Not just yesterday

When was the last time I heard anyone refer to sheet music?  I've been pondering that today.  I'm still not sure of the answer, but I know this: Much like the last time I used a pay phone, it was in this century but not recently.

Softening the edges

Out of respect for Memorial Day, I played Fleetwood Mac's "Dust" this morning.  As the song drew to a close, I thought, "As sensitively written and sung as this is, I don't want to end the morning on a song about the finality of death."  I segued it with the band's "Sunny Side Of Heaven" instrumental.  Although my hope for the future of humanity isn't as bright as it once was, I'd still like to believe in the sliver of hope that "Sunny Side Of Heaven" offers.

Only in college XCVI

I always enjoyed the last few orchestra rehearsals of the school year.  After the orchestra played its last concert, the pressure was off.  For the few remaining rehearsals, we'd play pieces the director was considering for the next school year.  We knew we'd never play some of those pieces again, so it was a chance to play works we hadn't seen before for the sheer enjoyment of it.

I still regret that I only got to play Beethoven's seventh symphony during those end-of-year rehearsals, though.  With its mighty, joyous first movement and solemn second movement, it would have been great to play in concert.

At least I can still say I've played that symphony, even though it was just in the rehearsal room.

Persistent earworm alert CCLXVII

There are multiple versions of the '30s standard, "You Oughta Be In Pictures."  Rudy Vallee and Doris Day recorded two of the more familiar renditions.  That song runs through my mind sometimes when I look at photos of Rosie, a calico cat who was in my family from 2001 until 2014.  She seemed to believe that song was written for her.  Of all the cats my family has had, Rosie has been the best at posing for pictures:

October 19, 2005: Rosie, posing for a photo, as usual.

Stingray Music highlights XC

Friday morning standouts:

Adult Alternative

• The Only Heartbreaker-Mitski (An honest acknowledgment of what it feels like to be the one who says, "Sorry, but this relationship isn't working," set to a compelling, propulsive beat.) 
  

Cool Jazz

• Chance Meeting-Acoustic Alchemy (Placid acoustic guitar.)
• After The Rain-Duke Pearson (Sublime piano and contemplative flute.)

Folk Roots

• Say-O-The Early Mays (Endearing vocal harmonies not unlike those on various versions of "I'll Fly Away.")
  

Jukebox Oldies

• Harlem Nocture-The Viscounts (Quite the showcase for a saxophonist.)
• Michael (Row The Boat Ashore)-The Highwaymen (For fans of Kingston Trio or Brothers Four-style vocal harmonies.)

Retro R&B 

• Time Is On My Side-Irma Thomas (It's refreshing to hear this emotive rendition instead of the Rolling Stones hit, which was played constantly on oldies and classic rock stations for decades.)
  

Smooth Jazz

• Good Times Are Better-Nils (Sunny, uptempo guitar.)

Stingray Music highlights LXXXIX

Thursday afternoon highlights:

Baroque

• Giuseppe Tartini: Violin Concerto, D.56 (Claudio Scimone & I Solisti Veneti) (Tender and melancholy.) 
  

Chamber Music

• Franz Schubert: Piano Sonata in B major, D.575 (Wilhelm Kempff, piano) (I have yet to hear a Schubert piece I don't like.  This piece has an appealing optimistic undercurrent, which doesn't surprise me.)
  

Folk Roots

• Elegy-The Kennedys (Movingly sung, with a Beatles-influenced, "Things We Said Today"-style guitar part.  I was glad to hear one of my favorite soprano singers in Maura Kennedy segued with...)
• Like Molly Brown-Carrie Newcomer (...one of my favorite alto singers in Carrie Newcomer.  Newcomer excels in writing and singing lyrics about perseverance, sensitivity, and making things fairer.  She's still one of the most consistent artists I've ever heard.  If you like one of her CDs, you'll likely enjoy all of her others.)
  

