV, including the music for all of the episodes of "Babylon 5".

And this is the type of music I'd love to write and perform. I have a partially completed piece, called "International Orange", which is written in the style of Tangerine Dream. I'm planning either 7 or 8 parts. So far, only part 2 has been realized, way back in 2002.

Give the entire album a listen here:
https://www.youtube.com/watch?v=M2XEH_8PLts
poltr1: (Moogerfilker 1)
Over the past few years, while I've been dreaming about the synth and DAW (digital audio workstation) gear I'd love to get, I've also been thinking about some projects to put this gear to good use.

One of these projects is a collaboration with folks I know in the filk community. Many filkers are solo performers; the only time we get to play together is at the jam sessions at the end of filk cons. (There are some filk bands out there -- Urban Tapestry, Ookla the Mok, Toyboat, 19 Action News. But their members are geographically close together, and get to practice often.) And I remember the enjoyment and camaraderie I got from being in a band or ensemble; this dates back to high school. And the idea was developed: what if there was a loose amalgamation of filkers that got together on a semi-regular basis and performed as a group? And what if I led or organized the group?

And so, 'Project X' was born. )
poltr1: (Oberheim)
Gary Wright - The Light Of Smiles

The year was 1979, give or take a year. I was familiar with Gary Wright and his all-synthesizer song song "Dream Weaver". I remember laying in bed one winter's night in 1976, with the lights off, and hearing it on the radio. I was staring at the ceiling and I could see the stars.

And one day in the summer of '79, I was at the local Twin Fair discount department store, perusing through the record department, as I often did when I was there. I came across this album in the cutout bin. That day, it went home with me. And I listened to it. And loved it.

Read more... )
poltr1: (Moogerfilker 1)
I'm always looking for sounds that I'd like to include in my "sonic palette". Whereas a painter has a set of colors to work with, a musician like me can have a set of sounds to work with. Several of the sounds I want to have stored on my keyboard would be for other classic keyboards of the past. I think I thmay have already covered piano and organ sounds I want: grand piano, Rhodes electric piano, Wurlitzer electric piano, detuned piano, tack piano (thumb tacks placed into the hammers), Hammond organ (with "drawbar" like controls), pipe organ, and theater organ.

And tonight, someone on Facebook posted one of my favorite songs from the late 60s: "Incense and Peppermints" by the Strawberry Alarm Clock. Many of the bands of the 1960s featured a person playing a portable "combo organ". Two of the best-known manufacturers of combo organs of the era are Vox and Farfisa. These were a lot more portable -- and probably less expensive -- than other organs at the time (notably Hammond). There are many other manufacturers, but Vox and Farfisa are the two brands I remember most.

The folks at combo-organ.com have put together a discography of famous 1960s and 70s songs that featured combo organs. I'm sure many of you are familiar with those songs -- "96 Tears", 'In-A-Gadda-Da-Vida", "Whiter Shade Of Pale", "Light My Fire". And you're probably hearing the organ lines in your head as I mention the song names. (I am.)
poltr1: (moogliberation)
So I've been listening to a lot of the Pat Metheny Group -- and Pat's solo work -- this past week. It's my favorite music for long-distance drives and traveling. I don't have all his CDs, but I'm working on it.

How did I first hear about him? In 1978 or 1979, there was a series of films I saw in high school science class called "The Search For Solutions". And the theme music the used in the opening credits was by the Pat Metheny Group. (The song they used was called "The Search", from the "American Garage" album. How appropriate.)

Flash forward to 1984. A new radio station in town, with the call letters of WRXT, and a free-form play list, played Pat's solo guitar song, "New Chautauqua", from the album of the same name. I loved the song so much that I just had to get my own copy. And so I went off in search of his albums.

Over the years, he's been a pioneer and a trailblazer. He started off playing trumpet, and switched to guitar a few years later. He's also taught at prestigious music schools such as the University of Miami and the Berklee School of Music, and did so at a very young age (late teens). He was one of the first guitarists (that I know of) to experiment with guitar synthesizers, and the myriad sonic possibilities available through them. And he uses the various guitar sounds for different effects, much like a painter would use different colors on a pallette to create a painting. Some of the guitars he uses are quite distinctive and unique. Perhaps the most unique is the 42-string Pikasso guitar that Canadian luthier Linda Manzer built for him.

