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January 2008

31 January 2008

Wikan in Panama

Dsc06002_4Hello all. Things have gone quite smoothly in Panama City Panama. Having to pay $300 excess baggage for 3 drum bags on the way to Panama did not feel all that good on my soul. Even with JAL footing the bill, my frugal "jazz lifestyle" thinking tells me that it is simply wrong for an airline to charge a passenger more than the actual cost of a airline ticket for 75 pounds of drums. Upon arrival in Panama I made the big mistake of taking a giant swig of water from a water fountain. Lucky for me I was relieved to hear that the water is ok in Panama city because the US set up its water facilities for that particular city. Still not a good habit to get into as the Inka Shminkas can get you most anywhere down here if you drink tap water.

That said we arrived in Panama last Wednesday evening to participate in the Panama jazz festival headed up by the maestro or as I call him the mayor of Panama city, Danilo Perez. You may know him for his work with Wayne Shorter or with his own bands; he is doing fantastic things down here. Danilo and his foundation have built this festival from the ground up with the intention of spreading jazz music and educating young under privileged youth from the Central America/South America regions. Some of these kids have only one chance at music education per year and it is here at the Panama festival. In many cases it is a life changing experience. This year is a historical year as the Panamanian government has just recently committed substantial funds to the festival as well scholarships for jazz musicians from Panama to study abroad! This festival has quickly become on of the great prides of Panama along with the famous Panama Canal.
The line up at the festival included jazz groups from the Monk institute, NEC Jazz conservatory, Tia Fuller’s Quartet, Stanley Jordan, The Caribbean Jazz project and Catherine Russell, daughter of the Jazz artist Luis Russell just to name a few, all which were fantastic and well received. There was a fantastic grand finale outdoor concert in the old historic part of Panama city which featured all of the bands from the festival as well as a few others. My personal favorite was a Panamanian group of original Congolese descendants that performed the traditional music and dance from the Congo. Their concert was so killing! Just hand drums singers and dancers. The final concert was free free to the public and was attended by approximately 10,000 people.
At the end of the concert Danilo set up a fantastic dance party for all the staff and performers with a burning local salsa band. I didn’t dance much but did manage to get a much needed dance lesson from one of the locals.

The 2 days following the festival we hung out in Panama for a few days off. On one of the days we went to the Panama Canal, which was just amazing. It is difficult to fathom the Panama Canal until you see a full sized rig go through one of the locks. Paying up to nearly a quarter of million dollars per boat to avoid the costly and time consuming trip around South America, these boats are just awesome in size and clear the canal by just a few feet on each side. These ships are guided by weighted trains with cables attached to the vessels on each side to prevent them from smashing into the sides of the locks. The ships travel through a series of canals that are linked to several lakes that at the highest point end about 85 feet above sea level for a journey of nearly 50 miles via 3 sets of locks. As you can imagine, thousands and thousands of people spent many years building this canal. It is estimated that 27,500 people lost their lives by the time the canal was started by the French in 1880 and finished by the United States in 1914, to give some scope of the project. The canal was for many years operated by the United States but since January 1st 2000 been run by the Panamanian government, thanks to the efforts of president Jimmy Carter and of course inspired by the protests of the Panamanian people.
After the canal tour we hit a cool wildlife preserve. I was amazed at the wildlife from cool looking Parrots, eagles and weird long nosed wild bore looking characters, to white headed monkeys; one of them even managed to slap a can of 7 up out of my hands and share it with its pals. I guess I need to work on my reflexes.
The next stop was an eco hotel in the jungle near the canal. We grabbed a quick espresso and decided to bail on the idea of an over priced tour. Our driver decided we should take matters into our own hands. We took one of the 50 dollar per person tours on our own and drove up to a place called pipeline road. I should have figured that when our driver parked blocking the gate to the entrance road we would be causing trouble but we started walking up the road into the jungle anyways. Sure enough after 10 minutes of walking a parks dept truck cruised by. When the truck came back the other way I humorously asked our driver “ did you block the gate?” He jumped in with the rangers and copped a lift back to the car and caught up with us later.