Jazz Masters

• Guess I'll Hang My Tears Out To Dry-Dexter Gordon (With such elegant, tuneful saxophone and piano accompaniment, this is one of the best ways to wallow in one's sorrows.  This tune conjures up a mood similar to...)
• Here's That Rainy Day-Paul Desmond (...this one.  Kudos to Stingray Music for pairing these two songs.)
• Sister Sadie-Horace Silver (A great joint-is-jumpin' showcase for piano, trumpet, and saxophone.  Also recommended: Joey DeFrancesco's version, in which the organ carries the melody.)

Latin Lounge

• Nora Se Va-Bronx River Parkway (Nora is leaving?  This is a strong cha-cha melody to use as one's exit theme.)
• Lado Este-Sara Valenzuela (An interesting collaboration between a breathy, whispery voice and a spacey instrumental backdrop.)

Soul Storm

• Brighter Days-Emeli Sande (Gospel-influenced lyrics sung with considerable conviction.  Considering the not-so-great state of the world, I hope this promise of a better world comes true.)
  

Online radio sampler highlights CLXX

Recommended tunes heard today:

KOPN (Columbia, MO) 

• Animosity-The Warning (Need to vent?  Maybe work off some rage?  These ferocious vocals and wall-of-sound, jump-out-of-the-speakers guitar should help you.  Cruiserweight's "Slack" would sound right to me before this.)
  

KVMR (Nevada City, CA)

• Leave You With A Smile-Willie Nelson (A sincere way of conveying that you still think the world of your beloved and regret the mistakes you've made.  If you can't look back at your life and convey these sentiments at age 89, then when can you?)

WBGO (Newark, NJ) 

• The Rain-Melody Gardot (Appropriately melancholy piano and vocals.)
• Embraceable You-Joe Lovano (Warm ballroom elegance, thanks to Lovano's performance on saxophone and big band-style accompaniment.)
• At Last-The 3 Sounds (An excellent instrumental rendering of a standard many listeners know in its Etta James vocal incarnation.  Piano, bass, and drums suit this tune well.)

The foot-biting default option XVIII

I hadn't heard the Stroh's beer jingle, "There's nothing like a Stroh's beer," in many years.  My cat, Collette, jogged my memory tonight, however, by singing, "There's nothing like a foot bite!"

Try as she might, she still hasn't sold me on the foot-biting concept.

FM dial scan highlights CXCI

Five standout tunes heard today:

KDHX 88.1 FM

• Hot 'n' Cold-Albert Collins ("Truckin' With Albert Collins" was the blues album from which I played the most tracks on KCOU, and this walking melody for guitar and sax was one reason why.)
• Alberta Bound-Gordon Lightfoot (If you've got a reason to take to the road, this is good driving music.  I've segued it on a mix CD with Jim Croce's "Big Wheel.")

WSIE 88.7 FM

• Gentle Samba-Carolbeth True (A pleasant, energetic, accessible melody for piano, bass, and drums; it's yet another example of why True's music deserves more acclaim outside of St. Louis.)
• Good Morning Heartache-Chris Botti featuring Jill Scott (Laura Fygi's breathy version, which KNJZ used to play, is still my favorite.  Botti, however, creates a sly, foggy atmosphere on trumpet, which suits Scott's vocals well.)

KCLC 89.1 FM

• Scare Away The Dark-Passenger (A fair acknowledgment of how much time people spend behind computer screens today.)
  

Spotting kindred musical spirits

I would never put a bumper sticker on my car.  I just don't think it's necessary to promote my favorite radio stations--or any stores or causes, for that matter--that way.

Whenever I see a bumper sticker for KDHX or WSIE, however, I think, "That must be one intelligent driver with good musical taste." 

I would also think the same of anyone with a K297BI Classic 107.3 bumper sticker, but I have yet to see anyone driving around with one.  I wonder if their listeners feel the way I do about bumper stickers.

