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wonderful quote from evan evans

I have a cd of bill evans practicing. I bought it back in the day, when I used to actually buy physical CDs. it’s a good thing I bought it then, because the thing I enjoy most about buying physical CDs is the excellent liner notes, a jazz tradition that has been lost in the digital age. There is a quote in my CD from bill’s son, evan evans, which has been a source of inspiration for me for many years:

“My father practiced an average of eight hours a day in his later years. That his music was so pwerful can only be a testament to the importance and perserverance, dedication, and above all, as he and I agree, discipline. I hope that you, the listener, are inspired by this recording to always work diligently at what it is that makes you and those around you happy and rich in the heart”

– evan evans

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zt lunchbox

just got a super cool “backup” amp, as my main amp is on the fritz. it’s really small, and means that for the first time ever, I won’t have to take a luggage cart to a gig!

ZT Lunchbox!

it is surprisingly loud, pretty excited to try this out on my gig tomorrow!

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friday night gig

I’m playing at the capital grille this friday, july 23rd, with the rich russo quartet. No cover or minimum, so stop by and have a drink! We play from 6:30-10pm.

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pedalboard

my pedalboard

my pedalboard

For the past 10 years, I haven’t used any effects save a rat distortion pedal when I was on the road with dem brooklyn bums. my amp doesn’t have reverb, and I always meant to get a reverb pedal, but I never pulled the trigger. A few years back, I got a looping pedal, which is one of the most useful practice tools I know of, and after needing overdrive on some gigs recently, I decided to spring for a pedalboard.

sonic research turbo tuner – ridiculously accurate tuner. I have shied away from using tuners in the past, preferring to tune to the piano or bass on a gig, but I’ve been doing more big band gigs recently and it’s really nice to be able to check tuning silently and quickly.

fulltone fulldrive 2 – I borrowed one of these from my friend Dan for a gig recently, and it’s the best sounding overdrive pedal I’ve tried for an archtop and solid state amp combo. I tried a few of the other fulltone models, but nothing sounded as good as this for my setup.

digitech rv-3 reverb – pretty standard reverb pedal, sounds great and I don’t have any complaints.

electro harmonix POG2 – I have always liked octave pedals and this really takes it to the next level. you can create some really cool, organ like sounds with this.

digitech jamman – standard looping pedal, really great for practicing. I frequently record a bassline with the POG2 and loop that.

The power supply is a voodoo labs pp2+. this was expensive, but really worth it, as it has an AC outlet, which the jamman needs, in addition to lots of other power slots for the other pedals. I questioned getting this at first, but I’m really glad I did.

the board itself is a pedaltrain board, which is designed to work with the voodoo labs power supply, in that it mounts comfortably underneath.

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shostakovich orchestration!

Here is an mp3 of my orchestration of Dmitri Shostakovich’s 4th String Quartet, 3rd movement. Here is a link to my score. It was originally scored for 2 violins, viola and cello, in my orchestration, the instrumentation is:

  • 2 flutes
  • 2 oboes
  • 2 clarinets
  • 2 bassoons
  • 2 trumpets
  • 2 trombones
  • tuba
  • timpani
  • snare
  • marimba

the recording is from a juilliard orchestra who sightread the piece twice, the recording is actually their second time through. I was happy with the results and definitely learned a lot, there are some things I thought worked very very well, like the solo clarinet part, and some things that I would have changed, such as backing up the flutes more with the oboes, especially in fast passages.because this is my blog and I’m allowed, I will add a personal note. I did this orchestration at a time when I was working 12-15 hour days at work, and much of it was done when I was very, very tired. I would have liked to have taken a day off to work on this and had uninterrupted time to write, but life isn’t like that. It’s my belief that we create despite our circumstances, rather than because of them. I will remember this the next time I think to myself I don’t have time for something important to me.

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google code talks: java memory model

Here’s my notes on the google talk on the java memory model, given by Jeremy Manson.

- Don’t try to avoid using synchronized, and other java concurrency abstractions. it’s very difficult to get right, and usually doesn’t buy you very much to try. even Doug Lea gets this stuff wrong.

problem:
example:x=y=0
Thread 1: x=1; j=y
Thread 2: i=x; y=1

how can i=0 and j=0? this is obviously not intuitive, as it appears from the order of the statements that both i and j could never both be 0. however, the compiler/jvm/processor could analyze the assignments as independent events and reverse the order of the statements in the threads (e.g Thread 2: y=1; i=x), leaving us with the possibility that both i and j can end up as 0. the takeaway here is that there are very few assumptions you can make about thread interaction without explicit synchronization.

- don’t rely on locks flushing stuff. releasing a lock only matters if there is a subsequent acquire.

- if a field can be accessed by multiple threads, and at least one of those accesses is a write, you should either use locking to prevent simultaneous accesses, or make the field volatile. synchronization is hard to get right, volatile is a bit harder to get right, try to use any other technique to prevent a “data race”, and you will NOT get it right.

properties of volatile:
- reads and writes go directly to memory
- volatile logs and doubles are atomic
- volatile reads and writes cannot be reordered
- reads and writes become acquire/release pairs.. volatile write happens-before all following reads of the same variable. a volatile write is similar to unlock, a volatile read is similar to a lock.

the danger of not using volatile, is that a non-volatile variable can be optimized by the compiler to be kept in a register instead of written to global memory. this is because compiler optimizations and transformations are performed on single threaded code.

initializing singletons. this code doesn’t work:

Helper helper;

Helper getHelper() {
if (helper == null)
synchronized(this) {
if (helper==null)
helper = new Helper();
}
}
return helper;
}

this is common code, but actually broken. the problem with this code is that there is locking on the side of the writer of helper, but not on the side of the reader. it’s possible for someone to come along and read that helper!=null, but get a junk value for helper. the fix is to add a volatile modifier to the declaration of Helper:
private volatile Helper;

even better solution is to use the effective java pattern “Initialization on Demand Holder Idiom” in effective java.

immutable objects are obviously great for thread safety. final fields don’t allow other threads to see an object until construction is complete.

even if you are using a ConcurrentHashMap, if you are doing a get, some stuff, then a put, even though get and put are thread safe, you still need to lock on the “some stuff” section of your code. people who write the JDK even make this mistake, so watch for it.

use @ThreadSafe, @NotThreadSafe, @GuardedBy, @immutable annotations to document your code. some of these are checked by FindBugs.

make code correct, then worry about making it fast. fast concurrent code amounts to reducing sync costs, use java.util.concurrent and java.nio classes, and reducing lock scope.

read Java Concurrency in Practice!!!!

