Taker or Giver? . . .

Pondering awards, rewards and recognition in a number of life situations. . .


(from http://intelispend.com/employee-rewards-recognition/)
". . .The Collector: It's human nature to gather things and status. Plaques with years of service appeal to the desire for status. Other types of incentive programs tap into this drive as well, motivating people through their desire to acquire more possessions. You'll see this most often in incentives.

The Killer: People are biologically motivated to defend what is theirs. The winner of last year's "Top in Sales" title isn't going to let it go without a fight. And employees engaged by strong recognition programs will work hard to protect their company against competitive threats.

The Socializer: Like it or not, we're wired to bond, and most of us experience the workplace first as a social setting. This is what makes recognition so powerful: celebrating stories about accomplishments with co-workers and managers makes people feel more appreciated.

The Explorer: People have an innate desire to contribute to something bigger in creative ways. Frequent acknowledgment of daily contributions connects us all to work in a more meaningful way, encouraging a higher level of commitment and more innovative thinking. . ."

(from me. . .)
The (real) Musician:  Enjoys awards and recognition and the truly savvy among them exploits the promotional value these awards and recognition provide.  He (or she) will however, continuously perpetuate the making of music for as long as their own organism continues the process of breathing most importantly because that's just about all that they CAN DO!

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Dear Mr. Radioman. . .

". . . I would like to send you a copy of my latest release (via whichever medium YOU prefer) Black & White Then Back in hopes of a review, interview or other airtime. 

Creative Musician Ray Jozwiak's new, digital-download only, solo, instrumental piano music release  BLACK & WHITE then BACK transports you to aural locales inhabited by emotions, sentiments, memories, hopes, joys and challenges we've all encountered. You may even hear a snippet of a song you remember from childhood, have flashes of your first date, recall aromas from the kitchen when you visited your grandmother, remember your favorite summer vacation or when you fell in love.

BLACK & WHITE then BACK is available through digital distribution only (www.cdbaby.com).

"RAY JOZWIAK is back with his gonzo piano, boldly taking us to places no-one has gone before, not even him!  (Rod Deacey, Board Member of the Frederick Acoustic Musicians Enterprise (FAME), Musician, Performer, Writer, Poet, Organizer, Emcee, Bluesman 11/20/11
". . . Anywhere he dabbles along the piano keys, he produces sonic glitz forming impressionistic images. . . " (Susan Frances, cdreview.com)
". . . He’s got some terrific ideas there and an unusual approach to rhythm and song structure. These are fantastic assets and more than one of his songs could find tons of fans who appreciate music which isn’t the same ol’ same ol’ all the time. . . "  (Paul Sedkowski, Fairplayformusic.com)

I would like to send you (either digital music files via 'WeTransfer.com' or a physical CD-whichever you prefer) of my new release of solo, piano recordings. 

Best regards,
-Ray Jozwiak. . ."

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My latest release, Black & White Then Back,
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The Difference. . .

. . . between. . .

. . . self-confidence and egotism is very fine.  Self-confidence is, in truth, ego but with some restraint whereas egotism is demonstrated externally.

There is no better illustration of this difference than that of musicians.  And adding insult to injury is the musician who possesses egotism in an amount disproportionate to their actual talent.


My Ego
© 1997 Raymond M. Jozwiak




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My latest release, Black & White Then Back,
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Dweezil. . .

. . . Zappa, did you know, was named after his mother's toe?

. . . there are worse things after which to name a baby. . .

. . . But nevertheless,  it can't be easy to be the son of one, choose the same profession and follow in the footsteps of one of the most controversial, loved-or-hated, cult-hero, talented, dedicated musician/composer/producer/creative artists of the 20th century. . . 

(from http://www.allmusic.com/album/return-of-the-son-of-mw0001997668)
". . . Having apparently given up on the idea of having a solo career outside his father's shadow, Dweezil Zappa has taken to touring with a project he calls Zappa Plays Zappa, which is exactly what it sounds like: an evening of Frank Zappa music, played by his son and a band of talented if relatively faceless pros. From a purely musical standpoint, this stuff is excellent; Zappa junior is a ferocious guitarist, and he and the band know the material inside and out. . ."

(http://www.progarchives.com/artist.asp?id=7451)
". . .In the years that followed, ZAPPA's playing and writing gradually grew to take on more of his father's style, humor and complexity. During the mid-90s, Dweezil formed the band Z with his brother Ahmet. This group also included Mike KENEALLY and members of his band, and KENEALLY's sound dominates this project. In 2006 he released his finest, and most progressive album to date, Go With What You Know, where he mixes his hard rock chops with music that comes very close to his father's rock work. . ."