Persistent earworm alert CCLXVI

Given the intensity of the storm in St. Louis this morning, it feels appropriate to have Shooting Star's "Hang On For Your Life" in mind.  Considering how well the tune lends itself to being cranked up in a car, I'm surprised this 1981 track wasn't a smash album rock hit.  Vocally and instrumentally, the energy and proficiency are there.  The song has textbook elements of what I'd think would be a classic rock anthem.  Inexplicably, this song and this Kansas City band never got the national recognition they deserved.

Context? CLXXI

Heard on an out-of-town radio station yesterday:

DJ #1: (A caller asked me,) "Did you hear the joke about the squirrel?  'Cause it sucks."  She then hung up...

DJ#2: That's so on-brand for her.

To say the least, that's a quirky preface to a joke you don't even end up telling.  What about the caller's behavior made that setup so on-brand, I wonder?

Online radio sampler highlights CLXIX

Ten ear-catching Thursday highlights:

KEXP (Seattle, WA)

• Chariots Of Fire-Titles-Vangelis (This memorable orchestral melody still stands up 40 years later.  I was sorry to learn of this composer's recent passing.  For a sample of his gripping uptempo scoring, listen to "Pulstar.")
• Pana-vision-The Smile (Haunting vocals, piano, and strings in this April release from members of Radiohead.  It's appropriate for the middle of the night or a gloomy, stormy day like we're having today in St. Louis.)

KNKX (Tacoma, WA)

• More Than This-Charlie Hunter Quartet/Norah Jones (This is an excellent cover of the Roxy Music song, recasting it as a warm jazz number.)
• Down Home-Lou Donaldson (A great bluesy melody, which Donaldson carries on alto sax.)
• A Change Is Gonna Come-Bill O'Connell (An elegant, thoughtful showcase for piano and saxophone, released in January.  I would segue this with "Here's That Rainy Day" by Bill Evans.)

WAYO (Rochester, NY)

• Man In The Teapot-Fire (A fun reminder of the 1967 pop scene that could segue with "Nickelodeon Music" by The Family Tree.)

WERS (Boston, MA)

• I've Been Waiting-Matthew Sweet (One of the more sincere, tuneful ways of saying, "Hey, I like you.")

WPNV (Peoria, IL)

• Good Times-Chic (Lyrically, everything's right there on the surface, which is perfectly appropriate for a dance groove like this.)

WTJU (Charlottesville, VA)

• Tickles-JennyLee (A downcast indie rock dance groove with low-pitched vocals and a bubbling undercurrent of bass.)
• Drag Yourself-The Aluminum Group ("Cannot Make You Out" is still my favorite Aluminum Group track, but this April release about cautioning someone not to make reckless decisions has a good vocal hook and synth backing seemingly from the early '90s.)
  

Reluctant perspective

This might sound like heresy from someone who blogs each day about his love for music, but I've concluded that music doesn't belong at a high school class reunion.  Three instances from past reunions sparked this realization:

• During one reunion, I didn't see anyone paying attention to the band that was performing.  There was nothing wrong with the performers.  They were giving it their all with solid saxophone soloing and rhythmic thunks.  They also encouraged people to dance, but I didn't see anyone obliging them.
• At another reunion, there was recorded music played over speakers.  I have nothing against the Pixies tune, "Monkey Gone To Heaven."  In fact, I played it on KCOU.  It didn't set the right ambience for a class reunion, however.
• At yet another reunion, a band performed just outside a bar.  Their cover of "Shake Your Body (Down To The Ground)" by The Jacksons was impressive, but for the first hour, I felt like I was almost shouting to make myself heard.

When people who don't see each other often have a chance to catch up, it's challenging enough to communicate in an already noisy, crowded environment.  I don't begrudge any band trying to make a living, but music during those occasions mostly gets in the way.

