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Mike Chimeri’s Music Collection videos, outlines, slideshows, and script January 17, 2018

Posted by Mike C. in Internet, Jazz, Music, Personal, Video.
1 comment so far

Last night, I received an e-mail from YouTube that announced changes to the YouTube Partnership Program that affects my channel. One paragraph in the e-mail stood out:

Under the new eligibility requirements announced today, your YouTube channel, Mike Chimeri, is no longer eligible for monetization because it doesn’t meet the new threshold of 4,000 hours of watchtime within the past 12 months and 1,000 subscribers. As a result, your channel will lose access to all monetization tools and features associated with the YouTube Partner Program on February 20, 2018 unless you surpass this threshold in the next 30 days. Accordingly, this email serves as 30 days notice that your YouTube Partner Program terms are terminated.

This completes the failed experiment that was Mike Chimeri’s Music Collection. Having been inspired by other YouTubers, I worked from May to July last year putting together eight videos while preparing for four more that I never made. The videos were watched by as many people that watched most of my other videos: ones to tens of people, not thousands or more. And I only picked up tens of subscribers. It was heartbreaking. All the work was for naught. Money was wasted on a Parrot TelePrompTer, camcorder light, and chroma key matte. I hope to find uses for those items in the future, but I think only the light will be put to use.

The videos that got the most views were live performances from Smooth Jazz for Scholars, some of which I took down when I applied for monetization in the first place. And the highest-viewed video couldn’t be monetized because of the subject matter.

This morning, I scanned PDFs of the outlines I wrote for the eight videos I posted, the four I never completed, and one scrapped introductory video. I also made slideshows of the pictures I would have used for the four videos I didn’t complete. I am sharing all of that, and one partial script, below. (NOTE: The slideshows were uploaded to WordPress rather than YouTube.)

Introductory Video outline (scrapped)

Episode 1: 6 Albums from 1981
Outline
Video

Episode 2: 1970s Debut Albums
Outline
Video

Episode 3: 8 Albums from 1992
Outline
Video

Episode 4: 2000s Debut Albums
Outline
Video

Episode 5: 9 Albums from 2000
Outline
Video

Episode 6: Albums by Sidemen
Outline
Video

Episode 7: 1980s Debut Albums
Outline
Video

Episode 8: 1990s Debut Albums
Outline
Video

Episode 9: 9 Albums from 1977 (incomplete)
Outline
Slideshow:

In addition to an outline and slideshow for the first incomplete video, I also have a partial script that I worked on one day in September.

RAMSEY LEWIS – TEQUILA MOCKINGBIRD
Ramsey Lewis released two albums in 1977.
The second of the two was Tequila Mockingbird, a play on To Kill a Mockingbird, the Harper Lee novel-turned-Academy-Award-winning film.
Tequila Mockingbird continued Ramsey’s association with Earth, Wind & Fire that began with Sun Goddess a few years earlier.
EWF keyboardist Larry Dunn produced three tracks: the title track, “Skippin’,” and “That Ole Bach Magic.”
He wrote the title track himself and co-wrote “That Ole Bach Magic” with Eddie del Barrio.
I like all eight tracks on “Tequila Mockingbird,” including the ones produced by Bert deCoteaux.
But my absolute favorites, thanks to Ramsey’s solos, are the title track, “Camino el Bueno,” “Caring for You,” and “Intimacy.”
Ramsey would re-record “Intimacy” on Chance Encounter in 1982 and Taking Another Look in 2011.
He re-recorded the title track on Ivory Pyramid in 1992, his first album with GRP after two decades with Columbia.

BOB JAMES – HEADS
After putting out his first four solo albums on CTI, Bob James started his own label, Tappan Zee Records, in 1977.
His inaugural album, the second of the year, was Heads.
From One in 1974 through 12 in 1984, most of Bob’s early albums were numbered directly or indirectly.
Heads refers to the Buffalo nickel.
Nickels are 5 cents.
Ergo, Heads is Bob’s fifth album.
The album personnel is who’s who of New York City musicians of the day: Eric Gale, Steve Khan, Steve Gadd, Idris Muhammad, Gary King, Will Lee, Richard Tee, Ralph MacDonald, Hubert Laws, David Sanborn, Grover Washington, Jr., the Brecker Brothers, Michael and Randy, Jon Faddis, Eddie Daniels, and Mike Mainieri.
And that’s just the beginning.
There are six tracks on the album, but Bob only wrote two of them: the title track and “Night Crawler,” not to be confused with “Nite Crawler,” which Larry Carlton wrote for The Crusaders.
More on that later.
The other four tracks are what I consider to be the ultimate cover of Boz Scaggs’s “We’re All Alone,” “I’m in You” by Peter Frampton, Joe Cocker’s “You Are So Beautiful,” and a classical ballad by Henry Purcell: “One Loving Night.”
“One Loving Night” features recorder by George Marge and tenor sax by Grover Washington, Jr.

