A FlyCat for one night only!

Today is the 10th anniversary of the 9/11 attacks by terrorists from the Islamist militant group al-Qaeda.  A very sobering day indeed.  Jack is, and has been, old enough to learn about this date and the tragedy so many Americans have suffered.  It hits home to me when he's telling me facts that I haven't thought about for a long time.  It's important to remember this occasion and to remember how important it is to honor our homeland security.  Can't take life and love for granted.  It's all so short anyways.

Last night, I had the luxury of playing some incredible jazz with Glenn "Big Lou" Tocci & Reece Harris, 2/3 of the trio The FlyCats.  My friend Dave Zibman, who plays bass for the group, was out of town.  I filled in for him as best I could.  One remarkable item of note: Dave & I both use the NS WAV electric upright bass!  How could I not bring it out?  The FlyCats specialize in straight ahead jazz with several excursions into "pop" territory, as the crowd & event might dictate.  What a thrill to be a part of this!  A giant book of charts, very organized, was provided for my reading assistance.  Glenn plays a beautiful Guild archtop electric that has the tone of butter.  His playing is fast & fleet fingered.  We did a fair amount of tunes I had played before.  I got a bit concerned early on in the first set.  We did Gentle Rain by Luiz Bonfá.
For some reason, I done got lost a few times (!).  Not too smooth.  Even though the form is a nice even multiple of 4, I guess I simply got confused by the separate endings.  No excuse.  Here's a chart I found; not the Real Book chart, but a different one (from the Colorado Cookbook - nicer looking charts, occasionally more accurate) that gives you an idea:

It's a big file - suitable for printing & certainly for framing as well!  Here's another chart (from the New Real Book Vol. 3), up a minor 3rd, with lyrics & slightly different chords.  Could be up for debate as to which one is the preferred transcription...

Actually, I now remember thinking at the time how it felt to be playing with a guitarist who is playing the head but not comping at all.  This really does put a big responsibility on the bassist to fill in the harmony & certainly to be responsible for the form.  That is what threw me more than anything.  What I was good at, at least, was finding my way back to the form once I had been off the beaten path.  There's a lot to be said for not getting too lost!  Unfortunately for me, the next tune I suggested some smooth jazz, a la Morning Dance - I saw the chart in the book.  They somehow shot it down & the Jackson 5 ballad of Never Can Say Goodbye was counted off.  Man, I thought I could get through this one.  Once again, I don't know the form so well.  Here's a chart of it, found in a copy of The Ultimate Pop Rock Fake Book:

This excerpt looks to be a bit more accurate, as the bass line is playing that lick in E minor.  Too bad I don't have this in complete form.

Very cool chords & a timeless melody that everybody has tucked away deep inside.  Love the major to minor shift in harmony, plus those descending chords with the bass pedaling: Dm --> E7/D --> Eb/D --> Dm.  I am more familiar with the Gloria Gaynor version found here.  Ok, I do have the Jackson 5ive version as well.  It's more like a demo version to my ears - I dig those disco strings & the use of those polychords in the intro & each refrain.  It was a time of AM radio in the 70's, wasn't it?  Alright, this shows you how little I know the tune.  I think the chords they had scribbled down were from the Gloria version anyway.  The Jackson 5ive version begins on Em, like above, while the Gloria version does that intro of

Fmaj7  --> F  Em Dm --> F/G --> C

That F/G chord is so great!  Who doesn't love that sound?  Anyways, I think that was the version they used to lay out those chords.  Except, I want to say that it was in Bb (?).  Must check on that fact.  Perhaps Dave will enlighten me.  I could use some help.  After that tune, things picked up for me.  We touched on Summertime, Autumn Leaves, Stella By Starlight, Take 5, Blue Bossa, Feel Like Makin' Love (Roberta Flack song), Blues in Bb (my choice of key), All the Things You Are,...  We had a good crowd standing around the fence just outside of where we were positioned.  Very complimentary, and bestowing us with some nice tips as well.  They dug the bass.  It does seem to get noticed.  Surprised at how many folk still to this day comment on how unique of an instrument it is.  If you're in the business, you know they've been around for quite some time.  I had it heavily eq'ed, almost too much darkness, which I played with as the night went on.  Tone is so subjective, and it's not just for guitarists to struggle with.  I like it dark on this instrument since I'm emulating the doghouse, but some top end does give it character.  The best case is having the passive tone control open all of the way yet rolling off the highs via the pedal, or whatever you may be using.  That way, the instrument can deliver its mojo as designed, then the outboard eq can shape the signal after the fact.  Don't ask me why that works better.  I might tell you in so many words next time.

We threw down some fine grub after the show: salad & wings seem to be a popular choice & I was in the mood for such a delicate feast of spicy bird parts.  Hope to hang with the Cats again sometime.  Considering my Friday night gig (actually it would have been a morning/afternoon job) was cancelled, this made up for it on a personal level.  Reece is always so complimentary & he's genuinely a fun hang.  Glenn was not the jazz snob I had somewhat anticipated - very congenial & laid back.  Till next time.

Cases & carts.

Reece & Glenn getting used to my shutterbuggin'.

A patio gig of the finest nature.

Lots of trading fours.

Nice work.