MENUHey people!
I am mainly writing so you can see me in this remarkable hotel outfit from an onsen hotel in Kusatsu, Japan (onsen = hot springs!)
The other reason is to tell you about my new awesome band, GEORGE, and even awesomer (rhymes with gossamer) record, Letters to George, which comes out today (January 27, 2023)!!!
I have some friends/colleagues who are ardent fans of the status quo. I am not, which sets up stimulating conversations on a good day, and arguments on a bad day. But like many others, the murder of George Floyd was a point where people like me, who thought they were already on a righteous path, realized they were ignorant and de-sensitized to the rampant racism, sexism and injustice that is ingrained in our world. After trying to get over the utter stupidity and anguish that I felt in the aftermath of Floyd’s death, I promised to work harder and to not forget. In hindsight, I realized that this was the beginning of my new band, GEORGE, which is in a quiet way, a tribute to George Floyd.
Although I feel like a novice in many ways, technically I guess I’m “late mid-career,” so it was not without trepidation that I looked for new partners with whom to create a band. I’ve known Anna Webber for many years, and in many capacities, but mostly as a friend and the drummer in her Simple Trio with the amazing Matt Mitchell. I was once her teacher but more and more often I feel like her student! I see many of the same characteristics in her that I have recognized in my older mentors Meredith Monk and Bob Brookmeyer. So asking Anna to join GEORGE was a no-brainer!
I first encountered Aurora Nealand in a New Orleans club, which was very memorable (for me, probably not for her!) but the moment I knew I wanted to have a band with her was at the opening faculty jam at the Langnau Jazz Nights Workshop that Chris Speed curated in 2019 in Switzerland. Aurora spontaneously sang and played soprano sax on a standard with my old friend, the incomparable pianist/writer Ethan Iverson. She made me cry on that occasion and many others, not unlike the many experiences I have had listening to the wondrous Kate McGarry.
Chiquita Magic was perhaps the most adventurous choice for me since we had not really met or played together. But listening to her creative work that was showing up on Instagram on a daily basis during COVID lockdowns, I was completely taken with her funky synth palette and open enthusiasm. I will pat myself on the back for guessing that these three amazing people would enjoy (at least so far!) being in a van with each other for many hours. I am frankly still caught off guard by their utter coolness!
After trying a test piece remotely with the four of us, I wrote most of the music for this band in a concentrated period at the Helene Wurlitzer Residency in Taos, New Mexico in February 2021. We recorded it in Montreal with the ever-efficient and positive Jacob Lacroix-Cardinal! After his exceptional mix, I sent it to my favorite mastering engineer, Brent Lambert at Kitchen Mastering so he could do his magic.
At some point, I started talking to Adam Hopkins, whom I know as bassist extraordinaire (we did some touring with the Claudia Quintet a while back); cool dog owner; father; and man with good hair who has a great label, Out of Your Head Records. From there he recruited the amazing artist, TJ Huff, to do the cool cover to our album which brings us to today. In a few months, we will also release a vinyl edition which will be my first release on vinyl!!! It has been a joy to work with Adam on this!
To celebrate the release, we are streaming “Clinton” on bandcamp, dedicated to the one and only funk master GEORGE CLINTON!
While I’m talking about great people, I would also like to recognize Ashley Capps, the Grand Poobah of the best festival ever, Big Ears. Ashley booked GEORGE for Big Ears 2022 without ever having heard us. So our first ever gig was at the amazing Big Ears Festival, and to top it off, our good friend Ambrose Akinmusire sat in! After that gig, I was thinking from there it is either downhill or we are going to elevations I have never encountered! Hopefully after listening to the first downbeat of “Earthworker,” you will agree with my optimism about our direction. (UP!!!!)
Fresh off the presses are some wonderful reviews from Peter Margasak, S. Victor Aaron, and Arnaud G. Veydarier.
Ok, that it is for now. Hope to see you out there! (See below if you are in CA in February, not Canada but the other CA.)
Please enjoy GEORGE on the various online platforms (but NOT on evil streaming platforms, I’m talking to you SPOTIFY), with a physical cd, and/or coming soon – vinyl!
~ Johnnycakes
P.S. In case you missed it, here is a fun exercise video put together beautifully by Craig One, featuring the cut ICEMAN (dedicated to the great George Gervin.) And an extra special thanks to Evan Shay for the excellent photos and video of GEORGE!