We walked for some time saw some really cool vegetation and what not but no real action. At some point Laura Johnson, who is the executive producer at Jazz at Lincoln Center and all around good person, mentioned that it was getting dark soon and we should return. I don’t think it was five minutes later that one of our band members noticed that she was getting eaten alive by mosquitoes. Of course we left our highly recommended deet spray in the van. On top of that Panama city is of the two places in Panama that has the highest risk of Dengue fever which there is no vaccine or preventative medicine. I will keep you posted on the bands dengue fever status, as it takes a few days to take hold. Thank goodness we were not in Malaria country yet! At least for a few more days, that is. On the way back the driver, John Hansen and I discovered some of these Pig looking animals cruising the jungle so I broke out the big lens for my camera (the donkey). I eventually ended up off the road in the woods chasing some pretty big sounding creature only to be ambushed by a pack of monkeys up in the trees above. I have to say they are pretty humorous creatures. At one point they started launching some pretty big branches at me so I bailed on the off road safari idea. The driver managed to spot them from the road so I got a few pics of them. About 15 minutes had passed and the mosquitoes were even starting to bug me a bit when Laura came running towards us yelling “hey come one were locked out of the van and their eating us alive” ooops…..so we ran back with her to rescue Kelley, Nathan and John. We then headed back to our posh hotel on the beach, “The Miramar intercontinental”. It’s defiantly a nice hotel but to be quite frank, I like more of a bed and breakfast vibe that gives you a chance to mix with the locals. These big “safe” hotels are very wasteful and lack the character that I enjoy not to mention you can’t hardly walk through the lobby without spending money. Eating at these fancy hotels is about 2 to3 times more expensive and not usually as good as local restaurants.

Lessons learned in Panama:

If a concerts starts at 12pm it really means 2 pm

Wear your Deet in the jungle (I know it’s toxic but dengue fever doesn’t sound too pleasant either)

Panama city water is safe to drink

There is no Malaria risk in Panama City

Columbian Hookers are present in most bars
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Stay tuned, our next stop is Nicaragua that promises to be quite a ride. cheers Jon Wikan

24 January 2008

Put some madness to the method

Ssn_iaje_10

Photo by William Paul. More photos below the fold.

SECRET SOCIETY NORTH

JOHN BASSETT THEATRE, METRO TORONTO CONVENTION CENTRE
2008 IAJE CONFERENCE
TORONTO
10 JANUARY 2008

SETLIST (click to listen/right-click or ctrl-click to download)

1) MP3: Flux in a Box
Solos: Erik Hove, alto sax; Gordon Webster, keyboard

2) MP3: Phobos
Solos: Jon Wikan, cajon; Joel Miller, tenor sax

3) MP3: Ferromagnetic
Solo: Kevin Turcotte, trumpet

4) MP3: Habeas Corpus
Solo: Mike Fahie, trombone

5) MP3: Transit
Solo: Ingrid Jensen, trumpet

DOWNLOAD ALL (ZIP ARCHIVE)

Donate now!

Well, this was supposed to be the Big One. IAJE is our SXSW, our CMJ Marathon, and there isn't a single group performing at the conference who isn't hoping for a "big break" of some kind... whatever the hell that means these days. (And hey, it happens -- the Industrial Jazz Group's IAJE hit last year led to their appearance Amsterdam's legendary Bimhuis.) With audiences for jazz continuing to melt away, the IAJE Conference, for all of its flaws, is one of the few remaining opportunities for new artists to make some noise in front of people with open ears. Hence my ill-advised scheme to bring an 18-piece band there.

Our experience began somewhat inauspiciously, as stagehands approached the beautiful blond vintage Rhodes piano -- previously used in this venue by Nordic Connect's Maggi Olin, and just moments before by Christine Jensen's pianist, Dave Restivo -- and started to pack it up. "Whoa, whoa, whoa, don't do that, we need that!" -- me clambering over rows of seats trying to approach the stage, as the designers of the John Bassett Theatre apparently did not believe in aisles. No luck -- although I'd been assured last night that the instrument would be available for our set, apparently some other group had dibs on it. I guess I'm lucky the acoustic piano didn't get wheeled off alongside the Rhodes.

After that, it was just one thing after another -- not enough music stands, no one seems to know where to find more. No signal on the electric instruments. Effects boxes not working. No one can see their parts, no one can hear the people they need to hear. All of of the usual frenetic soundcheck stuff, nothing much to worry about -- until, approximately 20 minutes before we are scheduled to go on, I discover we have no drum music. We send runners all over the convention center but as far as anyone knows, it's gone gone gone. And before we have the opportunity to play a note of soundcheck as a group, they open up the hall and people begin to stream in. Begging the audience's kind indulgence, we have time to test about 30 seconds of our first tune, and take a collective deep breath. Then we're on.

The results you can hear above. I am incredibly grateful to the band -- and especially to Jon, it goes without saying -- for rising to the occasion. I am unbelievably appreciative of our individual supporters, who made it possible for us to travel to Montreal and Toronto in the first place. (It's not to late to join their august ranks, you know.) And I am moved beyond measure by all of the you who responded to this music, who stood up at the end to show your appreciation, who approached me afterwards to tell me that what we played meant something to you. It means a great deal to us as well, and all we want is the opportunity to keep on bringing it to you.