THE CRUSADERS – FREE AS THE WIND
Free as the Wind was the first Crusaders album without original member Wayne Henderson and the last album with Larry Carlton as a member.
Larry would appear as a guest on Standing Tall in 1981, which I showcased in the first episode, and The Good and Bad Times in 1986.
The rest of the Crusaders at the time were Joe Sample, Wilton Felder, Pops Popwell, and Stix Hooper.
Like Tequila Mockingbird, Free as the Wind contains eight tracks.
The title track leads it off, followed by “I Felt the Love,” which first appeared on Chain Reaction two years earlier.
After that, you have “The Way We Was,” a Pops Popwell composition with intermittent chatter, and the aforementioned unrelated “Nite Crawler,” which Larry would play on his eponymous solo album the next year.
Fifth on the album is “Feel It,” written by the entire band with a lyrical refrain by Lamont Dozier of Holland-Dozier-Holland fame, followed by the longest track – “Sweet N’ Sour,” and the shortest track – “River Rat.”
Free as the Wind closes with the Joe Sample ballad, “It Happens Everyday.”
Joe would re-record the song 20 years later on his solo album, Sample This.

PAT METHENY – WATERCOLORS
Pat Metheny Group debuted in 1978, as I shared in the second episode of Mike Chimeri’s Music Collection.
Pat’s solo offering in 1977, Watercolors, was like the group’s beta test.
75% of the band is here: Pat Metheny on guitars, Lyle Mays on piano, and Danny Gottlieb, now of the Lieutenant Dan Band, on drums.
Playing fretless bass on Watercolors was Eberhard Weber.
This is the third album in this episode thus far with eight tracks on it.
Two of them are a suite: “Florida Greeting Song” and “Legend of the Fountain.”
The title track leads off the album, followed by a solo guitar piece called “Icefire,” “Oasis,” a duet with Eberhard and with many layers of guitar.
The middle tracks are my favorites: “Lakes,” an exercise in chord progression, and “River Quay” (“key”).
After the two-part suite, Watercolors ends with the ten-minute “Sea Song.”

WEATHER REPORT – HEAVY WEATHER
The lone Weather Report album in my collection is the commercial smash, Heavy Weather.

That was as far as I got.

Episode 10: Best Ofs with New Tracks (incomplete)
Outline
Slideshow:

Episode 11: Collaborative Albums (incomplete)
Outline
Slideshow:

Episode 12: 11 Albums from 1987 (incomplete)
Outline

And with that, Mike Chimeri’s Music Collection is officially a thing of the past. It lives on through all that I’ve shared here.

I made a mere 68 cents in ad revenue while my YouTube channel was monetized. That’s $99.32 short of the point where I’d get paid.

Now, my channel will go back to its previous purpose: blizzard timelines, aircheck videos, and WCWP Hall of Fame Ceremony videos. Thank you to anyone that watched Mike Chimeri’s Music Collection. You’re in rarefied air.

Lisa Hilton at Carnegie Hall’s Weill Recital Hall: 2018 edition January 14, 2018

Posted by Mike C. in Comedy, Jazz, Media, Music, Personal, Photography, Travel, TV, Weather.
5 comments

Previous Lisa Hilton recaps: June 2011January 2014January 2015, January 2016
Later recap: January 2019

Thursday night marked my first time at Carnegie Hall since I saw comic ventriloquist Jeff Dunham 15 months ago, and my first time seeing jazz pianist Lisa Hilton in two years. (I couldn’t make last year’s show.)

As with all Carnegie shows, I was not allowed to take pictures during the performance. That means I have to compensate by describing what I saw and photographing what happened before and after. That’s not a complaint; just an explanation.

Until my dad drove me to the Wantagh LIRR station at 4:40, it was a typical Thursday for me: grocery shopping, treadmill running, and YouTube and Netflix watching.

As I waited on the platform for the 4:59 Penn Station-bound train to arrive, I took a couple of pictures, the first ones taken on my iPhone X, a generous Christmas gift.

About 50 minutes later, I was at Penn Station, where I walked to the 34th Street subway station and took an uptown E train to 7th Avenue and West 53rd Street.

All but one of the remaining pictures in this post were taken on my Nikon D5500:

When I exited the train, I was greeted by the Ed Sullivan Theater, home to The Late Show with Stephen Colbert since September 2015. (David Letterman retired that May.)

I planned on eating dinner at Lindy’s, but was walking up Broadway when I should have been on 7th. So, I missed it.

I turned east at West 56th Street, but couldn’t find a restaurant I liked. I did take pictures along the way.

