Today's blog piggy-backs on the publication of my most recent article for Just Jazz Guitar, a marvelous online magazine of which I'm an author of instructional and inspirational articles (https://jazzguitartoday.com/author/gregchako/).

In the past week or so, I've seen advertisements for performances in tribute of: Miles Davis, Art Blakey, Ella, Horace Silver and others. These particular shows cost more than double the cost of all the other shows happening regularly that are not necessarily playing the music of one particular dead artist. In my own hometown of Cincinnati in fact, I just noticed a couple shows featuring the music of Horace Silver. 

Now, I love me some Horace Silver . . . In fact, I'm an expert on his music! I arranged and performed four of his songs which appeared on my first CD in 1994. I sent copies to Horace and he replied that he dug what I did with them. I transcribed much of the material on some of his albums, such as The Stylings of Silver, and performed it live with my (Cincinnati) Doc's Place house band in the early 1980's. I attended Silver's funeral ceremony in NYC, sitting next to Louis Hayes and Benny Maupin, who I interviewed along with numerous other Silver sidemen for an academic research paper that I got an “A” grade on at Eastman. I did extensive research, read numerous books, analyzed much of his writing, and conducted as many interviews with his sidemen as I could. The bibliography alone is 3 pages. I can email anyone interested a PDF of my paper, or you can go to the “Academic” page of my website: https://gregchako.com/academic and scroll down just a little and click on the hyperlink which looks like this: Horace Silver: A New Definition of Greatness 252 KB 

There are numerous examples of my own writing that are inspired by Silver, most notably I believe, is my original quintet song Smooth Ride, from my Integration II album. It's a song that I also performed as a big band arrangement for my final Doctoral recital at Eastman. That recital is the 10th video on the following video page link of my website, and it's track 7 (the final track) of the entire recital: https://gregchako.com/video

But as much as I obviously love Silver, why would I pay $20-25 cover charge to go see one of my former sidemen play the music of Horace Silver? If I want to hear the music of Miles, Blakey, Silver, Ella, or that of any other dead Master jazz artist, I prefer to hear the original versions on recordings or videos. Besides, I know that for a fact, NOBODY in this town or anywhere else plays like Horace Silver. I can guarantee that were I to go to such a concert, it'd be too many notes played, and the wrong ones to boot! Even if my assumption is wrong and they played Silver's compositions accurately and with authority, would it be as good as the original?

There's a marvelous man named Andrew White who passed away just a few years ago. A saxophonist and Coltrane scholar, who in his own words, possessed “various artistic gifts of excess,” he achieved the most remarkable feat of transcribing over 800 Coltrane solos. There was, then and now, nobody on the planet who could match his hands-on knowledge of Tranes' sax playing, yet . . .  How many Andrew White albums do you have? 

It seems to me, and is confirmed to me by industry leaders in the know who sometimes advise me, that were I to put together a Horace Silver show, that in and of itself, would guarantee me a higher level of success than what I have now. I personally know guitar-playing peers who were always good, but only after releasing an album of Thelonious Monk songs did the media begin to pay more attention to them. Isn't that what happened to Master player and composer Joe Henderson? After classic albums featuring his own wonderful writing: In ‘n Out; Inner Urge; Mode for Joe; The Kicker; Power to the People, Black Narcissus etc., it was the music of Billy Strayhorn (Lush Life), Miles (So Near So Far) and Jobim (Double Rainbow) that won him 3 Grammy’s and the most critical success of his life.

I love the music of Joe Henderson, Cedar Walton, Wes Montgomery, and Horace Silver, so I do see the appeal and and I feel the desire of doing tribute albums to artists I admire like them; but at the same time, I also realize that going on 66 years of age in June, and having nearly died of Sepsis a couple weeks ago, my time and energy is limited; there's still an infinite amount music in the cosmos that I want to tap into and channel through my own lens, in other words, there's plenty more music inside of me waiting to be composed. And as much as I wish to be part of a musical community that shares (socializes) and supports each other (comes to each others shows), I and all of us I presume, must use our time and money wisely . . . therefore I will not be attending your tribute show . . . 

Actually, of all the dead Master jazz musicians mentioned in this blog, Miles, Blakey, Henderson, Cedar & Silver, I'd bet money that as much as they'd appreciate the remembrance we pay them, what they'd want even more is to hear something NEW and ORIGINAL . . . what are we bringing to the table?

For the album cover pictured above, I borrowed 4 already existing covers for my 2007 release, Everybody's Got a Name, one from Wes, one from Herbie, one from Sam Jones, and one from Philly Jo Jones, then had our names and pictures inserted into the original designs. I hope you appreciate the humor and message of the title. I'll never forget Maestro Mulgrew Miller telling me in person, after hearing this album, “Your shit's . . . (long pause) . . . DIFFERENT!” Grew said I'd be more famous if I had recorded with him and some of his NY-based contemporaries - ha ha! Don't I know it! 

