These days I have the regular pleasure of playing in the London Tango Orchestra with some wonderful musicians. A while back we did some filming for a BBC Persia documentary, and we recently received copies of the videos, which came out pretty well! Take a look …
This next one is the gorgeous Piazzolla tune Milonga del Angel. Unfortunately the video and audio don’t match for the first half, but it gets back in sync at 3’35″:
In the summer of 2011, I quit my job to resume full-time music studies. During the summer semester at the Berkeley Jazzschool in California, I started learning John Coltrane’s solo on the title track of his famous album Blue Train. It was really tough going, but addictive – I was getting my arse handed to me on a plate on a daily basis by a dead person, but I felt like I was way off the well-trodden path and that was really satisfying!
After 3 months studying in various places in the USA, I got back home and resumed work on this transcription in earnest. It became part of my daily routine, and I craved the day that I could play the whole thing note perfect at the same speed as the original. There were so many notes to fit in that I had to come up with totally new ways to use my left thumb, on which the normal cellist’s callus grew to epic proportions. Trane became the best cello teacher I never had. Unfortunately, just around the time I was getting close to being able to nail it, real life intervened, and I had to refocus on earning money. Inspired by Benoît Sauvé’s incredible rendition of the same solo on recorder (recorder?! what a mofo – check out his other videos), I did a couple of very rough recordings with my compact camera for posterity, and moved on.
Sometime later, I discovered a John McLaughlin video on YouTube (sadly no longer available) which had an awesome animated transcription at the bottom – a really cool glimpse inside the craft of a master musician. Then it occurred to me that I could do the same kind of thing with my video, and publish it in case there are any other jazz cellists out there who would be interested in it. I put a lot of effort into notating and fingering it, so it seemed a waste to just let it rot and never see the light of day. After all, I already had the source files and a video, so it was just a simple matter of combining the two, right? How hard could it be?
Very very hard, it turns out. I had to write two new pieces of software, completely overhaul a third, and fix some obscure bugs hidden deep inside a fourth. But I didn’t discover that until I’d reached the point of no return …
I’ll probably blog more at some point about the software engineering hoops I had to jump through in order to make this all work. Email me if you’re interested.
I’m sitting on a plane from LA to Chicago. This is my fifth flight in the last two months, having already been to New York, Ohio, Florida, and California, and it’s probably about time I explain what the hell I’m doing, as I have friends and family who have seen various confusing status updates I’ve posted on Facebook and Twitter whom I owe the full story.
Then the stars aligned again, and I found myself with another life-changing dilemma: take an even more awesome job than the one I was in, or quit IT altogether and face an indefinite period of zero income. Pretty obvious what to do, right? I quit.
When flying, most cellists are faced with either buying an extra ticket or getting a flight case, paying oversized baggage fees, and praying. Experiences vary widely and are in places well documented and full of useful advice, e.g.
My situation is different because I have a Luis and Clark carbon fiber cello which is incredibly robust and generally does not even go out of tune when checked in as normal baggage and placed in the hold of the aircraft in a normal hard case. My case is a Bam Hightech measuring 54.5 × 21 × 13.75″. It seems virtually all airlines policies regarding oversized baggage operate in “linear” or total dimensions, which generally means by summing up the 3 separate dimensions together (although in some cases the wording is so confused, even that’s not clear). This means my case has a linear dimension of 89.25″ which unfortunately is outside the 62″ standard limit, and even just outside Delta’s second tier limit of 80″. Having said that, so far I have always managed to get it treated as normal sized baggage just by behaving exactly as if it was a normal suitcase, or even need be simply by confidently pointing out that the height is 54.5″ which is under 62″. In my experience, most staff at the check-in gate are not familiar with the exact terms in their airline’s policies, so having the right attitude (confidently knowledgeable and up-front but non-confrontational) can go a long way.
I’ve done some research on the policies of some popular airlines and referenced the relevant extracts below, with one section per airline. The quotes I’ve taken are focused mainly on national flights within the USA, because despite being from the UK, I’m currently flying around the USA a lot. However the policies for international flights seem similar, although sometimes with higher fees. Continue reading 'Flying with a (carbon fibre) cello'»
If you want a shining example of how to get kids to enjoy making music, look no further than Pete Churchill and the Merton Music Foundation. Last night I played in the Music is for Life concert at the Royal Albert Hall with about 1500 kids (some aged over 30) and it was a complete riot. Well, I guess anything involving that many kids is going to be a riot, but this one was very organised and massive amounts of fun. Great music too, coming from Pete whose composition career is so successful that (in his own words) it’s taken him as far and wide as Australia and Woking.
Unexpected side effect: the cravings to play jazz more often are getting too hard to ignore. If you see me starving on the sidewalk in a few years’ time with a big “will play bop for food” sign then you’ll know how it happened.