(from The Tin Drum by Gunter Grass [new translation by Breon Mitchell])
"". . . You know, Herr Bebra, I prefer to be part of the audience, to allow my little art to bloom in secret, far from all applause, but I would be the last person to fail to applaud your performances." Herr Bebra raised his crumpled forefinger and admonished me: "My dear Oskar, take it from an experienced colleague. The likes of us should never be part of the audience. We have to be on the stage, in the arena. We have to perform and direct the action, otherwise our kind will be manipulated by those to do. And they'll all too happily pull a fast one on us.". . ."
. . . With members Jay (guitar/vocals), Jeff (drums)[later replaced by David], Greg (sax/vocals) and myself (keyboard/vocals), we undertook a string of private affairs and wedding receptions. Soon we decided to dedicate ourselves to the pursuit of a regular engagement, most desirably at a nightclub. Our one weak point however in pursuit of this lofty goal was our repertoire. Our rehearsals were few and far between. In fact, I now cannot remember an actual rehearsal with this incarnation of 'Ful Treatment.' To our chagrin, and self-deceiving disbelief, club owners actually wanted the bands they hired to play the current top-forty popular favorites to which the audience could dance. We, in our haughty laziness (or was it lazy haughtiness?) refused to do that. In fact we simply continued to play as much of our uptempo (and preferably 'newer') material instead of succumbing to the current trend of disco music brought about by the recent resurgent popularity of the Bee Gees thanks to the film Saturday Night Fever. In our defense, we did learn a new number or two, just simply not enough to market ourselves as a top-forty act. Another improvement that we opted not to pursue was the hiring of a fifth band member to play the bass guitar, a definite enhancement to a combo's authenticity when reproducing dance music (as well as rock music in general), and mainly for the reason that it would have resulted in another party with whom to share the money. . .
Three-quarters of which comprise the present day OHO!!! . . .
Blood Brother
by OHO (Jay Graboski, David Reeve & Ray Jozwiak) live at Belisimo's, Finksburg, February 2015
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak. Please Visit http://www.ohomusic.com
My latest solo offering, Just More Music by Ray Jozwiak, featuring original, instrumental piano music will be released April 7, 2014 Just More Music by Ray Jozwiak
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
NPR, of all media outlets, the very one frequently held as the gold standard of electronic journalism, has failed us. . . and this is not the first time. According to NPR, Hilary Clinton is the only 'household' name Democrat considering a run for the presidency. There you have it. Case closed. Over-simplified? Yes! True though? Yes!
But there are other, (and yes, possibly BETTER-qualified) well-suited candidates which NPR has failed to tell us about. Not only have they failed, they have subliminally told their audience that there is virtually no choice. Is that what NPR is SUPPOSED to tell us???
One of the (many) problems with our electoral system is the media's heavy influence over it. A candidate is not serious if he can't afford the millions it takes to wage a campaign, which includes paying the media for the exposure it provides.
In spite of what NPR or any other 'news' outlet tells you, there truly ARE other potential Democratic candidates such as Joe Biden, Bernie Sanders, Luiz Gutierrez, Al Franken, Tim Kaine & John Kerry. . .and don't forget, independent ones either.
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak. Please Visit http://www.ohomusic.com
My latest solo offering, Just More Music by Ray Jozwiak, featuring original, instrumental piano music will be released April 7, 2014 Just More Music by Ray Jozwiak
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
Granted, I did and DO love playing music. Make no mistake. And the band REFLECTION (my very first, actual, money-making (dare I say, "Semi-Professional") band) did, as does any living, growing thing, EVOLVE. First our guitarist Keith moved to another band, an earthshaking experience for the drummer Bruce and myself at the time. We were just getting musically comfortable with ourselves as a unit and finding a fair amount of work. I don't now for the life of me remember how he did it, but our drummer Bruce and I connected with Eddie (saxophones and flute), Rick (trumpet) and Rick H. (guitar). Since one out of two Ricks and Eddie were music students at the local university, our approach to music became a bit more academic with the use of arrangements, charts, some jazz inflections and the addition of some newer, current songs; even one or two by Chicago- one of my favorites. I was doubling as an occasional substitute in Keith's new band and working on arrangements and trying to secure gigs with REFLECTION at the same time. (It's good to be in demand!)