I turned north up 6th Avenue and then west at West 57th.

I figured I would try the Russian Tea Room:

The staff seated me at a booth, generously moving the table so I could get in. Unfortunately, there was nothing on the menu to my liking. I apologetically relayed that to the waiter and left. I felt embarrassed, but I’m sure you, the reader, feel I shouldn’t have been. At least I can say I’ve been to the Russian Tea Room.

I passed by Carnegie Hall’s Weill Recital Hall, where Lisa Hilton was to perform, and found a restaurant on 7th Avenue called 9Ten:

The atmosphere was great. Contemporary jazz was playing on the speakers through what I assume was Pandora. I recognized “Max-O-Man” by Fourplay, Eric Marienthal’s cover of “Work Song” by Cannonball Adderley (written by his brother Nat), “Slammin'” by Nick Colionne, and “Step On It” by Pieces of a Dream.

As I waited for my food, I took a selfie on my iPhone X:

The food was great: mozzarella sticks, Penne Bolognese, and vanilla and chocolate ice cream.

On my way back to Carnegie Hall, I could see Times Square to the south. The ball was still there, eleven nights after it dropped:

I walked in to the Weill Recital Hall at 7:07. I had to wait in the lobby for about 20 minutes until the hall doors were opened. I was the first to arrive, but within 15 minutes, the lobby was packed. I briefly heard Lisa Hilton and her band rehearsing.

A few minutes after the doors opened, my ticket was checked and I walked into the hall. As usual, my seat was front row center, though barely right-of-center.

As I waited for Lisa and the band to come out, I took a few pictures:

I should have taken a picture of the audience behind me. The turnout was big at the orchestra level where I was. They were ready for a great performance.

Lisa came on stage at 8:07, followed closely by J.D. Allen on tenor saxophone, Luques Curtis on upright bass, and Rudy Royston on drums.

Most of the songs in the set list were from Lisa’s Escapism album, which she composed music for between April and July, and released on December 1. Thursday night was the first time the music of Escapism was performed live. Weill Recital Hall doesn’t have a sound system, so the instruments relied on the acoustics of the hall for amplification. I couldn’t tell. It sounded great; it always does.

1/17 UPDATE: Lisa posted a few of Justin Bettman’s pictures from the set to her Facebook page:

I’m in the center, to the left of J.D.:

Talking to the audience between songs:

The set was about an hour and contained the following songs:
1.
Hot Summer Samba
2. Meltdown (also on Sunny Day Theory, 2008; and Nuance, 2010)
3. Zero Gravity
4. Too Hot (not a cover of Kool & the Gang)
5. 29 Palms
6. Mojave Moon
7. Waterfall (from Cocktails at Eight, 2000)
8. A Spark in the Night (from Nocturnal and Day & Night, 2016)
9. So This is Love (from My Favorite Things, 2005; Sunny Day Theory, 2008; Nuance, 2010; and Day & Night, 2016)
10 (Encore). Seduction (from Seduction, 1997; Cocktails at Eight, 2000; My Favorite Things, 2005; and The New York Sessions, 2007)

J.D. didn’t play on “Meltdown” or “29 Palms.” He had a solo at the end of “Seduction,” which was otherwise performed as a trio. “Waterfall” was a solo piano piece, considering its origin on Cocktails at Eight, a solo piano album.

“Hot Summer Samba” was reminiscent of “Tequila” by The Champs. “Too Hot” was inspired by a trip to New Zealand in extreme heat. “Zero Gravity” brought to mind astronauts floating aboard a space shuttle. “Waterfall” initially had a Celtic feel, but then tensed up. Two years later, I still think “A Spark in the Night” had a Latin feel. Specifically, it reminded me of drummer John Favicchia‘s “Kukuc,” but at a slower tempo. That might be why “Spark” was my favorite song in the set.

I caught up with Lisa afterward, and then got to meet J.D. Allen and Luques Curtis. We all posed for a picture:

I put my coat and backpack on and left. I impatiently opted for the stairs over the elevator, then briskly walked north and west to the 59th Street-Columbus Circle subway station.

The station is adjacent to the Time Warner Center, home to CNN’s New York bureau:

As you can see, I arrived just as the downtown 1 train arrived. I boarded it and put my camera away for the night.

Thanks to Lisa, J.D., Luques, and Rudy for a great hour of music in the Weill Recital Hall. I hope to be back next year.

January 4 blizzard, January 5 aftermath January 5, 2018

Posted by Mike C. in News, Personal, Photography, Weather.
4 comments

There had been a few brushes with snow in the last days of fall and the first days of winter, but the first major storm barreled through Long Island yesterday.