Persistent earworm alert CCLXV

You don't have to be from Canada to appreciate The Guess Who's "Runnin' Back To Saskatoon."  The tune's rhythmic strength should have made it an American hit.  In addition to being well-structured, the opening riff is nearly impossible to forget.  Not just any band could craft a credible song about going to gas stations, libraries, and grain elevators, but The Guess Who did. 

FM dial scan highlights CXC

Five noteworthy tunes heard today:

KDHX 88.1 FM

• No Meu Pais-Dom La Nena (The piano intro, which reminds me of Joe Jackson's "Down To London," primed me to enjoy this melancholy-sounding number about appreciating the place where you grew up.)
• As Asas Sao Escadas pra Voar-Barbara Eugenia & Tata Aeroplano (An approximation of how Neil Finn or 7 Worlds Collide might sound performing an acoustic voice-and-guitar tune in Portuguese.)

WSIE 88.7 FM

• Lavish-Alex Parchment featuring Jordan Love (A steady, driving trumpet groove reminiscent of Parchment's 2020 track, "Vibin' In Time.")
• Little Paradise-Eliane Elias (A pleasant slow number with thoughtful lyrics about not taking the positive everyday aspects of being with someone for granted.)

KEZK 102.5 FM 

• Our House-Madness (Even after hundreds of plays, the opening swoosh of this 1983 hit draws me right in.  Perfectly coordinated vocals and horns coalesce around a strong hook.  Well-sung, well-played, and well-produced.)

Persistent earworm alert CCLXIV

Talk about a song that leaves the listener wanting more.  Joe Jackson's 1991 high energy track, "Jamie G.," is barely over two minutes long but packs considerable infectiousness into that short time.  It's a fun, fast workout for piano and drums and likely a blast to sing, as well.  Conceivably, it could segue with a mambo.

The first time I heard it, I thought, "The energy level on that track is through the roof.  It's a shame it's not longer."

Then, I thought, "Actually, although it wouldn't have hurt to have had a long piano vamp in the middle or at the end, the song says all it needs to say in two minutes.  I can't fault it for that."

Fast, catchy hooks are the best kinds of earworms, in my opinion, so I recommended "Jamie G." to anyone who agrees.

Persistent earworm alert CCLXIII

When someone is about to reminisce, I often think of the jingle, "Sixty-three, KXOK, The Time Machine!"

There must be other St. Louisans who do the same.  That's truly nostalgic, I think, to have frequent recall of a 40-year-old jingle for an oldies radio show.

Online radio sampler highlights CLXVIII

Seven of the better tunes I've heard this afternoon:

KGKG (Salida, CO) 

• Freewill-Rush (I've always thought "Permanent Waves" is Rush's best album, thanks to "Entre Nous," "The Spirit Of Radio," and this track.  Lyrically, it's a good reminder that failing to decide counts as a decision.)

KRTU (San Antonio, TX)

• Spotlite-Mary Osborne (A cookin' melody for guitar and showy brass and winds.)
• I've Got You Under My Skin-Joe Henderson (Full of pep.  This rendition flutters and soars, thanks to Henderson's commanding tenor sax playing and a top-notch rhythm section.)

KXT (Dallas, TX)

• Any Major Dude Will Tell You-Steely Dan (A reassuring way of telling someone, "These rough times won't last forever.")

WHPC (Garden City, NY)

• Begin The Beguine-Artie Shaw (A strong version of this Cole Porter standard that shows that stately and jaunty aren't always contradictory terms.  Also, seek out the Frank Comstock-arranged version of the tune on the Les Brown tribute CD, "Anything Goes."  That bossa nova rendition is still my favorite.)

WSCA (Portsmouth, NH)

• Bone And Soil-Chelsea Carmichael (A gripping, somber melody for tenor sax and rhythm players.)
• Helpless-Sugar (Guitar-heavy with vocals somewhat reminiscent of Pearl Jam; I feel like it's 1992 again, and I'm back on KCOU.)
  