The reissue will be released this Friday April 12th at 12am but the cover has been redesigned:

Greg Chako, Mon Apr 8, Blog #14 from “What's on my Mind?”

I received unsolicited private text messages complaining that I did not mention the word GOD in my last blog post which described my recent medical setback. It was a conscious choice on my part because I do not want to get into a heated debate about religion or politics. My relationship with GOD or my “HigherPower” is a private one which I am aware of each and every moment. I am eternally grateful for all the well-wishes I have received. They have helped me immensely and I am grateful for all the genuine concern and prayers for my well-being.  

For those of you who do not actually know me, I ask that if you don't have something nice and supportive to say to me, please don't say it . . . At least, not unsolicited in my private inbox. I am focusing on the gift of life I've had the pleasure to enjoy for a little longer than I might have thought one week ago lying in the hospital. 

Let me share with you some words of a very wise man which I totally can relate to and believe in, from Hazrat Inayat Khan:

“Music is called a divine or celestial art, not only because of its use in religion and devotion, and because it is in itself a universal religion, but because of its fineness in comparison with all other arts and sciences.”  

“All religions have taught that the origin of the whole of creation is sound”.  

“What art cannot express, poetry explains; what poetry cannot express, is expressed by music. Therefore to a thinker music in all ages will stand supreme as the highest expression of what is deepest in oneself...”;
“...in the East... music has always been taken to be a part of religion...” 

“No part of the world, East or West, can really deny the divinity of music. In the first place, music is the language of the soul; and for two people of different nations or races to unite there is no better means than music. For music not only unites man to man, but man to God”.

I am a musician. My music speaks for itself. Learn it, do it, share it.

Greg Chako, Fri Mar 22nd, Blog #13 from “What's on my Mind?”

I was so excited and prepared to play this past weekend . . . so many plans were made and there were so many people I looked forward to seeing during my recording trio's trip to Cleveland and upstate NY. But the universe had other plans for me.

Wed. night Mar 6th, one week prior to our scheduled departure from Cincinnati, just after I finished teaching for the evening, I suffered uncontrollable chills and went to bed early. I slept 14 hours and went to see my family doctor the very next day. She said I had bacteria in  my urine and prescribed an antibiotic pill. She didnt realize that the bacteria I had was resistant to any pilled medication. Sat. Mar. 9th I went to the ER, was admitted, and didn't leave until 9 days later, coming home last night Mon. Mar. 18th (the same day we were supposed to return from our tour!).

The UTI was a particular strain very difficult to treat. It could only be treated with one type of antibiotic and only by IV. It had infected my kidneys, causing acute renal failure. On the surface, it looked like I needed Dialysis. Fortunately for me, the kidney doctors weren't so quick to go that route. After looking very carefully over my medical records and consulting with an Infectious Disease specialist, the right antibiotic protocol was found; a couple days after beginning the medicine and re-hydrating me, the alarming kidney decline began to at first, level-off, before eventually improving back in the right direction and the kidneys began regaining functionality. As the kidneys improved, the antibiotics dose could be increased and my road to a full recovery began.

The night right after my admittance, I was at an all-time low. I didnt think I was going to make it. But the next morning, as I regained my appetite and began feeling better day by day, my optimism grew and I realized I was being given a new lease on life (likely the title of a new album now in the works). When the nurse took out my Catheter yesterday about 6 hours before my ultimate discharge, I felt like a “free man” after serving a life sentence. 

I am now home and have fully resumed my music teaching and playing schedule. I taught my instrumental workshop last night, have private lessons today and am teaching a vocal workshop; I have gigs on Fri Mar 22, Tue Mar 26, Fri Mar 29, and a private function Sat Mar 30. Check the “Live Performance” page of my website for details: https://gregchako.com/live-performances

I dedicate my life to music; composing it; recording it; playing it; sharing it, and teaching it. It is my purpose; my gift; my lover, and my passion. I am renewing my vows! 

Greg Chako, Tue Mar 19th, Blog #12 from “What's on my Mind?”

My first gig in Shanghai got off to a scary start! I had purchased RT air tickets for all my band members and had an executed contract with the hotel, but I found out less than 48 hours before my flight that my bassist Tim Hauff had no intention of coming! He went off his psycho meds and was in an unstable mental state. I was literally at the Singapore airport waiting for my departure to Shanghai for the gig when I made a phone call to bassist Donald Jackson in Chicago to see if he could step in literally at the last minute for our 3-month contract. Donald said he could make the gig! I borded my plane and had to sort out the details after I got to Shanghai. After that near disaster, I never gave flight tickets to my guys unless it was at the airport waiting with instruments for departure. Apparently, you never really know who's literally crazy enough to bite the hand that feeds them! A couple week later while on the gig with Donald, I found out that Tim actually USED the ticket that I had paid for, had himself a free Shanghai vacation on me! He had enough sense not to show his despicable face on my gig, but I know he made all the rounds of the Shanghai jazz scene except my gig and word got back to me of his treachery from my fellow expat players in town.