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Other perspectives...

David Adler:

I heard far less music at IAJE than in years past, but Darcy's Secret Society North gig was nothing less than explosive.

Amy Cervini:

I had seen the NY version of the band and hearing it in a bigger room with a huge sound system seemed to make the music even more exciting (if that’s possible) and cranked the band’s energy level.

Gregory Dudzienski:

  Tonight was the first time I have had the pleasure of hearing his music live (and from the third row!!!) and I am BLOWN AWAY.  I actually had to leave the conference and go to my room to absorb and process everything.

Matthew Wengerd:

He turned this place upside down; drawing from influences to which many a jazz musician refuse to open. Raucous and irreverent, all the while self-assured and honest.

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SECRET SOCIETY NORTH CO-CONSPIRATORS

REEDS
TRUMPETS
Kevin Turcotte
Jimmy Rhodes
Jocelyn Couture

TROMBONES
Barb Hamilton
Bob Ellis

RHYTHM
Gordon Webster, keyboard
Jon Wikan, drums

COMPOSER, CONDUCTOR & RINGLEADER

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Our Winter 2008 Secret Society North Tour is now complete, but it's not too late to help support this effort by making a tax-deductible donation or purchasing a lovely Secret Society T-Shirt.

More photos below the fold.

Continue reading "Put some madness to the method" »

23 January 2008

Secret Society Drummer Guest Blogging

Hello all! Let me introduce myself.My name is Jon Wikan; I am currently the drummer in Darcy's Secret Society, punk rock, jazz, indie rock, modern, "secret" underground, hard rock jazz orchestra as well as a big fan of Darcy's great music. I will be traveling for nearly 5 weeks with a quartet, led by Seattle vocalist Kelley Johnson, to Central America, South America and The Caribbean early this morning for an interesting state department program called rhythm abroad, "American Music Abroad" which is co-led by Jazz at lincoln Center. As you may expect the first thing the state department told us in our briefing in DC was "do not refer to yourselves as Americans, as they too are Americans". I understand this as I have been to the region before but why name the program "American Music Abroad"? The band includes New York bass player Nathan Peck, myself, Seattle based pianist John Hansen, and vocalist Kelley Johnson. Darcy was kind enough to invite me as a guest blogger for this trip as it could turn out to be quite interesting. Our tour countries include Panama, Nicaragua, Dominican republic, Suriname, Trinidad and Tobago as well as the original Banana republic, Honduras. We have already done a dates at the National Geographic Society in DC and a concert at Lincoln with a great group called "Universes" and this group is fucking great! The are poets that sing! They are very political (in a good way) and I think the DJA crowd will really dig their music/poetry/rap; so be sure to check their stuff out on MySpace. They are simultaneously touring Africa under the same program. I will try to post some pictures as soon as I figure this blogging stuff out. This is my first blog post ever! Cheers mates! Jon WikanDsc04952

21 January 2008

MLK

These are some photos I took when I was down in Atlanta last May.

The home at 501 Auburn Ave. where King was born and spent his early life:

Mlk_1

The old Ebenezer Baptist Church:

Mlk_6

Mlk_3

Mlk_5

Mlk_4

MLK became deacon in 1960, following in the footsteps of his father. It was the headquarters for the Southern Christian Leadership Conference. MLK's mother, Alberta Williams King, played the organ, and in 1974 was shot dead while sitting at this organ.

The new, currently active Ebenezer Baptist Church is across the street. The historic church is currently closed for repairs and restoration.

Mlk_2

MLK is so often de-radicalized in the remembrance. We should not forget that the same people who fought tooth and nail against the revolutionary ideas he espoused continue to do so, and that many of the power structures he sought to dismantle are still very much in place. This April 4, we will mark 40 years since King's death. How have we fared in his absence? How much of his legacy have we brought to fruition over the past four decades?

Just imagine the howls of outrage and dismissive sneers "Letter from a Birmingham Jail" would elicit from the establishment press corps and punditry if it were written today:

We know through painful experience that freedom is never voluntarily given by the oppressor; it must be demanded by the oppressed. Frankly, I have yet to engage in a direct-action campaign that was "well timed" in the view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word "Wait!" It rings in the ear of every Negro with piercing familiarity. This "Wait" has almost always meant 'Never." We must come to see, with one of our distinguished jurists, that "justice too long delayed is justice denied."