Wishing Charlie well

While listening to longtime KMOX host Charlie Brennan's last talk show today, I thought about how much the past influences the present.  Brennan joined KMOX in 1988.  One of his most memorable shows to me was in the mid to late '90s.  Brennan interviewed John Pizzarelli, and Pizzarelli and his ensemble performed a blistering rendition of "Avalon."  I knew a Pizzarelli fan from college would appreciate hearing the interview, so I recorded it and mailed it to her.

Fast forward about a quarter-century, and Pizzarelli is a guest on Brennan's final show.  

"It all comes around," I thought.  "Good for John Pizzarelli...And, for that matter, good for Charlie Brennan...If you do quality work, you deserve to have frequent, long-lived outlets for it."

Several minutes later, I was pleased to add another name to that list.  Brennan's co-host, Amy Marxkors, promised that "a special mystery guest" would appear after a commercial break.  That mystery guest was Erin Bode, a local singer I've praised multiple times on this blog.  I recognized her voice immediately as she performed a song written specifically for Brennan.

"Good for Erin Bode," I thought.  "She has released excellent CDs and played excellent concerts for the last two decades.  What a great choice for a final guest." 

On KMOX and on the TV panel discussion show, "Donnybrook," Brennan has posed questions and presented opposing views with civility that not everyone has these days.  Here's hoping he enjoys his retirement from radio and his continuing role as "Donnybrook" provocateur.

Context? CLXX

When your radio station's format mixes music and sports, your audience won't always follow you.  Over 20 years ago, the radio was tuned to a football game at work.  When the game ended, the station went back to playing oldies.  As "You've Made Me So Very Happy" by Blood, Sweat & Tears started, a co-worker remarked, "This sounds like (Bill Murray's "Saturday Night Live" character) Nick, the lounge singer."

I've always liked that song, but I knew what he meant.  Shortly after that, someone else turned off the radio.

Alas, gridiron play-by-play doesn't usually segue into a '60s oldie.

Incredulous nostalgia

There's nothing like looking at a piece of music you played years ago.  It brings back memories of how much you enjoyed the piece and how satisfying it was to bring it to life.

There's another aspect of nostalgia, however, that astonishes me now.  Looking at some of the pieces I played now, I sometimes think, "I actually played this?  Really?  I somehow mastered all of these shifts and these key changes at this rapid tempo?  Did I have a bionic arm that I've forgotten about?"

I don't know that I could play a lot of the pieces I somehow pulled off decades ago.  It's comforting, however, to remember that I could once play them and can still enjoy listening to them.  

Many former athletes can relate to this feeling, I imagine.

Facing the home stretch

Every early to mid May, I feel a bit wistful.  It was always an odd feeling, being in the home stretch of any particular school year.  It was especially difficult during my last year of high school and even more saddening during my last year of college.

Thirty-three years later, I still remember the choir singing, "But for now, we must say goodbye," during the high school baccalaureate service.  Twenty-nine years later, I still remember leaving KCOU's audience with the final song I chose, "Give It Up" by Hothouse Flowers.

I had an enjoyable time going back to visit my high school just before the following Thanksgiving, and I enjoyed all of my sporadic visits back to college and KCOU.

Being a visitor isn't the same as truly belonging to a place, though.  For any readers about to graduate high school or college and transition into college or the workforce, just know there's at least one blogger out there who sympathizes with the melancholy feelings of loss you might be having.  Even at 51, I remember those feelings well--and it's perfectly human to have them.

Persistent earworm alert CCLXII

April 28, 2022: My cat, Collette, staring me down.

Sometimes, when my cat, Collette, stares at me long enough, Mick Jagger's haunting vocals from a Rolling Stones tune, "I Am Waiting," come to mind.

I'm thinking of that song right now--as Collette continues to stare at me.  

I have the uneasy feeling I'm about to hear a sharp meow from her, directed at me for reasons I can only guess.

Then again, maybe she'll just bite my feet, and that'll be the end of her intimidation tactics.