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Charles McPherson at the jazz standard

After reading Ethan Iverson’s great post on Charles McPherson, I made it a point to make it down to a set this week. The quintet featured Tom Harrell on trumpet and fluegelhorn, and it was a unique chance to hear Tom blowing in such a straight ahead setting. The rhythm section was Willie Brown III on the drums, Ray Drummond on the bass and Jeb Patton at the piano.

They kicked off the set with “Budlike”, a medium uptempo blues written by Charles. From the first notes of the melody, right away I noticed Charles’ tremendous sound, even when he was playing off mic, his authoritative sound filled the club. Tom took the first solo and played his fluegelhorn beautifully, with his distinctive muted tone and uncommonly clear ideas. I was surprised to see him switch to trumpet for the remainder of the set, as I have mostly seen him perform exclusively on fluegelhorn in recent years. Interestingly, he gets a very similar muted sound on trumpet, I was sitting directly in front of him the whole set and didn’t hear any of the bright, almost cutting sound you hear when directly in front of a trumpet. Ray and Willie traded choruses for a collective bass/drums solo, that kind of conversation is something I wish I heard more often.

The next tune was an uptempo version of “The Song Is You”, followed by a Tom Harrell feature on his tune “Suspended Motion”, a straight 8ths piece with sometimes ambiguous harmonies. I know this tune, and it was really interesting to hear a player of Charles’ generation navigate a tune like this. Of course he sounded great, and perhaps a bit more thoughtful than on the earlier tunes.

They followed up with an uptempo version of “Spring Is Here”, followed by another Harrell composition, “Blues In Six”, a loping, “not-quite a blues” blues. Jeb Patton took a great solo on this one, channeling McCoy Tyner and then getting into some stacatto chords that sounded really fresh in this context. The final tune was “Tenor Madness”, with Willie Jones, who swung his ass off and played great the whole, building into a fiery solo. Charles and Tom traded over choruses, then fours, and finally twos before taking it out.

This was some of the best straightahead jazz gigs I’ve been to in a while, and I’ll definitely make it a point to listen to more charles.

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cool chord voicings

all voicings are spelled low to high:

Dm7 – F E G A
G7 – F Eb Ab B
C – E D G A

ran across this because I was practicing moving 6th chords voiced root 6th 3rd 5th with a barry harris style sixth diminished scale. I use that voice with the bass note on the low E string all the time, but never with the bass note on the A string, which can sound really nice and doesn’t get in the bass player’s way either. going to have to practice these some more.

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Peter Bernstein’s solo on “Chant”

Here is my transcription of Pete Bernstein’s excellent solo on “Chant”, from his Criss Cross album “Brain Dance”. You can listen here. The usual lazy jazz musician transcription rules apply, I don’t mark any slurs or accents or anything, that stuff is best gotten directly from the source. These transcriptions really serve as more of a reminder of the harmonic and rhythmic material Peter uses over these types of tunes.

The CD this is taken from, “Brain Dance”, was the first jazz guitar CD I heard that made me really excited about jazz guitar. I got it when I was in college, about 19 or 20. I was fairly serious about learning jazz, but had focused my listening on Miles Davis, John Coltrane, and the other traditional jazz heavyweights. I didn’t listen to too many guitar players and when I did, I honestly didn’t really hear many recordings where the guitarist was just part of the band, but had equal footing as a melodic and harmonic voice. So this CD really woke me up to the possibilities of the guitar in a jazz ensemble. The other immediate reaction I had was: “Wow, I want to sound like THAT”. I think every musician I know has had kind of a role model, and Peter was definitely a model for me in that way.

I have been lucky enough to hear Peter play a lot since then, take a lesson, and also to make his acquaintance over the years. A few thoughts on his general technique:
- Peter mostly uses 3 fingers, only occasionally shifting to the pinky in his lines.
- he plays up and down the neck quite a bit, as opposed to moving across the strings while playing lines. he shifts positions really quickly.
- he uses a very subtle and distinctive vibrato quite frequently on long notes.

This solo shows Peter’s strong Grant Green influence and has a lot of great lines, and more importantly, showcases his awesome, laid back feel. Notice the flurries of 16ths in his second chorus. A lot of people say Peter doesn’t play many notes, but he does bust out the double time really effectively, especially in medium and slow tempos like this.

Please let me know if you catch any mistakes, as I’m sure I made a few.

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isn’t blogging just so 2007?

I haven’t really blogged in a long time, mainly because I’ve been really busy and I don’t think anyone reads this anyways. however, I am going to try and start writing more about music, composition, and hopefully posting some transcriptions I’ve done recently. I am also working on some interesting non-work software stuff, which hopefully I will post about also. I am not going to blog about my workouts anymore because it is inconvenient to search my history, which is really the only reason I started doing that in the first place. so if you had subscribed to my feed and were too lazy to unsubscribe and had to read my workouts every day, I apologize. I’ll try to post more interesting stuff going forward.

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