Keith's new band was a kind of an ever-changing, depending upon the availability of individual players at any time, musical ensemble whose nucleus consisted of the drummer (who was the 'leader') John, Keith on guitar, Randy on trumpet and an intense young alto saxophonist named Ted. The band was loose, but flexible, and frequently delivered quite musical and crowd-pleasing renditions of rocking (or alternately, swinging) cover tunes to very appreciative (and sometimes, dispositionally well-lubricated) audiences. While the weakest link was quite possibly the leader, Randy and Ted were attractive and charismatic front-men doubling on vocals as well as their chosen axes. In short, a good time was (mostly) had by the band and most every gig.
Ted and I played occasional gigs outside of that band and although we were not extremely close friends, I came to view him as a hip, congenial mentor and friend. Driving to one gig in particular, I recall, Ted and I were discussing various musicians we had experienced and he referred to Randy as a 'bitch' trumpet player. I was taken aback in that I hadn't heard that terminology before. Further into the conversation he also said I was a 'bitch' keyboardist. Almost hurt at first, I soon 'connected the dots' based upon his classifying Randy, whom I know he appreciated and admired, with myself and came to the conclusion that being a 'bitch' player was, indeed, a good thing! And as a result of my good friend Ted, my confidence increased substantially that very day. (Ted even had me sit in with his top-notch top-40 band awhile later for
which we played Satin Doll which was a thrill, I must say, and did not
inflict any damage upon that developing confidence either.)
OHO's
"Ocean City Ditty," the
CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if
you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak
My latest solo release, '2014' of original, instrumental piano music, can be downloaded digitally at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
. . . an interesting post on Facebook by a wonderfully gifted musician to the effect that some people say jazz should update itself and that the classic jazz is old and tired. The only problem is that such people are in effect, telling a substantial percentage of the jazz audience to go to hell. . .
Which sparked quite a rash of comments; rightly and understandably. Most of the responders seemed to agree that new and innovative are good, but old, classic is good also. I've often reflected on such sentiments after hearing an either particularly articulate opponent (or proponent) or just a particularly boisterous opponent (or proponent) of one form or genre of music or another.
Some of the comments, exceprted or paraphrased:
They say if it sounds good, it is good. Music knows no genre, culture, or era.
I dont play jazz, I play music.
Some people only want to hear memories, not music.
Just do what you do and be happy.
Jazz is a timeless art form.
If no one kept an open mind to new things, we wouldn't even have Dixieland, Swing, Bebop or Post-Bop, would we?
Just play what you love . . .
Everyone has an opinion
If you try to please everyone you get stagnation.
Ornette says, ". . . I would like for you guys to follow the idea."
download your very own copy of ANOTHER SHOT by Ray Jozwiak
Yeah, that taste of public attention, appreciation, the thrill, the communication, the connection between performer and audience cannot be underestimated. It's not ego. It is a need. Like a drug. The accordion band practice refined my experience and perception of the performer/audience relationship.
And after several years of accordion band practice sessions, which were really low-calibre concerts, I'm not quite sure what inspired or motivated me since nothing clear remains in my memory of the motivation, I wrote my first original composition.
Download your very own copy of ANOTHER SHOT by Ray Jozwiak
. . . maybe it didn't really last that long, my career as a Beatle, but it was a potent experience. And thanks to my Mothers' Day debut, I got a taste of public performance, the energy shared between performer and audience, and I certainly did like it. Although the Beatles' influence upon me had subsided by this time, they were undoubtedly a profound influence; a lingering presence in or on our culture and myself as well and though I was not by any means an obsessive fan, I was always an appreciator of the music of the Beatles. Little did I realize at the time, their music-like all the music that I absorbed over the years, influences and informs the music that I make today in some form or fashion.
Around this time my record collecting appetite grew as did my curiosity about and pleasure in the music all around me. Soon added to my collection (and some borrowed from my sister) were records by Herman's Hermits, Gary Lewis and the Playboys, The Dave Clark Five, The Turtles, Paul Revere and the Raiders, The Animals, Tommy James and the Shondells and more. And added to that, one Christmas I was to receive one of the most treasured gifts of my childhood, that technological miracle that could connect a young boy to the great big world outside, that marvel of marvels. . . the transistor radio.
My little musical world was instantly widened and the musical menu available to me embellished beyond belief. In those days, there were many 'Top 40' radio stations which in truth (much like pop stations today) played a surprisingly small selection of songs over and over and over and over and. . . well, you get the idea. But to me, to possess this little box of my very own, that travelled easily with me, over which no one else could exert their control (broadcasting had not become concerned with 'parental contol/guidance' concepts yet) which provided me with endless (as long as I provided battery power) music, was nearly nirvana.
Download your very own copy of ANOTHER SHOT by Ray Jozwiak
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