[…]

Let me give another explanation. A law is unjust if it is inflicted on a minority that, as a result of being denied the right to vote, had no part in enacting or devising the law. Who can say that the legislature of Alabama which set up that state's segregation laws was democratically elected? Throughout Alabama all sorts of devious methods are used to prevent Negroes from becoming registered voters, and there are some counties in which, even though Negroes constitute a majority of the population, not a single Negro is registered. Can any law enacted under such circumstances be considered democratically structured?

[…]


We should never forget that everything Adolf Hitler did in Germany was "legal" and everything the Hungarian freedom fighters did in Hungary was "illegal." It was "illegal" to aid and comfort a Jew in Hitler's Germany. Even so, I am sure that, had I lived in Germany at the time, I would have aided and comforted my Jewish brothers. If today I lived in a Communist country where certain principles dear to the Christian faith are suppressed, I would openly advocate disobeying that country's anti religious laws.

I must make two honest confessions to you, my Christian and Jewish brothers. First, I must confess that over the past few years I have been gravely disappointed with the white moderate. I have almost reached the regrettable conclusion that the Negro's great stumbling block in his stride toward freedom is not the White Citizen's Councilor or the Ku Klux Klanner, but the white moderate, who is more devoted to "order" than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice; who constantly says: "I agree with you in the goal you seek, but I cannot agree with your methods of direct action"; who paternalistically believes he can set the timetable for another man's freedom; who lives by a mythical concept of time and who constantly advises the Negro to wait for a "more convenient season." Shallow understanding from people of good will is more frustrating than absolute misunderstanding from people of ill will. Lukewarm acceptance is much more bewildering than outright rejection.

18 January 2008

Black Tie White Noise

Wordless

Caught the second of two nights of the Wordless Music Series's first orchestral show at St. Paul the Apostle, headlined by the US premiere of Radiohead guitarist Johnny Greenwood's Popcorn Superhet Receiver -- parts of which you may already be familiar with via the sountrack to There Will Be Blood. (Have not yet seen, want to very much.) Also on the program -- John Adams's Christian Zeal and Activity -- gamers will recognize this one from the Modern Age of Civ IV -- and Gavin Bryars's The Sinking of the Titanic.

In Allan Kozinn's piece in the NYT on Wordless Music, series founder Ronen Givony expresses some surprise that the major US orchestras were not falling over themselves to program the BBC Orchestra-commissioned Greenwood work:

So I wrote to Radiohead’s management, thinking: ‘I’m just some kid in New York with this little threadbare series. Surely Esa-Pekka Salonen and 10 other conductors and orchestras already have this in the pipeline.’ But I got an e-mail back the same day, saying, ‘No, you’re actually the first person who’s asked me about this.’ ”

I'm actually quite happy to see that the first stateside performance went to the "Wordless Music Orchestra," a superb group handpicked by Caleb Burhans and conducted by Brad Lubman. The band includes many of Caleb's Alarm Will Sound cohorts and other NYC new music specialists, most of them in their 20's and 30's -- and almost all of them Radiohead fans, I'd wager. Isn't this scenario infinitely better than the professional-but-indifferent reception (at best) or ritualized hazing (far more likely) Greenwood would have gotten from a "real" orchestra? This was one of those rare concerts of recent orchestral works where you got the sense that the players actually had some personal investment in the music. I wish this happened more frequently.

As for the pieces, I thought the Bryars was brilliant -- maybe not A Man in a Room Gambling brilliant, but The Sinking of the Titanic more than rewarded my patience by making me think differently about harmony -- as its languid progressions began to blur and seep into each other, I realized that "progression" isn't even the right word. I mean, the harmonies are mostly consonant and "tonal," I guess, but without much sense of direction. Plus, the recorded and percussive sound elements were beautifully and organically integrated into the piece (love the bells and chains at the beginning). Also, the lighting design was outstanding. More of this, please.

By contrast, Christian Zeal and Activity is almost Wagnerian in its directionality, with one suspension pulling you inexorably towards the next one in the chain. It's very pretty, but not nearly as interesting as the Bryars, and the abrupt insertion of prerecorded sound (a revival preacher's sermon) was too loud and too intrusive. And then there's that "down home" 1-5-1-5 pizz bass line, out of nowhere? Not my favorite John Adams work, I'm afraid.

