Well, here I am in L.A.  Moved here about a month ago. And happy to be here, believe me.  Roberta and I are ‘cosmopolitans’ and we are loving being back in the big city.

I’m currently looking for adventure - places to play, musicians to play with, etc. - and I’ll have more for you on that soon.

In the meantime, I’m pleased to say that my new CD, Angel Biscuit, is nearly complete.  Should be out within three weeks or so.  For those of you who have pre-ordered this CD: thank you, thank you, thank you.  Your autographed version will be coming to you soon.

Here’s a little taste of the Angel Biscuit, a tune I wrote called Savannah (that’s the name of our precious 5 lb. Yorkie).  Enjoy!

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I don’t spend a lot of time sitting in bars drinking. But as many of you know, I do enjoy the occasional martini with Roberta and sometimes with some friends.

One night we were up in Nevada City at a cute little spot called Friar Tuck’s and we got into giving ourselves bar names. Mine was, as I recall, Maximus Saximus, or some such elevated nonsense (although  it seemed quite fitting at the time). Roberta’s name, however, was pretty cool: Angelina Biscotti, or, in English, Angel Biscuit.

I, of course, thought, “What a great song title.” See how capricious song title genesis can be? Just so happens I had a new song waiting for a good title.

My little Angel Biscuit. Kiss me on the lips.

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Eddie Harris (1933-1996) was an amazing saxophonist and musician, an inventor and innovator, an educator, a savvy and successful businessman, a masterful performer, a fierce individualist, and a true smooth jazz pioneer.

Eddie Harris, smooth jazz saxophone pioneer

Eddie Harris is not a super-famous sax man.  He’s not someone that gets mentioned a lot when you ask sax players who they listen to or are influenced by.

But when you consider his career and his achievements, and the pervasive influence of his style and technological innovations, it becomes clear that Eddie Harris was a major force in the evolution of jazz/funk/blues fusion music, i.e., the forerunner of smooth jazz.

Here’s a quote from an article about Eddie Harris at the Ubiquity Records website:

In the course of recording more than 70 albums and CD’s, and the author of seven (7) music books, Eddie has displayed himself as a jazz artist who has played blues, rock, jazz fusion, straight-ahead, soul and funk grooves.  Eddie’s pioneering work in musical electronics and the effective conjunction of different elements of blues, rhythm and blues, jazz and funk has had widespread influence of what is generally considered today’s music. Eddie’s music has been sampled by over 30 artists including: Macy Gray, Jamiroquai, DJ Jazz Jeff, Heavy D and the Fresh Prince.

Note the reference to the ‘effective conjunction of different elements of blues, rhythm and blues, jazz and funk’.  That’s smooth jazz, man!

And from the Eddie Harris website:

Eddie’s pioneering work in musical electronics and the effective conjunction of different elements of blues, rhythm and blues, jazz and funk has had widespread influence of what is generally considered today’s music. Eddie’s music has been sampled by over 30 artists including: Macy Gray, Jamiroquai, DJ Jazz Jeff, Heavy D and the Fresh Prince.

‘…widespread influence of what is generally considered today’s music.’ Again, that’s referring to smooth jazz.

To be precise, Eddie Harris recorded 76 albums.  Three of his albums, including his very first release, Exodus To Jazz, were certified gold (over one million copies sold).  I guarantee this album was being heard in every household in the country back in the mid-60’s.  His composition, Freedom Jazz Dance, was recorded by Miles Davis, and subsequently became a jazz standard.  He wrote most of the music heard on The Bill Cosby Show.

One of the most interesting things about Eddie Harris’ career was his work as an inventor and innovator.  Among his many innovations (including the reed mouthpiece for the trumpet, coronet, trombone and flugelhorn) was the use of the Varitone, which was, in effect, an electric pickup for the saxophone.

His use of the Varitone can be heard prominently on many of his recordings, including one his most popular hits, Listen Here, from his album The Electrifying Eddie Harris.  You can hear the electricified quality, and especially the doubled lower octave, on this excerpt from Listen Here, recorded in 1967:

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Finally, Eddie Harris was a fierce individualist.  He followed his heart wherever it led him.  He was often villified by critics, first for his commercial success (they thought he was selling out) and later for his forays into funk and electronics.

Eddie Harris, a true smooth jazz pioneer.

Here’s a review of my most recent CD, Saxual Healing, done by Betsy Graziani Fasbinder, a writer here in the Nevada City, CA area:

I’m a relative newcomer to the Foothills, so maybe natives are familiar with Mark Maxwell, but this local musician is a new discovery for me. When asked to review Maxwell’s new CD release, “Saxual Healing” (clearly a Marvin Gaye allusion) I’ll admit that the title initially made me scratch my head–just a little. I’ve now enjoyed the collection several dozen times. Like a good merlot, these songs get better with each sip.

Maxwell’s music cannot be described without using the word smooth. His sax is sultry and as easy on the spirit. The sound quality is clear and uncluttered. Nothing jarring, no dissonant, anti-melodic jazz riffs, no frantic, over-played melodies—just a silky sax melody that seems as if it’s conjured with human voice rather than by an instrument. While the musicianship is abundant, it doesn’t intrude with any musical muscle flexing. As a novelist, I found it easy to write with the CD playing around me. As the title would imply, this is also great background for, eh-hem, other activities besides writing.

Don’t let the word “background” make you nervous. “Saxual Healing” is no elevator music, with flavorless, instrumentals that plant subliminal ear-worms of annoyance. Nobody wants Muzak intruding on their romance, only to find the mood broken with the question, “Hey, isn’t that ‘Like a Virgin’?” From start-to-finish “Saxual Healing” sets a mood, with not a single note that breaks it.

As I listened to Maxwell’s music for the first time, I thought about how much it appealed to a woman’s sensual sensibilities. No pounding bass line. No abrupt changes of tone. The cover liner and website (www.saxualhealing.com) validated my hunch, noting that this music is co-produced by Mark Maxwell and his wife, Roberta Maxwell. The musical story is intended as a woman’s expression of sensual essence. I love when I’m right.

Seven of ten of the pieces are Mark Maxwell originals, among which is the especially gentle and playful “By Her Side”. One of my surprising favorites (given how much I loved the original) is “Falling”, an Alicia Keyes cover that is simply so sexy that it makes you want to put the kids to bed early.

Now that I know Mark Maxwell’s music, I’ll be checking into his other recordings and hoping that I find him playing around the community. Until then, I think I’ll tuck the kids in and put the CD on—as background.

Betsy Graziani Fasbinder is a local writer, and psychotherapist–currently without a couch. She lives for characters, songs and stories that take her out of her own noisy head and transport her using her heart, mind or funny bone as vehicles.

Thanks, Betsy!

I did a radio interview recently with Bernie Schumacher from the KK Radio Network up in Park Rapids, MN.

I ran into Bernie and some of her friends when I was doing a show down in Tubac, AZ. She and her friends were a hoot, very friendly, very upbeat and fun, we had dinner, etc., and Bernie asked me to appear on her radio show. Here’s the mp3 of that interview:

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