It also means we have a major commute from Sandy, Utah, to Orem once a week.
Since I am driving, H is manning the CD player. And since these are saxophone lessons, you would think we would be doing some heavy jazz listening on the way to and from. Nope. Think eclectic.
Two weeks ago we started with the Forrest Gump soundtrack. (Although, I confess that we skipped the Johnny Cash and Bob Dylan tracks. Sorry, 60's purists. I lived through that decade at least once. I don't have to relive every minute of it again.) I got a private mini-lesson on jazz piano and H was instructed on swing style and jazz chords for sax. Then we drove home listening to a compilation CD that included Local Natives and Muse.
Last week's commute had the two of us singing along to Forever Plaid at the top of our lungs all the way to Orem, and chillin' to Norah Jones all the way home.
This week we started with Norah, until one of the song's melody and chord changes sounded suspiciously like something else. . . which led H to sing the "something else" at full volume over Norah. And the "something else" sounded an awful lot like "How Deep is Your Love." Except in a different key.
Now, THAT takes talent!
It also meant, of course, that after an hour-long lesson on jazz swing style again, we left Ray and drove home to the Bee Gee's Greatest Hits. Not Benny Goodman. Not Big Phat Band.
I suppose it's okay. At one lesson, Ray told H that versatility is a big selling point for a studio musician. He played Bolero with the Utah Symphony a few weeks back, then was in the pit orchestra for Sunset Boulevard, and is doing a gig with [a still singing] Johnny Mathis in Wendover soon.
So maybe he'll forgive our Bee Gee moment. Hey, driving on the freeway in Utah County, I'm just glad we were Stayin' Alive!!
What should be on the Musical Mystery Tour (uh, Commute) playlist next week? Suggestions?
photo by bigyahu (alan jones)