Fortunately for me though, Donald Jackson was one of the best, baddest bassists on the entire planet! Unfortunatey, he and pianist Jack Holland have since died, but I'll never forget them!  Jack was introduced to me through Donald. They were both on The Treniers gig in LasVegas, where they backed up the likes of Sammy Davis Jr., Frank Sinatra and the rest of the “Rat Pack”. Jack had 50 years of professional experience when I met him, and was a total sweetheart, he literally “tickled the ivories”. After my Shanghai gig was finished, Donald later returned to China, living and playing there right up until the time of his death a few years ago. 

After the first three months of our contract, I signed a nine-month extension which, if it hadn't been for SARS (Severe Acute Respiratory Syndrome) shutting down everything in 2003, would have resulted in a one-year-long residency! We made a good impression in China. Here are some press reviews from our stint there:

Shanghai is fascinating. There's an unusual mixture of old and new. The Old City of Shanghai stands on the site of a relatively small settlement in ancient times, which began to develop in importance in the 12th and 13th century, but surrounding it now are brand-spanking new buildings and neighborhoods. 

Besides this unique mix of cutting-edge new + ancient-old culture, one thing that I noticed is that when you walk into a pharmacy there, you see a man with a white lab coat behind a long glass display case . . . you're sick, so he asks you, “Do you want Western medicine or Chinese medicine?” If you want Western, he may give you something like Penicillin or the same tablet that you might receive here; but if you say Chinese, he'll ask you some questions about your condition, grab a glass jar of roots from the display case, use a pestle and mortar to grind it up and give you instructions like, “add hot water and drink this before meals 3X a day for one week.” Neat! In case you were wondering, Penicillin is considered over-the-counter in China, and the guy in the white lab coat is a doctor. In some ways (health care?), the Chinese seem way ahead of us . . . Well, let's face it . . . as a culture they've had hundreds of years of historical head start!

There's a clothing market in Shanghai where you can buy either cloth or have clothing (like a suit or coat) made by hand in less than 2-3 days. The doormen greeting guests as they arrived at the Westin Bund Center where we were playing 6-nights a week wore long Cashmere overcoats, double-breasted with Chinese collars. Donald and I took pictures of them and brought them to the Cashmere stall at the clothing market. We had Cashmere coats made from the picture. I still have and use mine. I often get compliments on it when worn here. I did the same with a picture from a magazine of Tom Cruise wearing an unique-designed leather jacket. I took it to the leather stall at the same market and they copied it very well! The prices are unbelievably inexpensive - the most expensive thing I bought there was the Cashmere overcoat, worth at least $1,000.00, I think I paid around $200+ for it. The suits I had made there have lasted all these years. The clothes I had made in Shanghai are durable! I suggest that if you ever get a chance to travel to Shanghai, bring an empty suitcase with you and then fill it up with all new clothes that you buy there. No way you'll ever find a better deal anywhere on Earth. And it's a very quick turn-around, like I said, 2-3 days with a fitting.

The biggest clothing market in Shanghai is Qipu Lu Clothing Market. Also known as Cheap Lu, it's the closest visitors can get to a wholesale clothes market in Shanghai. 

There were many memorable and humorous experiences on this particular gig. For instance . . . I insisted on cash US dollars as payment. We made approximately US$2,400.00 per week. Our rooms were located on the very same floor as the General Manager of the hotel and those 5 rooms were the only rooms on that floor. We got a full accommodation package including all meals, laundry service, etc. We were paid once every two weeks. In order to get paid in US dollars, the “money man” had to be called in. Every two weeks I went down to the F&B Directors office, where he, the CFO (Chief Financial Officer), and I would wait for the “money man.” I kid you not! He showed up in a full length black trench coat and the type of hat you might imagine Humphery Bogart wearing in a mobster movie. He carried a brown paper bag filled with $4,800 US dollars. He'd turn the bag upside down and let all the bills land on the F&B Directors desk where it would be counted. Then I would leave that room with all of my pockets filled with cash (somewhat nerve-wracking to say the least!) and make my way upstairs to pay each individual musician one-at-a-time. 

