Pure Mellow Jazz

Daily Dose (Dan Blackard & One&Other) (remix 2025)

Part 1: of Disappointments
Part 2: of Encouragement
Part 3: of Repose and Hope (Piano Outro)

Dan: Lyrics
Phaige: Bass, Guitars, Vocals etc
Jaime : Vocals, Piano

Lyrics: Dan Blackard

Part 1
We've all had hope
We've all had dreams
That came apart
right at the seams
Blending all our self esteem
With our daily dose of disappointment..

The day begins like a broken dream
coffee black no sugar or cream
And it blends the promise of a brand new day
With dreadfully dull appointments

The city full of content depression
Faces showing no expression
throngs of hope and desperation
Blend with drained determination

The old guard hardened by the years
Watch young guns wet behind the ears
Ambitious and impatiently
Dream of the day they will be
the ones in old guard shoes

the brass that scheme and deal for more
From offices with large oak doors
And desks that rest on marble floors.
Their blood long cold from heartless negotiations
And selling souls to pay their dues

The fading sun reveals the stars
A long ride home, a trail of cars
Some gathered in their favorite bars but all are looking for solutions
And mix the night with hopeless resolutions

We've all had hope
We've all had dreams
That came apart
Right at the seams
Blending all our self esteem
With a daily dose of disappointment

Part 2
We cant change facts
We cant change truths
But there are things ya can do
to change the mind
and leave these daily doses far behind

Part 3 : Jaime J Ross (piano)

Daily Dose ~ 2025 ~ A Poem by Dan Blackard


there to disappear

with muted senses
searching so as not to find
shuffling our feet as
all our precious clocks
unwinding and wily
what be your business here?
if not to remind me of
all I truly am

and then, and there to disappear
oh,to disappear
and then, and there to disappear

guarded ignorance
wonder doesn't have a name
curtsy to indifference as
night follows days again
no time for distance
let me ring a bell in your ear
all out of patience
I turn another page

and then, and there to disappear
oh,to disappear
and then, and there to disappear

all these demands, this rush for affection
'just saying, who needs love when we've got protection?

and then, and there to disappear
oh, to disappear
and then, and there to disappear
to disappear

Rightly

there to disappear

Video Link: https://www.youtube.com/watch?v=WJRhc5D4uTA

The Swan & The Fox Part II

The Swan & The Fox Part II & Video Link

There are moments when it's better to stop, think and never stop loving
three one-take improvised tracks with a trap drum machine base

Dis70pic0

“Bach, Satie, Moog”
This piece is constructed from four-bar, and occasionally eight-bar, phrases recorded almost entirely in one-take improvisation, then combined into blocks.

The title itself was simply taken from words that happened to appear on the spines of books on my shelf. But since that would sound a bit dull, let me add some explanation.
	1.	Bach
In today’s textbooks on Western classical music, “the great Bach” always appears. Through The Well-Tempered Clavier, he demonstrated the possibility of composing in all keys and made a major contribution to the organization of musical tones. That is why this piece begins with piano and—though it didn’t exist in his era—the cry of a strange bird (in fact, it was the cat in the OJ household).
	2.	Satie
Erik Satie proposed the idea of “furniture music,” often seen as the origin of ambient music. He was known for inserting humorous performance directions, a rebellious gesture that anticipated a rock-like spirit. At the same time, his compositional skill was first-rate: beyond his classical works, he left behind many pieces that resemble what we would now call pop songs. If he were alive today, he would surely be producing masterpieces of both ambient and pop music. This track was composed while imagining such a figure.
	3.	Moog
Dr. Robert Moog turned the sounds generated by electronic circuits into something anyone could play—through the instrument known as the synthesizer. His achievement is so monumental that it helped define the very shape of modern music. I believe he deserves to be praised alongside the great composers, and so I chose to inscribe his name in the title of this piece.