And sometimes, he's outspoken and opinionated. Years ago, Metheny ripped Kenny G a new one, after Kenny G released his version of the Louis Armstrong classic, "What A Wonderful World", with Kenny G playing along with ths song via an overdub.

I don't know much about his personal life, and I don't need to. It doesn't matter to me. I do know that he travels a lot, performing for audiences all around the world.

I got to see him live in 1997, during the "Imaginary Day" tour, which had a stop at the Fraze Pavilion in Kettering, Ohio. And I hope I can see him in concert again.
poltr1: (Minimoog panel)
I think I may have already discussed this "maybe someday" project here earlier.

I remember the huge theater organs of old. I once saw (and heard!) a concert featuring an organist playing the Mighty Wurlitzer at the Riviera Theatre in North Tonawanda, NY. There were lots of effects, such as a sideways marimba/xylophone with fluorescent "hammers" striking the wooden tines.

Imgine what that instrument could do if it was connected to modern computer technology. Computers, sequencers, MIDI, servo controls. It could probably play itself.

That has been the inspiration for a multi-keyboard setup I would love to construct someday, if I have the space for it, and the money for the components. )
poltr1: (Default)
From renaissancetouring.com: Renaissance is touring the northeastern US this fall! Here are the dates.

I'd like to attend the Sept. 13 show in Buffalo, at the Tralfamadore Cafe. I'll need to check my work schedule and my pocketbook to see if I can go.
poltr1: (ohiverse)
Yesterday, [livejournal.com profile] allisona posted about the history of her group, Urban Tapestry, and all the people who have influenced the group from its inception until now. She also asked about everyone else's musical links.

Here's my filk music history. )

I'd like to get back into the swing of things, but I have a daughter to raise (with the help of her mother), an uncertain employment future, lots of stuff to do at home (namely, the ongoing decluttering project), and a parent to keep track of.
poltr1: (bassclarinet)
Just got back from Ohio Valley Filk Fest 26. I was there only today. HIghlights for me:
* Chamberfilk with 10 players (and 2 bass clarinets! Thanks [livejournal.com profile] quadrivium!)
* The dinner with [livejournal.com profile] autographedcat and [livejournal.com profile] kitanzi at BD's Mongolian Grill
* Playing a duet written by [livejournal.com profile] peteralway
* [Finally] meeting a few more filkers I hadn't met before, like [livejournal.com profile] sweetmusic_27, [livejournal.com profile] ladymondegreen, [livejournal.com profile] judifilksign, and [livejournal.com profile] shadowriderhope

Thanks to all who reached out to me and made me feel a welcomed member of the filk community once again!
poltr1: (Default)
Many years ago, at the Buffalo & Erie County Public Library, I happened across a series of albums I have grown to love. They were called "Environments", created by Syntonic Research Inc. and released on Atlantic Records. They were field recordings of nature sounds, that filled entire sides of an album. The series has spawned many similar recordings, including Dan Gibson's "Solitudes" series.

In my years of collecting LPs, cassettes, and CDs, I picked up a few of these recordings, including "The Psychologically Ultimate Seashore", "Thunderstorm", and "Tintinnabulation" (a recording of bells slowed down). And for years, I've been wondering how many records/cassettes/CDs were released in the series.

I could certainly use one of those recordings right now, to soothe me back to sleep. About an hour ago, a garbage truck came by and emptied a dumpster. Why this has to be done in the middle of the night is beyond me.

So tonight, I searched on "Syntonic Research discography". The results were sparse. Syntonic Research does not have a web presence. But I found
a page on Wikipedia with a complete -- or as complete as could be determined -- discography. There were 11 LPs, 14-16 cassettes (2 are believed to be unissued), and 3 CDs released. I have the three CDs, three of the cassettes, and as far as I could remember, none of the albums.