In what would no doubt seem like a surprising and ironic twist -- that is, if you were an old-school classical purist so cloistered you'd never heard a Radiohead record -- the piece by the "rock star" was by far the densest, most chromatic, most challenging work on the program. Greenwood wrote 32 individual string parts, full of microtonal glisses, wide vibrato, and shimmering clusters. Johnny name-checks Penderecki's Threnody in the program notes, but mostly it came off like Ligeti in his most overtly Debussy-influenced moments -- a kind of Modernist hyper-impressionism, thick but still light and wispy.

This was fine as far as it goes, very sonorous and well-crafted -- but there were two moments in particular that really stood out: one about midway through when more familiar harmonies started to take shape below the cloud cover, and another nearer to the end, when the pizzicato strings began to generate a sense of urgency. Both felt more like Greenwood's own voice than the rest of the stuff. And both could have lasted much longer and been developed more fully -- the recap at the end came far too early and stopped the piece dead in its tracks.

See also David Salvage at Sequenza 21 for a contrasting take, and Chris Owyoung at Brooklyn Vegan for some outstanding photos.

UPDATE: See also Hank Shteamer at Dark Forces Swing Blind Punches, who has a good rant about "live instrument(s) + tape" pieces. And Kozinn's NYT review is here.

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Tickets to this event were provided by the Wordless Music Series.

17 January 2008

Well, I ain't been home to see my baby in ninety nine and one half days

La_sala_rossa_stage
SECRET SOCIETY NORTH
LA SALA ROSSA
MONTREAL
8 JANUARY 2008

SETLIST (click to listen/right-click or ctrl-click to download)

1) MP3: Flux in a Box
Solos: Erik Hove, alto sax; Gordon Webster, keyboard

2) MP3: Induction Effect
Solo: Lina Allemano, trumpet

3) MP3: Ritual
Solos: Kelsley Grant, trombone; Sebastian Noelle, guitar

4) MP3: Phobos
Solos: Jon Wikan, cajon; Joel Miller, tenor sax

5) MP3: Drift
Solo: Chet Doxas, tenor sax

6) MP3: Desolation Sound
Solo: Christine Jensen, alto sax

7) MP3: Ferromagnetic
Solo: Kevin Turcotte, trumpet

8) MP3: Habeas Corpus
Solo: Mike Fahie, trombone

9) MP3: Transit
Solo: Ingrid Jensen, trumpet

DOWNLOAD ALL (ZIP ARCHIVE)

Donate now!

This was not just the first-ever gig for the Society's Canadian splinter cell, it was my first gig in Montreal since August 2000. Thanks to all who came out to hear us -- you made this hit feel like a real homecoming. With any luck, it will not take another seven years for us to be back.

And of course, a huge thank-you to all of our supporters -- this tour would not have happened without your individual contributions.

Here are some reviews -- Juan Rodriguez in the Montreal Gazette:

The morning after, I was still stunned at what I'd heard - clearly some of the most ambitious and compelling sounds I've ever encountered in the past 40 years.

Read the whole thing.

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Adam Kinner at the Gazette's Words and Music blog:

Point is: it’s great to see a jazz composer who is actively manipulating the jazz tradition and the incorporating other music to produce a truly fresh and unique sound. 

Read the whole thing.

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And David Ryshpan at Settled in Shipping:

[E]ven though I'd been listening to recordings of the New York band, hearing that music live had a different power and immediacy that I wasn't expecting.

Read the whole thing.

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SECRET SOCIETY NORTH CO-CONSPIRATORS

REEDS
TRUMPETS
Kevin Turcotte
Jimmy Rhodes
Jocelyn Couture

TROMBONES
Barb Hamilton
Bob Ellis

RHYTHM
Gordon Webster, keyboard
Jon Wikan, drums

COMPOSER, CONDUCTOR & RINGLEADER

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Our winter 2008 tour is now complete, but it's not too late to help support this effort by making a tax-deductible donation.

15 January 2008

Please don't think I've left you alone

Back in Brooklyn, back into the thick of things -- there's a Pulse hit (featuring Triocracy) at the Brooklyn Lyceum tomorrow (Wed., Jan 16). Included is my piece "Spirit-Tapping," which premiered at Barbès last month. But, as any composer will tell you, premieres are not where it's at -- the second performance is always better. So come check it out tomorrow -- there will be Pulse music and Triocracy music and beer.

13 January 2008

Tourblogging 5

Well, The Madness is over, as is our first-ever tour. And in spite of some potentially disastrous mishaps -- missing drum parts, ailing co-conspirators, and oh, did I mention that Matt Clohesy's bass amp died the day before we set out on tour? -- everything worked out far better than I'd dared to dream. The band played my music with such fire and grace, I often found myself barely able to keep conducting -- I'd want to just stand there in slack-jawed amazement at the transformation of my feeble dots on a page into waves of glorious sound. As I said at our Montreal hit, the players in this band are some of the very best musicians in the world -- period -- and there is simply no way I can even begin to properly express my gratitude for all of the long hours of work everyone put into helping to bring this crazy scheme to fruition.

