Instrumental Invasion, 7/29/20 July 30, 2020
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The July 29, 2020, Instrumental Invasion on WCWP was recorded on the 9th.
The playlist was created on July 3 and annotated on the 4th with additional annotations while recording.
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Instrumental Invasion, 7/22/20 July 23, 2020
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The July 22, 2020, Instrumental Invasion on WCWP was recorded on July 5. I would have recorded on the 4th, but various neighbors were shooting off fireworks long before dusk.
The playlist was created on July 3 and annotated on the 4th.
For some reason, while recording the second hour’s first two talk breaks, I thought Kim Waters played alto sax on “Shakedown” and Euge Groove played tenor on “Hey Boo,” but they both played soprano. As a result, I had to rerecord parts of those talk breaks.
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Instrumental Invasion, 7/15/20 July 16, 2020
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The July 15, 2020, Instrumental Invasion on WCWP was recorded over two days. The first hour was recorded on June 12, one day after creating and annotating the playlist. The second hour was recorded on June 13.
I went from concept to completion of the this show and last week’s show in about 60 hours. I’m proud of the results and I hope you were, too.
I’ve been in love with John Williams’ “Summon the Heroes” since I first heard it in 1996. As the Wikipedia entry notes, it premiered 24 years ago this Sunday – July 19, 1996 – during the opening ceremony for the centennial modern Summer Olympics, held that year in Atlanta.
I’m proud of my “Baby Bottle Brazil” quip while back-selling “Ba Ba Brazil” by Four80East in the first segment of hour 2. My talk-up of “Top Down” by Alexander Zonjic, in the hour’s second segment, referenced a jingle from PAMS Series 31: Music Explosion. It was purely coincidental that the artists’ first names in that segment were in alphabetical order.
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7/20 UPDATE: I was sorry to hear of bassist Cleveland Eaton’s passing back on July 5. Cleve co-wrote and played bass on “Jamaican Marketplace” by Ramsey Lewis, which I played in the second segment of hour 1.
Instrumental Invasion, 7/8/20 July 9, 2020
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The July 8, 2020, Instrumental Invasion on WCWP was recorded over two days. The first two segments were recorded in the afternoon and evening on June 11, hours after creating and annotating the playlist. The other four segments were recorded on the morning of June 12 with part of the last talk break re-recorded on the 13th.
After playing Ken Navarro‘s cover of “Lakes” by Pat Metheny, I dipped into my archives for a clip from the April 15, 2010, Evening Jazz. After playing “Lakes” that night, I quoted a comment Ken left on my Facebook page that explained how hard it was to play. I edited out my stammering.
Unfortunately, the third segment did not play in automation. Following the second spot break, there was a second of dead air. Then, the third spot break, followed by all segments and spot breaks for the second hour. That meant the show ended about 15 minutes early. Listeners were denied “Silverbird” by Jeff Jarvis, “Cruisin’ Down Ocean Drive” by The Rippingtons, “Mr. Rodriguez’s Opus” by David Benoit, and “Something About You” by Jeff Kashiwa.
Click here to download the aircheck MP3, with my original recording of the third segment mixed in, or listen below:
Instrumental Invasion, 7/1/20 July 2, 2020
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***THIS IS MY 500TH BLOG POST!***
The July 1, 2020, Instrumental Invasion on WCWP was recorded on May 28.
Work on the playlist began on May 20 with annotations on the 24th, 25th, and during the recording session on the 28th.
My back-sell of Chicago‘s “Elegy…” originally included an explanation of the suite’s meaning and referenced what preceded “The Approaching Storm.” I had to cut it for time, but I saved the outtake:
“Progress?” was quite jarring the first time I heard it two years ago. It’s discordant horns mixed with traffic jam sound effects and other industrial cacophony. It’s still jarring, but less so each time I listen.
I didn’t intend to have two segments of songs from one year each, but I’m proud of how it turned out.
My talk-up for “The King is Here” by Norman Brown included the line “it’s good to be the king,” which was a running gag in Mel Brooks’s History of the World, Part I. Mel uttered the line as a different historical figure in each period.
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