Spoiling the surprise

For years, I was at work when the Kentucky Derby took place.  I would record the race so I could watch it when I got home.  One flaw in that plan, though: I had to phone in a radio sports report, and I had no idea when the newscaster would mention the Kentucky Derby winner's name.  If he began, "In today's running of the Kentucky Derby...," I could hold the phone far enough away for a moment to avoid hearing the winner's name.  If he began, "Fleet Feet won today's Kentucky Derby," however, I'd have to live with having the surprise ruined.  I didn't want to have the newscaster introduce me, miss my cue, and have an awkward moment of dead air, though.

Admittedly, if that's the biggest sacrifice you have to make as a broadcaster, you're one lucky announcer.

Context? CLXIX

Sometimes, when a radio station plays a song I dislike in honor of a listener's birthday or a couple's anniversary, my distaste for the song softens a little.

I can't imagine ever really liking Wham's "Careless Whisper," for instance, but if it has special meaning for listeners John and Jane Doe, it's churlish to wish that the radio station wouldn't play it. 

Radio is for the people, after all--even the people whose musical tastes clash with mine.

SiriusXM highlights CXXIX

Recommended tunes heard today:

'70s/'80s Instrumentals 

• Number One-Patrice Rushen (If you like the feel of Rushen's hit, "Forget Me Nots," this propulsive groove will likely appeal to you, as well.)
  

Acoustic Guitar Instrumentals

• High Tide-Danny Black (This would sound smooth after "Two Of Us" by The Beatles or before Thao & The Get Down Stay Down's "Kindness Be Conceived.")

Celebrate

• Dance With Me-Peter Brown (The late '70s had some cringe-inducing dance hits.  This, fortunately, wasn't one of them.  The groove and vocals have held up well over the decades.) 

The Coffee House Discovery

• Outside Looking In-The Saint Johns (Subtle vocals paired with a guitar sound reminiscent of mid to late '70s Fleetwood Mac.  The humming in the chorus adds to the tune's charm.)

Escape

• Greenfields-Ray Conniff (Letting the piano carry the melody with unobtrusive humming is a smart way to ease into this somber melody.  If you prefer a stately vocal rendition, listen to The Brothers Four's cover.)
• Fragile-Lisa Addeo (This sobering Sting song lends itself to a dramatic piano interpretation.)

Luna

• Triste (Live)-Dianne Reeves (I liked hearing an appreciative audience take in these enjoyable vocals and guitar.  This tune has many strong renditions, but the one by Kenny Barron & The Brazilian Knights is at the top of that list for me.)

Real Jazz

• A La Mode-Art Blakey (Brassy and full of life; the Miles Davis classic, "Seven Steps To Heaven," could segue with this.) 

Watercolors Instrumentals

• Coast To Coast-Pamela Williams (Energetic sax-driven smooth jazz with a rhythmic underpinning that reminds me of Deodato's "Bus Stop.")

Yacht Rock Deep Cuts 

• Waiting For Your Love-Toto (It's interesting hearing Toto's vocals against a beat that reminds me of The Gap Band's "Outstanding."  Still, it's not that far removed from the backing the band would later use in the hit, "Pamela.")

Online radio sampler highlights CLXVII

Nine gems heard today:

KAFM (Grand Junction, CO)

• All Day Music-The Mana'O Company (A pleasant, laid-back cover of the hit by War; the flute, guitar, organ, and vocals coalesce smoothly.)

KPTZ (Port Townsend, WA)

• Last One Standing-Monophonics (Wow!  This is from 2020, but I would have sworn it's a '70s track.  I hear a captivating blend of Curtis Mayfield, Isaac Hayes, and "I'd Wait A Million Years" by The Grass Roots in the vocals and instrumentation.)
• Wonder ("Paradise Is There: The New Tigerlily Recordings" version)-Natalie Merchant (Hearing this song in this acoustic arrangement without the hit version's commercial gloss made me appreciate it in a way I hadn't before.  Merchant's vocals are looser and more free-spirited, and the guitar sounds more prominent in this configuration.)

