We are half-way through the week. We need to consolidate our repertoire. The time is passing quickly. It's important that we "crunch" the work today.
We rehearse for a total of five hours. In the morning, we work through the whole program once, referring back to the recorded sessions of the past few days. We incorporate some of the ideas and adapt others, until we feel comfortable with the arrangements.
I'm getting used to working with him - I can see on his face when he's ready to bring the song to an end. He says that in Brazil they don't do complex jazz arrangements - simple is better. "You should play relaxed" he says. Certainly, I don't want to feel uptight when I get on stage. I want to know what we are doing.
In the afternoon we play right through the set again. By the end of it my voice is feeling quite tired.
He has brought me a gift from Brazil - a brand new DVD by Gilberto Gil, that has just been released. We flop down on the couch and watch the movie from beginning to end. The music is relaxing and it's wonderful to witness the rhythm and rapport between the musicians.
While I get ready for the evening, I put on my DVD of Diana Krall in Rio for him to watch. He spots a friend of his in the orchestra.
That night we go to La Boheme's jazz night. It's well-attended, and the music is great.
While we're there, I organise with the barman to have five extra places reserved on Saturday night for friends who want to bring extra friends. I've also arranged a complimentary ticket for my teacher for the Sunday night. These arrangements are quite complicated - there are tickets to be bought online, then there are "comps" to be reserved and collected, "holds" at the door arranged through the Fringe, and unofficial holds arranged through the venue. As usual, the artist (that's me) arranges everything.
But I'm so happy with the way this week is progressing. In the throes of feeling grateful for life, I took a risk. It could have been a disaster for both of us, but it's been wonderful so far.
We rehearse for a total of five hours. In the morning, we work through the whole program once, referring back to the recorded sessions of the past few days. We incorporate some of the ideas and adapt others, until we feel comfortable with the arrangements.
I'm getting used to working with him - I can see on his face when he's ready to bring the song to an end. He says that in Brazil they don't do complex jazz arrangements - simple is better. "You should play relaxed" he says. Certainly, I don't want to feel uptight when I get on stage. I want to know what we are doing.
In the afternoon we play right through the set again. By the end of it my voice is feeling quite tired.
He has brought me a gift from Brazil - a brand new DVD by Gilberto Gil, that has just been released. We flop down on the couch and watch the movie from beginning to end. The music is relaxing and it's wonderful to witness the rhythm and rapport between the musicians.
While I get ready for the evening, I put on my DVD of Diana Krall in Rio for him to watch. He spots a friend of his in the orchestra.
That night we go to La Boheme's jazz night. It's well-attended, and the music is great.
While we're there, I organise with the barman to have five extra places reserved on Saturday night for friends who want to bring extra friends. I've also arranged a complimentary ticket for my teacher for the Sunday night. These arrangements are quite complicated - there are tickets to be bought online, then there are "comps" to be reserved and collected, "holds" at the door arranged through the Fringe, and unofficial holds arranged through the venue. As usual, the artist (that's me) arranges everything.
But I'm so happy with the way this week is progressing. In the throes of feeling grateful for life, I took a risk. It could have been a disaster for both of us, but it's been wonderful so far.
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