Here is a nice writeup of our final hit at Tranzac, from Carl Wilson (of Zoilus and the Globe & Mail):

As it turned out, the concert that night at the Tranzac by Darcy's Secret Society North band (the core of his 17? 18?-piece New York ensemble along with a pack of great Canadian players stepping in as, er, pitch hitters) was one of the most galvanizing illustrations of that development I've witnessed in a long time. While I've read and traded links with Darcy for a long while, I hadn't taken the time to listen to his music. So what I (and a substantial crowd of IAJE attendees and local musicians) got at the Tranzac came as a wonderful surprise. Fluidly and expressively conducting this "steam punk" big band (horns, reeds, drums, electric guitar and bass, Rhodes piano), Darcy rolled out one after another his incredibly smart, complicated, beautiful, firey and funky compositions. (In the lineage of, but distinct from, the writing and arranging of his teacher Bob Brookmeyer - see Ben Ratliff's profile in The New York Times.)

I told people afterwards that it was like hearing Duke Ellington and minimalism and Tortoise and Funkadelic and Elliott Carter and much else besides melding into one floating, shifting, dodging music, often with political themes (one piece was dedicated to Maher Arar), sometimes with Escher-like overlaps and spirals. I didn't take notes so I can't be more specific (though there were standout moments from saxophonists Christine Jensen and Chet Doxas [whose trio opened], trumpeter Jason Logue [who was subbing in for Lina Allemano, who unfortunately fell ill], trombonist Barb Hamilton, guitarist Sebastian Noelle, pianist Gordon Webster and drummer Jon Wikan, among others). But in short, this is music for people who fuckin' love music. This skinny, scruffy young Brooklyn dude's got it and he knows just what to do with it.

Carl also talks about our jazzblogging panel (with David Adler and David Ryshpan, moderated by Neil Tesser). I do want to clarify one thing -- I am sure that the gentleman who asked the question about increasing "appreciation" of jazz "fucking loves" Ellington and Mingus every bit as much as I do. It's just that the word "appreciation" carries a certain amount of negative baggage for me, especially at a jazz education conference. But I hope I didn't come across like I was pouncing on him in particular.

I'm currently on a WiFi-equipped train (cool!) heading back to Montreal, from whence I'll depart for NYC tomorrow morning. Once I'm back home in Brooklyn, I'll bring you all up to date with tales and photos from the road -- and most importantly, audio from our tour hits! But until then, a reminder that you can download MP3s of previous Secret Society performances from the right-hand sidebar of this blog, or by going to our live audio archive, which goes all the way back to our very first gig in May 2005 at CBGB. They are yours to download, mix, burn, share with your friends -- you know the deal.

I have been so gratified by the response the band has gotten on this tour. Obviously, this music means a tremendous amount to me, and knowing that it means something to other people is the fuel that keeps me going through all of these sleepless nights. (Well, that plus lots and lots of caffeine.) We got a standing O for our IAJE set and since then I've been just floored, and honestly a bit overwhelmed, by the number of people coming up to me to tell me how much they enjoyed our music.

I am especially happy that so many young players, still in music school, found something that resonated with them in our music. Your support means the world. And, well, I don't mean to get all convocation speech-y on y'all, but seriously, assuming some of you are reading this, I want to tell you guys something -- the fate of this music is in your hands. Not your teachers', not your heroes' -- your hands. Yours.

The jazz tradition isn't about elements of style or a particular harmonic or rhythmic vocabulary, and it's not about some bullshit notion of "progress" in music, either, where "progress" = "increasing density" -- it's about having the fortitude to get out there and make a heartfelt personal statement that only you can make. You want to honor the legacy of Bird or Miles or Trane or Mingus -- honor their searching, individualist spirit. Study the past, but make your own music.

(Okay, end of lecture. I didn't get to do any workshops at any schools on this run, so I had to get that out of my system.)

For about the past month or so, my internal monologue has been almost entirely dominated by the words "I can't do this, I can't do this, I can't do this" running 24/7 on infinite loop -- often terrifyingly out of phase, à la "Come Out." While it was all happening, everything was far too hectic for much introspection, but now that the tour is over and I'm on my way home, it's like "hey, waitaminute -- I actually did do that." It's a nice feeling.