KVSF (Santa Fe, NM)

• A Tune For The Tutor-Clark Terry (As soon as I heard the opening piano riff, I knew I'd like this.  It's a strong, sly melody with Coleman Hawkins on tenor sax, Terry on trumpet, a solid walking bass line, and engaging piano support.  Dizzy Gillespie's "Birks' Works" would sound great after this.)
• Forca da Imaginacao-Alexandra Jackson (Welcoming Brazilian-style vocals and guitar.  Jackson's voice is equally compelling in solo and group settings.)

WCBN (Ann Arbor, MI)

• Mangos-Henri Rene and his orchestra (I'm getting an "It Takes Two To Tango" vibe from this decadent easy listening number.)
• Giovanna-Henry Mancini (A brisk, peppy melody for organ.)
• Quiet Village-Les Baxter (Martin Denny's novelty version, with its human imitations of jungle animals, is the one I've heard most often.  Baxter's original version also deserves its due, however, for establishing the tune's haunted house feel.)

WORT (Madison, WI)

• Emily-The Don Friedman VIP Trio (I've praised Nika Rejto's flute-centered version before for its birdlike grace.  Friedman carries the melody on the piano well, making the interesting choice with his combo to segue from a waltz-like flavor to a more assertive arrangement.) 
  

Scanning the dial--constantly

Decades ago, I used to cut out the AM and FM radio dial listings from the newspaper every so often.  I thought it was important to always a have a readily available list of all local call letters, frequencies, and formats.  I scanned those listings regularly for format changes.  It always irked me slightly when a station changed formats without my knowing about it beforehand.  I vowed I wasn't going to let that happen if I could help it, so eventually, checking the station listings became a daily routine.

I'm less manic about it now, but I still want to know the call letters, frequency, and format of every local station.  I know that not every format will interest me, but I always want to know what's out there.

The pitching duel dilemma

One day in 1984, I decided to listen to a baseball game on KMOX from start to finish.  I wrote down the starting lineups and prepared to take notes on the game.  There weren't many highlights to record, however, as the St. Louis Cardinals won, 1-0, over the Pittsburgh Pirates.  The game was essentially over in the first inning.

I thought back to that game today, as I listened to the Cardinals play the Kansas City Royals.  Once again, the Cardinals won, 1-0, and the only scoring happened in the first inning.  As inning after inning passed with no further scoring, I considered turning off the game.  I didn't, however.

That's the dilemma radio listeners face with pitchers' duels.  Do you give up and read the highlights online later, or do you stay the course?  Sometimes, it's best to keep listening.  After all, the listener owes that to--well, no one, actually.  Still, once you've invested enough time in a game, you might as well listen until it ends.  A baseball broadcast isn't just about the final score.  It's about the suspense of wondering how each batter will respond to a pitcher's throws.  It's about the ambience of the crowd, the announcers' asides, and today, at least, wondering if the game will be completed before it rains too heavily.

In a world that's too frequently impatient, it's good to slow down sometimes and take in the low drama of a low-scoring baseball game.

Genuine or manufactured drama?

Sometimes, when I listen to St. Louis Symphony Orchestra concert broadcasts, I wonder what the musicians are thinking.  This happens most often when they perform a piece I played on the bass during high school or college.

Last night, for instance, the orchestra performed Debussy's "Nocturnes."  When I played that piece, I couldn't get enough of the second movement.  The brass, winds, and strings generate much of that movement's dramatic tension.  I wonder if the musicians playing last night were engrossed in that movement's drama as much as I was decades ago.  Or, did it feel more like just one of many concerts to them?  I have no complaints about the orchestra's performance, but it's still interesting to ponder.

Musicians are human, after all.  Even when your intonation, rhythm, and overall musicality are spot on, it's still possible to go through the motions.  Many baseball players on teams that won't make it to the playoffs must have that feeling, as well.