Bach Satie Moog

My new friend AbraKalabria inspired me with his open collab 
https://soundcloud.com/abrakalabria/this-track-is-for-you

AbraKalabria - dissed pig (fairy-spice noxpox mix)              download activated

Video Link: https://www.youtube.com/watch?v=ck5tY1i7z40

The Earth Love

https://www.youtube.com/watch?v=wqIW5edILtE

Luminous Waves & Video Link

Video Link: https://www.youtube.com/watch?v=_6ys4nk2Ocg

Child of Nature

The Blue Dragonfly (Mix 2025)

The Blue Dragonfly (Mix 2025) & Video Link

From Aaron Goldberg's "At The Edge of The World" (11/16) on Sunnyside Records.

For the past two decades pianist Aaron Goldberg has crisscrossed the globe, spreading his music and absorbing local knowledge along the way.  True to the jazz mentality, he learned to embrace serendipity as an artistic muse.  Five years ago this month, in an historic chateau at the exact geographic center of France, Goldberg was reunited with an early influence.  Soon a new project began to take shape.  Goldberg’s latest recording, At The Edge of The World, documents this recent collaboration with drummer and percussionist Leon Parker, a brilliant innovator and performer, in a new trio along with the gifted bassist Matt Penman. 

While studying at the New School in the early 1990’s Goldberg was introduced to Parker’s singular playing alongside keyboard icons including Kenny Barron, Brad Mehldau and Jacky Terrasson. Parker was a trailblazer on the kit, intent on developing a distinct language and sound all his own. Goldberg went on to attend Harvard but would return in the summers to the City to make sessions with both innovative peers and big city legends, including a multiyear musical mentorship from Betty Carter and a memorable gig with Parker in 1992.

In the decade after his return to NYC in 1996, Goldberg made a name for himself in the bands of Joshua Redman, Al Foster, Wynton Marsalis and Kurt Rosenwinkel, all while developing his own highly regarded trio with bassist Reuben Rogers and drummer Eric Harland. Parker, on the other hand, left New York on September 10 2001 for France, where he stopped playing drum set and nearly disappeared from the jazz world altogether. 

Over a decade later Goldberg found himself in France without a drummer and was curious to see if Parker would be interested in playing again. Leon still remembered him well after 20 years, and without any rehearsal the gig became an unexpected triumph as the two experienced an instant musical reconnection.  It wasn’t long before Parker expressed his interest in continuing their pairing on a more permanent basis, not as a sub but rather a full-fledged member of Goldberg’s band. Parker had found a musical outlet that he hadn’t fully known that he needed, and soon he was eager to get back into the scene.

By the fall of 2015 the duo was dialed in to tour but there were still significant logistical and financial hurdles to overcome.  So Aaron applied for a French-American Jazz Exchange Grant to support this new trio project. Fortunately both the French and American governments were smiling down on them from above, and the duo received both the FAJE grant and a new passport for Parker just in time for the first gig of their tour. The grant also provided enough resources to partially fund two recording sessions: one became Goldberg’s At The Edge of the World, and another led to a co-produced Leon Parker album.  Together these developments allowed for the re-ignition of Parker’s musical career, and he dove back into playing upon his return to NYC.

Goldberg’s longstanding appreciation for the drummer’s highly conversational style continued to grow as they had ever more fun on the bandstand with each tour. The joy in their shared swing and united groove was infectious and their interaction organic. Night by night Parker began to incorporate more of his singular vocal percussion as well as EmbodiRhythm, his personal body percussion techniques, into the music.  The collaboration evolved from an exploratory project into a partnership.

At The Edge Of The World

Luaty

Aaron Goldberg - Luaty

My old SC mate Micah played drums to test a friend’s recording set, and sent me some cuts full of improvised breaks and tempos. I love time changes, yet this was really challenging!

I finally chose two of them and jammed with bass until I learnt his story telling.
Then, I clicked on the red button, again and again.

Drums played ad libitum by Micah Gettys https://soundcloud.com/graphicsontelevisions https://soundcloud.com/letterpressmighty 
Drums engineered and mixed by Dean Johnston https://soundcloud.com/forest-of-dean
Other sounding stuff made in Ruizzoidman's bedroom.
Artwork also makeshifted by Micah Gettys, oh, what a dude !!

Pure Imagination (feat. Dena DeRose, Ignasi González & Jo Krause)

Scott Hamilton

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