GEORGE is coming to the West Coast in February!
February 24 — San Jose Winter Jazz Fest, San Jose, CA
February 25 — Double bill with Frederico Heliodoro at The Mellow Haight, San Francisco, CA
February 26 — Hall Recital Hall, Univ. of Nevada (masterclass/concert), Reno, NV
February 27 — Fresno City College “Informance,” Fresno, CA
February 28 — The Paramount, Los Angeles, CA
After a little visit to the neighbor’s house, previously owned by one Jean Sibelius, we made our way to Helsinki to play at the musician friendly club, 
It was a wonderful 3-set night led by me, my dear old comrade Ethan Iverson and new friend, Mike Moreno (who I quickly learned is a wine expert!…note to self: befriend as many wine experts as possible; not only do they know where the good wine is but the good food too!)
to lead featuring Verneri Pohjola on trumpet, Kari Ikonen on piano/keys, Ape Anttila on bass and maestro Mikko Hassinen on drums.Please note my friend and bandmate from 
My earliest mentor, my older brother Pat, brought home crates of records with strict instructions to make a cassette mixtape by taking one track from each record. He took me to hear great music very early on (including Steve Gadd); took me backstage to meet the musicians; encouraged me to take lessons with the greats; told me to remain open, play everything, compose. He was responsible for getting me to study piano for a year before letting me start drums – I get it now and often say to my students, “You’ll thank me later!” He brought me to my first teacher (who was also his teacher), who was then my next mentor, Russell Black. Mr. Black was so giving as a teacher. He charged $5! for lessons that would last longer and longer so that after a while my mother would just say, “call me when you’re done!” He had piles of music which were strategically placed for his “since you didn’t practice, you will sight-read for an hour” sessions! In my last year in high school, when in retrospect I think he thought he had taught me all that he could about drums, we would just go to the nearby McDonald’s and talk about my love life! Thinking back, he seems like a character in a movie: the waxed moustache, manicured nails, money clip, Hawaiian shirts, his Lincoln continental, the fast comedic timing…
My next meaningful mentor was Bob Brookmeyer, valve trombonist and composer. I met Bob briefly a number of times early in my life, and in my late 20’s became close with him after taking several composition lessons and joining his New Art Orchestra. I’m still working on the assignments he gave me from the four composition lessons I took with him! I have a vivid and cherished memory of the time he left me a voice mail, ending it by telling me he loved me. He was always honest but very encouraging. “Do not stop!” was a motto for his music and life. I watched him persist through illnesses, failures and setbacks and learned a great lesson by witnessing his courage as he kept going forward, no matter what!
My fourth mentor is the great Meredith Monk, musician-composer-choreographer-filmmaker. I met Meredith when I was around 30 and joined her ensemble. She was immediately so warm and supportive, which gave me a confidence booster that I sorely needed after weathering the sometimes unforgiving harshness of New York City. I observed her listening to music and composing from an emotional standpoint, using her “heart knowledge” as some would say. I watched her work through the many obstacles one faces as a creative artist. If you don’t already know her, you can imagine how strong she is to persist as a woman creating innovative, ground-breaking indescribable work over the course of her incredible career spanning 50+ years!
One recent mentoree of mine in Montreal is 
Then the recording engineer records the music and tweaks it in digital recording software where it looks again like scribbles, but this time digitized and colorful!
package. The publicity crew is activated to start getting the word out to you, writers, radio, etc. Lastly, people, some I know and many I don’t, listen to this recording. Ideally, the effect of listening brings pleasure and adds to the listener’s life, gives them optimism and joy. Hopefully they then want to come back to this recording for the initial sensations plus new ones they did not get/hear the first time (and maybe some will give it their Grammy vote!
Greetings Friends. My last blog was a year ago, I don’t have a good excuse. Honestly being on the Internet has lost its allure for me. While I feel old saying this, I would much rather go for a walk, read a book, listen to a CD or LP, eat pizza, drink cider, go to a yoga class…the list is quite long before it says “go on the internet.” But I’m getting questions especially from people in the music business, like “Are you dead?” “Did you give up music?” “When is your next gig?” “Do you still live in Berlin?” which reminds me that a presence on the good ‘ole world wide web is helpful so that people know that you have a gig or need a gig.
We, the 