(from http://www.deepdiscount.com/cd/Go-with-What-You-Know?)utm_source=PriceGrabber&utm_medium=CPC&utm_campaign=PriceGrabber
". . .The new Dweezil Zappa record (CD) is aptly titled "Automatic". It's his first release under his own name in nearly a decade and marks a return to his roots as a guitarist. It's also the first predominately instrumental guitar album of his career. Operating under the musical credo "anything at anytime for any reason at all" gave Dweezil the freedom to explore new territory. The album features thick layers of multi-tracked guitar textures, all perfectly executed and combined with wild rhythms and intriguing improvisations, adding nicely to the Zappa Family legacy which has provided alternative entertainment for those who have embraced it for over thirty years. . ."

. . but he's holding his own. . . he's super talented and creative. . . 

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iPod? . . .

. . . as a solo instrument. . .

(from Wikipedia.com)
Don ". . . Preston was born into a family of musicians in Detroit and began studying music at an early age. His father was the composer-in-residence for the Detroit Symphony Orchestra.

Preston later did a stint in the army, serving in Trieste, Italy. Upon his return to Detroit during the early '50s, Preston associated with pianist Tommy Flanagan. He also sat in with Elvin Jones and others at the city's West End Cafe where Yusef Lateef conducted twice-a-week jam sessions with Milt Jackson's brother, bassist Alvin Jackson.

Preston moved to Los Angeles in 1957 where he hooked up with pianist Paul Bley, bassist Charlie Haden, and others who were hearing jazz in new ways.

Many will recognize Preston from his long collaboration with Frank Zappa as the keyboardist and one of the members of the original Mothers of Invention. Preston performed and recorded with Zappa until 1974. During that time he was music director for Meredith Monk(with whom he had previously shared a house) and started recording and performing electronic music.

He is a co-founder of the Grandmothers and still active with the band, completing an extensive tour in Summer-Fall 2000 and later tours through 2011.

Preston also appeared on-stage as a guest keyboardist with the Zappa tribute band Project/Object (featuring Zappa Band alumni Ike Willis and Napoleon Murphy Brock) for several shows in 2001 and 2002.

From his Cryptogramophone Records biography: "Often compared to Cecil Taylor for his style of attacking the keys with intense passion, Preston’s solos also reflect intellect, technical skills and a storyteller's way with a line. His playing, like his compositions, ranges across panoramas of mood and emotion, all colored with the freedom that comes from possessing remarkable facility.

Preston has played and recorded with the likes of John Lennon, Peter Erskine and John Carter. He also has scored more than 20 feature film scores and 14 plays. He's the winner of numerous awards, and has performed with the Los Angeles Philharmonic and London Philharmonic. Known to jazz and keyboard aficionados for his pioneering contributions in the use of synthesizers and piano, legendary clarinetist and composer John Carter dubbed Don Preston the "father of modern synthesis.". . . "

And yes indeed, he DOES play the iPod. . .

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Runs . . .

. . . in the family . . .

(from Wikipedia.com)
Dweezil Zappa was born in Los Angeles, California, the son of musician Frank Zappa and Gail Zappa, who worked in business. He is the second of four siblings: his older sister, Moon, younger sister Diva and younger brother Ahmet. He is the cousin of actress Lala Sloatman. Zappa's father was of Sicilian, Greek, Arab, and French descent, and his mother was of French, Irish and mostly Danish ancestry.

Dweezil's registered birth name was Ian Donald Calvin Euclid Zappa. The hospital at which he was born refused to register him under the name Dweezil, so Frank listed the names of several musician friends. "Dweezil" was a nickname coined by Frank for an oddly-curled pinky-toe of Gail's. At five years old, Dweezil learned that his legal name was different, and he insisted on having his nickname become his legal name. Gail and Frank hired an attorney and soon the name Dweezil was official.

In the 1980s, Zappa worked as an MTV VJ and was promptly fired after badmouthing MTV on The Howard Stern Show. He also recorded some solo albums, as well as playing for other artists. Zappa can be heard playing lead guitar on The Fat Boys' "Wipe Out" (1987) and can be seen in the music video for Don Johnson's top 40 song, "Heartbeat". He also played co-lead guitar (along with Reb Beach) on Winger's cover of Jimi Hendrix's "Purple Haze". Dweezil has said that Eddie Van Halen was his favorite guitar player, and he began copying Van Halen's distinctive guitar style. He also had a part in the futuristic Arnold Schwarzenegger film The Running Man as Stevie ("Don't touch that dial!"), and gave his most famous cameo role in John Hughes's Brat Pack film, Pretty in Pink (starring Molly Ringwald), as Andie's friend, Simon.