I'll say that the Chinese people are so warm and wonderful. It would be a mistake to in any way to confuse the people with the government in China, or to be swayed by some of the negative China-bashing propaganda we might hear in the USA. The people are entrepreneurial, curious, humorous, well-informed (better than you might think!) and if you make a friend there, he/she is a friend for life! 

Living and playing in Asia as much I have has not done much at all to advance my professional jazz career in America. I find that, particularly here in Cincinnati, Ohio where I live, folks don't seem to care what I accomplished abroad - they're more interested in knowing what high school I went to - to say that's it's parochial here might be an understatement! But traveling is eye-opening. My life experiences abroad have made me a better person inside, where it counts, and I'll be forever grateful for it.

My band got onto local Shanghai TV once. Here's a copy of the 5-minute show. It's on my YouTube channel - please subscribe to my channel for free and peruse the many videos I have there - Jack Holland and Donald Jackson RIP Maestros!

https://youtu.be/G1iECP4o3aU?si=_kl1v0K4X_4bx0AW

Greg Chako Sat. Mar. 2nd, Blog #10 from “What's on My Mind?”

I played two nights in a row this weekend in a guitar-led trio with bass and drums. I and everyone there had a blast! When you're playing with musicians you like for a receptive audience, it's so much fun, and not ‘work’ at all. Playing jobs like that is my favorite form of therapy!

The G/B/D trio is how I became a professional, it's my ‘roots’. That's the format I started working with in 1995, when I began playing 6-nights a week for literally year after year after year! In the beginning, I played all covers. But, as I became more experienced composing, and later recording my own songs and, as I met a variety of horn players and percussionists, I began moving away from the traditional G/B/D trio format. The varied and vibrant musical community, and the exotic, locale environment of Singapore where I lived then inspired new sounds I began hearing in my head, and I needed more instruments and larger ensembles in order to flesh those ideas out. My albums, Integration https://gregchako.bandcamp.com/album/integration, Where We Find Ourselves https://gregchako.bandcamp.com/album/where-we-find-ourselves, and Paint a Picture, Tell a Story https://gregchako.bandcamp.com/album/paint-a-picture-tell-a-story, featured larger ensembles and all-original music scored with unique instrumentation.

Having re-located to my hometown of Cincinnati, Ohio in 2017, I no longer live in a tropical paradise with such an open and culturally-diverse musical community as Singapore, nor since I returned to the States have I enjoyed the marvelous opportunity to work 6-nights a week with the same hand-picked players night after night over a period of years. And obviously, since I'm not working as much as I used to, I can't afford to make the records here that I did when I was living and working abroad in Singapore and Japan, even if I could find the players.

But G/B/D trio gigs like the ones I had this weekend are such a joy! My love for the format is awakened. Even though I treasure my own song-writing above all else, I have never tired of playing the standards. Songs from The Great American Songbook (GAS) are still popular, and given the writing quality of composers such as Porter, Arlin, Hammerstein, etc., there is always ample opportunity to flex ones' improv and arranging chops on the GAS repertoire. This weekend, we got and fulfilled requests from customers asking for: Any Luiz Bonfa, Mingus, or Sinatra; Autumn Leaves, Green Dolphin Street, and Spring Can Really Hang You Up the Most. It's not called The Great American Songbook for nothing! These songs are masterful, at-once fun & popular, and playing them while leading a guitar trio with (the right) bassist and drummer is beautiful!

My recording trio of Michael Meloy on drums and Mason Daugherty on bass have finished tracking my 17th album. After recording so many albums featuring my own compositions, this new one is a return to the type of music I played at the outset of my career more than 25 years ago, and it'll include some of the songs that we often play locally, like on the gigs I played this weekend. The new album will feature all covers, alternating in Swing and Latin feels. True to my own history, as well as to the material covered on the record, it's going to be titled: Standard Roots, and I expect it'll be released this summer by Mint400 Records and Raining Music.

We'll be mixing and mastering Standard Roots in just a week from now, but meanwhile, we just received more positive critical acclaim for my last album, released just a month and a half ago (with the same trio), Life After 40 https://gregchako.bandcamp.com/album/life-after-40. The brand new review can be read here: https://ink19.com/2024/02/magazine/music-reviews/ynvzei-greg-chako-trio

I'm also excited to have 6 new gigs in the remaining days of Feb. 2024. Two are private and the other four are open to the public. The upcoming gigs start this week and feature a wide variety of formats (trio to sextet) and styles (Blues/Latin/Vocal). Find out where I'm playing and who I'm playing with here: https://gregchako.com/live-performances and please come to one or more of the shows and say hello! I guarantee we'll be having a BLAST!

I hope you enjoy my blog posts - I love doing it! Please leave a comment and/or share it with friends.

Greg Chako, Sunday Feb. 18th, 2024. Blog #8 from “What's on My Mind?”