Of course, there's no way I could have pulled this off without a lot of help, and it's time for some thank-yous. First off, the band -- Erik, Christine, Joel, Chet, Carl, Ingrid, Lina, Kevin, Jocelyn, Jimmy, Mike, Kelsley, Barb, Bob, Seb, Gordon, Matt, and Jon. You guys are the best. Thank you all from the bottom of my heart. And if you do not know these musicians, fercrissakes go here, follow the links, and check then out -- almost all of them are themselves bandleaders, and their music is amazing. Thanks especially to Joel Miller and Chet Doxas for opening for us at La Sala Rossa and Tranzac, respectively, and to Christine Jensen for all her logistical help, and to Carl Maraghi for driving me up to Montreal. Thanks also to Bill Mahar and Christopher Smith for subbing during rehearsals, and again to Jason Logue for subbing in at the last minute at Tranzac.

Thanks to Jenny Koopman and John Bickle for hosting both me and (unexpectedly) Matt Clohesy in Montreal. Thanks to Caitlin Smith for not only hosting me in Toronto, but distributing our propaganda around the city, working the door and selling merch at Tranzac, printing replacement drum parts, and just being generally awesome. You should check out her band, Tiny Alligator.

Finally, my most profound gratitude and appreciation to those who contributed to our tour fund: Lori Kirchen, Jack Brown, David Rothschild, Mwanji Ezana, John Murphy, Gerard Hogan, Richard Kamins, Amy Cervini, Patrick Boyle, Steve Bellamy, Suzi Beyerstein, Janet Allen, and most of all, my folks, Gord and Nancy Argue. Apart from a very modest stipend from IAJE for performing the ASCAP/IAJE premieres, we did not receive any grants or any other form of institutional support at all for this tour -- and believe me, it was not for lack of trying. So I am grateful beyond measure to those people who believe in what we do enough to make a contribution -- this tour would not have happened at all without the support of these individuals. I should add that it is not too late for you to show your support -- those tour-related credit card bills will come due soon, so anything you are able to contribute is very sincerely appreciated. Remember that thanks to Fractured Atlas, your contributions to our Winter 2008 tour fund are tax-deductible to the extent permitted by law.

Donate now!

And if you'd prefer something more tangible, those fashionable Secret Society t-shirts are still available.

I had a lot of people at IAJE asking me why I don't have a CD for sale, and the answer is simple -- I can't afford to make a studio recording. Yet. You can help us make that happen sooner by making a donation or buying a t-shirt.

Stay tuned for post-tourblogging and tour audio, coming up soon. It's been a hell of a week, and I can't wait to tell you all about it.

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MANDATORY DISCLAIMER GOES HERE: Darcy James Argue's Secret Society North's Winter '08 Tour is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions in behalf of Darcy James Argue's Secret Society North may be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

12 January 2008

Tourblogging 4.1

Godfuckingdammit.

I had a long post about my Ray-Liotta-at-the-end-of-Goodfellas-like day yesterday, running around Toronto trying to make everything happen for our Tranzac gig last night, but just before I hit "Publish Now," my usually trusty laptop decided to shut down without warning. (I still had plenty of battery power left, so I don't know what's up.) I will try to recreate it for you later, but meanwhile, I just wanted to give a big shout-out to trumpet player Jason Logue for stepping in for a food-poisioning-stricken Lina Allemano at the very last minute. I had actually contacted Jason earlier about doing this tour with us, but... he was unable to make the rehearsals. Huh.

Anyway, he jumped right in and did an amazing job of reading the book down cold. You Torontonians are lucky to have him.

Thanks so much to all who came out to hear us during our first-ever tour. It's been a kick. I am off to try to actually take in some of this conference. Meanwhile, kindly check out this interview I did with Josh Jackson of WBGO. He's also got some audio of our IAJE performance of "Ferromagnetic."

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Our winter 2008 tour is now complete, but it's not too late to help support this effort by making a tax-deductible donation.

11 January 2008

Tourblogging 3

What I said up on stage last night -- I was not kidding. Jon Wikan played our entire IAJE set without a single drum part in front of him. Those parts you saw on his music stand were piano parts -- Gordon Webster didn't need the "regular" piano book because he had printed his own parts from the PDFs I sent him. So Jon wasn't flying completely blind, but this situation was, ah, somewhat less than ideal, for a number of reasons that you can probably imagine.

Here's what happened: at the conclusion of the afternoon ASCAP/IAJE performances (which, incidentally, you can listen to here, thanks to WBGO's Josh Jackson), I asked everyone to hold on to their own music folders for the next three hours. This turned out to be a terrible idea, for reasons that are, in hindsight, all too obvious.