I also checked EBay, and there are vendors there who have some of the albums and cassettes for sale. Hopefully they'll still be there next month, when I should have a little more disposable income.
poltr1: (Minimoog panel)
....about sound and music composition tools that run under Linux. Is there a package comparable to Cakewalk Home Studio? And are there MIDI players that will do mutiple tracks?
poltr1: (moogliberation)
Buffalo's 97 Rock is doing a countdown of the top 100 concerts in the Buffalo area this week. Sadly, I missed many of them. View the countdown on their web site.

I really should make a scrapbook of all the programs and ticket stubs of all the concerts I've been to. Here's what sticks out in my mind (in no particular order, other than chronological):

* Asia (with opening act Chris DeBurgh) at the Aud, 1983. My first concert, not counting when Buddy Rich and Maynard Ferguson played at my high school.
* Frank Zappa, Shea's Buffalo, 1986.
* Peter Gabriel, UB Alumni Arena, 1986.
* George Carlin, Melody Fair, 1988. "Dukakis: sounds like a disease. He's got Dukakis!"
* Emerson Lake & Palmer (Black Moon tour), Riverbend Music Center?, 1990?.
* Yes (Union tour), Ervin J. Nutter Center and Cincinnati Arena, 1991?.
* Styx and Kansas, Riverbend Music Center, 1994?.
* Billy Joel & Elton John, OSU Stadium, 1994. Some young women, tired of the lines for the womens' room, used the mens' room to pee.
* Pat Metheny (Imaginary Day tour), Fraze Pavilion, 1997?.
* The Rippingtons, Fraze Pavilion, 1998?.
* John Tesh, Fraze Pavcilion, 1998? It was cold that night.
* Spyro Gyra, Fraze Pavilion, 1998?.

And one I wish I went to:
* Rush (with opening act Marillion), 1983.
poltr1: (polyfusion)
I'll watch the video clip later, when I have access to a high-speed internet connection. But for now, I'll share it with the rest of you.

The making of 10cc's hit "I'm Not In Love".
poltr1: (Minimoog panel)
For years, I've been wanting to purchase a synthesizer or keyboard workstation -- specifically, something in the Kurzweil K2000 family. I briefly had a Kurzweil K2500, but found that I couldn't afford it and had to send it back.

As I've often said, I'm not a guitarist. I simply don't have the chops in the left hand to be an accomplished guitarist. I wouldn't mind learning how to play bass guitar, though. And of course, I have my woodwinds. But nothing fires me up like keyboards.

Why keyboards? Because I can have access to a wide range of sounds. I can't get this from traditional instruments. In a way, it's like painting a picture with a range of colors instead of just a few. With the help of a computer and music composition software (e.g. Cakewalk), I can knock out compositions much quicker than what I can currently accomplish.

What sort of keyboard sounds would I want to include in my palette? )
poltr1: (Default)
One of the albums in my collection is a two-record set called "Pink World" by the Planet P Project. For those of you who don't know, the Planet P Project is keyboardist Tony Carey, once with Richie Blackmore's band Rainbow.

I first heard this album from the local library. I later found a copy of the album in the discount bin. I think. Recently, I found some of the songs on YouTube.

The world that is depicted in Pink World is somewhat harrowing, almost like a dystopic SF world. Surverillance cameras are everywhere. People in cages for a human barrier of sorts. Through it all is a young boy, named Artimis, who doesn't speak. It's been a while since I've heard the album, so my details are sketchy at best.

It's been on my "to digitize" list. Not any more.

I found Tony's web site and it mentioned that Pink World, and his eponymous debut album, have been remastered and released on CD. So I went looking for it on eBay. And found it.

What are your favorite concept albums that I should know about?
poltr1: (moogliberation)
Had lunch with [livejournal.com profile] maedbh7 yesterday. One of the many things we talked about was how the filk community is oriented toward solo musicians. Ensemble players such as her and myself don't often get a chance to perform.

Years ago, there used to be instabands -- groups of filkers who would get together, rehearse, and perform a song during a convention. I think the only impromptu ensemble in filk these days is Philip Textor's Chamberfilk, which I've been a part of.

So, how can we get this ball started? Who else would be interested in such a project?

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