Recording Session Pt. I

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This past weekend I finished recording the first half of my upcoming CD (I think I am going to name it Between the Lines).   I had an extremely good time in New York.  My trip went as follows: first I traveled 8 hours from Buffalo to SUNY Purchase.  Then we had rehearsal #1 Thursday night followed by rehearsal #2 Friday afternoon followed by a rushed cross-town commute to Park Slope, Brooklyn, where we played at Puppets for a few hours. 11am on Saturday the recording session began, we recorded 7 tracks and were all done by 8pm.  I then had to rush to get Chris to JFK to catch a 10:30pm flight.  Thanks to construction on Atlantic Avenue, we arrived at the airport at 10pm (he did make his flight).  From 1pm until 10pm on Sunday, I was in the studio mixing the tracks with Chris Parks (audio engineer for the session).  After mixing I rushed to get to the Vanguard to see Brian Blade Fellowship, which I was too exhausted to enjoy.  Monday I had the day to relax, I walked across the Brooklyn Bridge, ate most of a Grimaldi’s Pizza and hung out in Brooklyn Bridge Park.  Monday night was my last night in town, so I made it count: I went to three jam sessions and a show at the Jazz Gallery.  The first was some friends getting together in Brooklyn.  The second was the Vando-Jam at Iguana where I was meeting up with David Gould (Head of vandoren’s New York Studio) to talk about reeds and whatnot.  Next I was at the Jazz Gallery to see Adam Cruz (and Miguel Zenon and Chris Potter)- Great show and great venue: simply a small space to see great musicians at affordable prices.  Then I headed over to the Smalls jam session with Spencer Murphy.  It was the normal jam session- 15 Saxophonists, 2 trumpets, 1 bassist, 1 drummer, 1 piano player, and 1 scat singer who could not get the mic to work.

Chris Parks, and the man/the legend. Rockin the 90's Buffalo Bills Brice Paup Jersey.

Then after a few tunes Kurt Rosenwinkle came up and wanted to play drums.  He sits down and looks at us, and in a patronizing tone says “Lets play some bebop”.  Of course Donna Lee is played.  He sure is a great guitarist…  Anyway, then I made the long haul back to Buffalo on Tuesday.

This recording session would not have been possible without the work of my great friend James Ryan, who was our chauffeur, photographer, chef, host, and entertainer during the entire process.  I cannot thank him enough.  Also my friend and teacher Kenyatta Beasley was a great resource for me, he was co-producer, and trumpeter who stuck around during the entire session to hang and be another set of ears.

Our performance at Puppets was a great time thanks to everyone who came out!  Yeah that’s you, Lissy, Nadia, Mary, Kronenfelds, Marks, and all the other friends and fans who came out.

During the recording session something very surreal happened.  It was midday on September eleventh and all of a sudden thousands of while balloons began floating by the studio window.  Attached to each was a card with the name of a victim of the 2001 tragedy. This was a moving reminder of the actions that day, and how different our nation is now.

This recording session was funded by The Ohio State University’s Undergraduate Research Office.  They provided me with a grant this summer to help defray the costs of the recording process.

I am very proud of the tracks from the session; they are an accurate depiction of the bands energy and dynamic sensitivity.  We are currently finishing up the mixing process.

The tracks that we ended up recording were: Fire Blossom, Blue Skies, Roxanne, Things Behind the Sun, Swag, Sandbox, and Late Night Tango.

Recent Books/Recordings I recommend:

The Girl Who Played With Fire-Stieg Larsson, Speak No Evil-Wayne Shorter

Musicians I recommend: Scratch Track– a band I saw in San Fransisco.  Great soulful vocals and solid grooves. Javi Santiago– very talented piano player in NYC.

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About danwhitemusic

Dan White is and artist whose music has two distinct, yet interwoven concepts: This logic is clearly displayed in Between The Lines (March 2011). White has a deep respect for acoustic Jazz, but he is also is driven to explore uncharted territory: Playing music that cannot be defined or pigeonholed. Both sides of his music create a synergy effect: the tradition of America's classical music helps build the foundation from which he explores and experiments, while the experimentation gives way to more individuality. Music has played a large part in Dan's life since he was young. The saxophonist comes from a musical family: his grandfather a jazz bassist and music teacher, his uncle a music teacher, and four of his cousins are currently studying music. He grew up just north of Buffalo, New York, where he started playing piano at age eight, and saxophone at age nine. A few years later he got his first real taste of improvisation and composition. After hearing Joshua Redman in concert with his father, White was instantly hooked on the link between composition and improvisation. White states, "My music is an extension of my personality. I am influenced by many, and my goal is to merge these influences into refreshing and creative music that acknowledges the tradition that came before and progresses the art form."
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