The fault is entirely mine -- normally, I am totally anal about making sure I know where everyone's music folder is at all times, but I am seriously running on fumes here. I had so many other things on my mind (mainly wanting to go catch at least some of the Altsys set with Donny McCaslin) that I forgot to sweep the stage afterwards to ensure that no one had left their music behind.

Jon wasn't the only one who didn't fully absorb my request for everyone to please hold on to their folders. (We are all very, very tired.) A few other guys in the band saved my ass by grabbing up all the stray books they could find -- but as fate would have it, the drum book was not among them. Further efforts to locate it proved fruitless -- we put out an APB for the folder, but no one seems to know what happened to it. I could have printed them from my laptop if I'd had it with me, but I didn't bring it to the conference today because I was instead carrying 18 fucking music folders on my back, you see. (They are extremely heavy.)

So Jon played our set almost entirely by memory. He was virtually flawless. I will post the recording so you can see for yourself, but you will not believe it.

Did I mention Jon is the most awesomest drummer ever?

If you missed the conference gig, you can catch us at Tranzac tonight (i.e., Friday -- not Sunday, as the Globe and Mail unfortunately has it) -- this time with freshly printed drum parts. Also, I am on a jazz+blog panel at 3 PM -- should be fun.

Gregory Dudzienski (The Ear of the Mind) is blogging The Madness. His writeup of our hit is all too kind.

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Our winter 2008 tour is in full swing. Please consider supporting this effort by making a tax-deductible donation.

10 January 2008

Tourblogging 2

Okay, evidently I suck at tourblogging. Between traveling, rehearsing, setting up and tearing down, logistical organizing (aka herding cats), and some badly needed post-gig hanging in Montreal last night, the hours are too few and internet access too sporadic to post much right now. But I am taking a ton of pictures and will have a lot to say about the tour when I get back.

These past few days have felt like running a marathon at a championship pace. The band played astoundingly well last night -- putting together music of this difficulty with only three days of rehearsal is nothing short of miraculous. I am seriously humbled to be working with such unbelievable players, and also to have played for such a supportive Montreal audience at La Sala Rossa last night. Thank you all for coming out -- I could not have asked for a better homecoming. The recording turned out well, I think, and I will post it as soon as I am able.

Two very generous reviews, courtesy of the Montreal Gazette music blog -- one by the indefatigable Juan Rodriguez and one by Adam Kinner. There is also a nice preview of our Tranzac show by Dave Morris in Toronto's Eye Weekly.

After a long and apocalyptically windy drive, we are -- to the best of my knowledge -- all safely arrived in Toronto, and gearing up for our big day at The Madness tomorrow. For all you conference-goers out there, we will be premiering the ASCAP/IAJE works by Tim Hagans and Ayn Inserto at 2 PM in Constitution Hall, and then performing our own set at 7 PM in the John Bassett Theatre. Then on Friday, I am on the jazzblogging panel at 3 PM in the afternoon, and that night, we hit Tranzac with Tim Hagans "subbing" for Ingrid.

Watch this space for updates. I think I am having a blast, but perhaps it's merely sleep-deprivation induced delirium. I'm always getting those confused.

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Our winter 2008 tour is in full swing. Please consider supporting this effort by making a tax-deductible donation.

07 January 2008

Tourblogging 1

We are up in Montreal and have put in two very long rehearsals this weekend. The band is sounding very, very good -- I feel incredibly lucky to be working with such incredibly dedicated and generous musicians. Still a lot to do before our final rehearsal tonight, so I've got to keep the posting short and sweet.

Matt and I are staying on Avenue de l'Hôtel-de-Ville with an incredibly gracious couple and their adorable, surreally well-behaved 8-month old baby. I was worried about the winter weather, especially on the drive up, but these past few days it's been freakishly warm -- which means there are perilously wet icy patches and puddles of freezing slush everywhere.

Saw Nordic Connect at Upstairs on Saturday (with Secret Society North's Gordon Webster subbing for an ailing Maggi Olin on piano), and Lina Allemano's quartet last night at Casa Del Popolo -- so yes, that means many of the players in Secret Society North are plugging away at our marathon rehearsals during the day and then going out to play two or three sets at night.

We've been lucky to have some very nice advance writeups -- here's one from Irwin Block at the Montreal Gazette, and here's a great post from Juan Rodgriuez, who I met last night at Lina's hit.

Hope to see some of you Montrealers tomorrow night at La Sala Rossa!

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Our winter 2008 tour is in full swing. Please consider supporting this effort by making a tax-deductible donation.

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