The initial forecast didn’t call for more than a few inches, but as I expected, the accumulation prediction went up as the storm approached. Nassau County also ended up in the blizzard conditions that were originally supposed to stay in Suffolk, particularly central and eastern Suffolk.

My plan was to wait for the snow to end before shoveling it. Until then, I periodically took pictures outside my bedroom window.

I took the first picture at 8:25 AM, about two hours after I woke up:

9:41 AM:

11:52 AM:

2:07 PM:

4:06 PM:

An hour later, the last snowflake had fallen from the sky, but snow continued to blow off roofs, trees, and cars as winds gusted above 40 mph.

6:38 PM, before shoveling:

After shoveling the front porch, I stuck an 18-inch ruler into an area with flat accumulation; no drifts. I measured 13 inches of snow on the ground.

8:06 PM, after giving up shoveling until morning:

I felt guilty for giving up so soon, but I just didn’t have the stamina to go on. I went inside, watched The Big Bang Theory, played a couple of games on my Nintendo 3DS, and went to sleep.

I figure I got eight hours of sleep and was half-asleep thinking of shoveling for an hour. Finally, around 7AM, I bundled up and finished what I started. My dad had to leave for work, so he came out to help. My mom followed after that, but she wasn’t out for long. Dad went inside to get ready for work, then he came back out to drive there. I finished on my own for 45 minutes.

I took this picture at 9:18 AM, after grabbing my camera to shoot outside:

…where the rest of the pictures were:

There will be more winter storms this season, and I’ll post about them afterward. Until the next one.

Smooth Jazz for Scholars 2018 dates/lineup January 5, 2018

Posted by Mike C. in Jazz, Music, Personal.
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Keyboardist Jay Rowe has announced the dates and lineup for this year’s Smooth Jazz for Scholars benefit concert series. The announcement came yesterday on Facebook:

Tickets for this year’s 16th annual Smooth Jazz for Scholars benefit concerts are on sale now!! This year’s shows will be held on Friday 4/27/18 and Saturday 4/28/18. The shows will be held at the Veterans Memorial Auditorium at the Parson’s Complex 70 West River Street Milford, CT. 06460. Doors open at 7p.m. showtime is at 8 p.m. This year’s artist line-up on Friday 4/27/18 is David Benoit, Marc Antoine and Marion Meadows. The artist line-up on Saturday 4/28/18 is Paul Taylor, Nelson Rangell, Jessy J and Matt Marshak. Tickets are $40 each for 1 night and $70 for both nights. Tickets can be purchased by sending a check or money order payable to Smooth Jazz For Scholars Inc. to P.O. Box 3723 Milford, CT. 06460. The first 250 seats are reserved seating first come first served. The rest are general admission seating. For additional info call (203)874-4150 or (203)415-8878 or go to jayrowemusic.com. Thanks!!

It’s the 16th Smooth Jazz for Scholars, and the 12th I will have attended.

I’ve been dreaming of David Benoit and Jessy J performing at SJFS for years. That dream has come true. David will be there on the first night while Jessy will be there on the second night. I just saw David last month at the Dave Koz 20th Anniversary Christmas Tour stop at the Tilles Center, but I haven’t seen Jessy since she performed at the Iridium six years ago. Jay was part of her band, as was guitarist Rohn Lawrence. I don’t know if he’ll be at either night, but it would be nice.

Matt Marshak is back for the second time in three years, the same night as Nelson Rangell. I keep envisioning him playing with Nelson on “Sonora.” Will that happen? We’ll see.

Paul Taylor hasn’t been at SJFS since 2012, one month before I transitioned to DSLR cameras.

Marc Antoine was last at SJFS in 2015, but I wasn’t there. SJFS conflicted with the WCWP Hall of Fame Ceremony in 2015 and ’16. I went straight from Milford to Tilles for the ceremony in ’15, but opted not to go in ’16. (Sorry, Joe Honerkamp.) Thankfully, the ceremony has not conflicted since. In fact, this year’s ceremony is the following Saturday, on May 5.

Friday, April 27
David Benoit
Marc Antoine
Marion Meadows

Saturday, April 28
Paul Taylor
Nelson Rangell
Jessy J
Matt Marshak

Location:
Veterans Memorial Auditorium in the Parsons Government Center
70 W. River St.
Milford, CT 06460

Tickets: $40 for one night, $70 for both nights

Reserved seating tickets can be purchased by check (like I will) or money order payable to:
Smooth Jazz for Scholars, Inc.
P.O. Box 3723
Milford, CT 06460

For questions or additional assistance, call:
(203) 874-4150
(203) 415-8878
or go to: jayrowemusic.com

I leave you with recaps of the first and second nights of the 15th annual Smooth Jazz for Scholars.

5/7/18 UPDATE: Recaps of  this year’s shows can be seen here and here.