I just had a great talk with Teddy Charles. He's not computer literate at all, but we're trying to figure out how to get him on the site. He has a secretary that comes over, so maybe I can work with her. He's in Long Island, maybe I can get up there at some point.

Just wanted to let you all know that Teddy wants to come on board and hang with us.

I've already written about some of those times when things just don't go like you expect. And, believe me, everyone in this business has the occasional weird situation they have to get through. Without a doubt, my strangest gig was the one time I played with Ahmad Jamal and his trio. I have been a long-time fan of Ahmad's music, and I had met him informally a couple of times through the years. So, when the chance came to play a few tunes with him at a concert in France, I was delighted. The occasion was a music industry convention in Nice called MIDEM.

So, we the red-headed stepchildren of the rhythm section have our battles- how to get your gear to the jam session without a car, how to be heard over Oaf the Viking Drummer without pickups and a Marshall 4x12, and how to take the compliment "boy, you can sure play that xylophone" for the 10,000th time with grace. My question is:

How do you comp for a soloist in a large group when you're not the only chordal instruement? Taking your marbles and going home is an option, but isn't there a more community way of doing it?

Sorry but I thought the foreigners would love this!

Here's my second version of Ed's Tune. My plan was to:

1. Work on the head and post it.
2. Work on the head and solo section and post it.
3. Write a mallet arrangement of the head. (with Ed's Permission)
4. Do a video of the tune

1 and 2 are done.

I must have played this tune a couple hundred times now.

I'm sure this tune is different from Ed's original intent of the tune. I'm excited to hear his version to see what was in his head. I can hear the version with the band, but I think his solo version will be different... and I'm sure great.

Check out the next Mallet Kat hang this Wednesday night!

www.alternatemode.tv

I was working on this a bit last week and getting really frustrated because I just could not get a good take on the solo section. I just faded this one out before the solo. I used Joe's drop 2 licks in the intro and Tony's killin' counter line on the head. I play the tune a little fast and clam the melody once but hopefully put a little Dana in there (oh yeah, playing fast and clammy is Dana). Please be critical (no positive comments allowed :)-

Here's the scoop on my two most disappointing jam experiences. As many people know, I was a big Bill Evans fan. So much so, that I sounded a lot like him when I soloed, played a lot of his tunes using his arrangements, and pretty much knew all his records backwards and forwards during my formative years as a player. I got to know Bill soon after I moved to New York in 1962. By coincidence, I ended up staying with a musician friend while looking for my own place, and my friend happened to live in the same building as Bill. My first encounters with him were pretty scary.

Now that I've had the chance to sift through a lot of the commentary on the site, I think it's time to fill in some details. I enjoyed reading the comments posted following the review of my ALONE AT LAST record, both the praise and the criticisms. Believe me, I'm my worst critic, so it doesn't bother me at all if someone doesn't like something I've done. In fact, I doubt there is any one person who would like ALL the records I've made. Even I don't like them all! (But don't even think of asking me which ones I don't like!)

Hem ! I had a bit of fun yesterday, trying out my new recording facilities. First I recorded the bass-drum track with Laurent, my hometown bass-player, then I did the vocal, and then I added the vibes (2-mallet playing). Here is the result. It's enough to make Jerome Kern turn in his grave, but it's only the first time I've done this. Hopefully, with practise, I'll improve my act. Please don't laugh.