Since the early 1990s, Zappa has been working on a piece of music named "What the Hell Was I Thinking?", a 75-minute piece featuring guitar solos by dozens of famous guitar players. The project has suffered from numerous difficulties and has been reworked several times since the '90s. Dweezil said in September 2004: "I started recording it on analog tape almost 13 years ago... There are probably about 35 guest guitar players on it, everybody from Brian May to Eddie Van Halen, Eric Johnson, Angus and Malcolm Young — it's quite a crazy project. I'm still waiting and hoping to record Jeff Beck and Jimmy Page as some of my final guests on there."

In 2006, Zappa organized the "Zappa Plays Zappa" tour. He assembled a band of young musicians with a view to bring the music of Frank Zappa to a younger audience. The tour also featured guest appearances by Steve Vai, Napoleon Murphy Brock and Terry Bozzio. The tour began in Europe in May with dates in the U.S. from June. After a break it continued in the U.S. on October 18, 2006. The 2007 version of the tour ran from July, finishing in Australia in early December, and featured Ray White as special guest. The shows ended with the promise: "There are so many songs we want to learn to play ... see y'all next year ...", and further tours have followed each year since 2007.

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I love. . .

. . . to speak with Leonard(o). . .

(from wikipedia.com)
". . . Leonard Norman Cohen is a Canadian singer-songwriter, musician, poet, and novelist. His work often explores religion, isolation, sexuality, and interpersonal relationships. Cohen has been inducted into the American Rock and Roll Hall of Fame and both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame. He is also a Companion of the Order of Canada, the nation's highest civilian honour.

While giving the speech at Cohen's induction into the Rock and Roll Hall of Fame on 10 March 2008, Lou Reed described Cohen as belonging to the "highest and most influential echelon of songwriters."

The critic Bruce Elder wrote an assessment of Cohen's overall career in popular music, writing, "[Cohen is] one of the most fascinating and enigmatic. . .singer/songwriters of the late '60s. . . [and] has retained an audience across four decades of music-making. . . Second only to Bob Dylan (and perhaps Paul Simon) [in terms of influence], he commands the attention of critics and younger musicians more firmly than any other musical figure from the 1960s who is still working at the outset of the 21st century."

The Academy of American Poets has commented more broadly on Cohen's overall career in the arts, including his work as a poet, novelist, and songwriter, stating that "[Cohen's] successful blending of poetry, fiction, and music is made most clear in Stranger Music: Selected Poems and Songs, published in 1993, which gathered more than two hundred of Cohen's poems . . .several novel excerpts, and almost sixty song lyrics. . .While it may seem to some that Leonard Cohen departed from the literary in pursuit of the musical, his fans continue to embrace him as a Renaissance man who straddles the elusive artistic borderlines." . . . "

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The roar . . .

. . . of the Lyons. . .

Jimmy Lyons alto saxophone player best known for his long tenure in the Cecil Taylor Unit, being the only constant member of the pianist's group from the mid-1960s to his death, after which Taylor never worked with another musician as frequently. Lyons's playing, which usually retained a strong influence from bebop pioneer Charlie Parker, helped keep Tayor's often wildly avant garde music tethered to the jazz tradition.

He was born in Jersey City, New Jersey and brought up firstly there for his first 9 years, before his mother moved the family to Harlem and then the Bronx. He obtained his first saxophone in the mid-1940s and had lessons from Buster Bailey.

After high school, Lyons was drafted into the United States Army and spent 21 months on infantry duty in Korea, before spending around a year playing in army bands. On discharge, he attended New York University. By the end of the 1950s he was supporting his interest in music with day jobs in the Postal Service.

In 1961 he followed Archie Shepp into the saxophone role in the Cecil Taylor Unit. His post-Parker sound and strong melodic sense became a defining part of the sound of that group, from the classic 1962 Cafe Montmartre sessions onwards.

During the 1970s Lyons also ran his own group with bassoonist Karen Borca and percussionist Paul Murphy, taking performance opportunities at the loft jazz movement around Studio Rivbea. His group and the Unit continued a parallel development through the 1970s and 1980s, often involving the same musicians, such as trumpeter Raphe Malik, bassist William Parker and percussionist Paul Murphy.

Lyons died from lung cancer in 1986. The recording legacy of his own group was relatively sparse, though that situation has been rectified by a 5 CD boxed set of archive recordings from 1972 to 1985, released on Ayler Records.  (from wikipedia.com)

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