Hey, I forgot to mention...last week I did a little clinic with the saxophone section of the Valley View Middle School jazz band right here in Snohomish WA. I'm happy to report that tenor players Andrew and Josh (didn't get their last names), both 8th graders, are now checking out John Coltrane recordings. That's great! I look forward to hearing how the 'Trane influences their playing.
And that's who Andrew and Josh are checking out. So...what are you listening to?
Tuesday, May 11, 2010
Dave Marriott's "Pop Culture" band at Egan's in Ballard
I took my 11-year-old, trombone-playing son Alex to hear Dave Marriott's new band, "Pop Culture" at Egans' Ballard Jam House last Friday night. The band was Dave on trombone, Marc Fendel on alto, Chris Symer on bass, and Evan Woodle on drums.
The band's name refers to the tunes they play, the titles of which all have some reference to pop culture. For example, they opened with a tune by Ron Carter called "81," which is apparently a numeric, secret code for the Hell's Angels motorcycle gang. There was an original by Dave entitled "How to Draw a Bunny," based on the improvised score that legendary drummer Max Roach performed for a documentary of the same name about artist Ray Johnson.
It's really fun to hear a band that doesn't use a piano, guitar, or some other chordal instrument that provides harmony. What you get with Pop Culture is sometimes a single horn playing with bass and drums; sometimes both horns playing against each other with bass and drums; sometimes just a horn with either bass or drums; and all combinations of the four players you can imagine.
The sound is not really free jazz, in that Pop Culture tends to stick to the general harmonic layout of the tunes they play, but there's so much room to try different combinations of instruments, grooves, moods, and sounds, that every tune sounds fresh and different.
And here's good news for young players: Egan's is open to ALL AGES until 11 PM, so if you can get to their Ballard location you can hear real pros playing real, live jazz music. The food is terrific also, so get something to eat while you're there, and help support live music in Seattle. It's a tiny little place, so every seat is a great seat. Their web site is here and you should check out their calendar.
And that's who I listened to last Friday night. So...what are you listening to?
The band's name refers to the tunes they play, the titles of which all have some reference to pop culture. For example, they opened with a tune by Ron Carter called "81," which is apparently a numeric, secret code for the Hell's Angels motorcycle gang. There was an original by Dave entitled "How to Draw a Bunny," based on the improvised score that legendary drummer Max Roach performed for a documentary of the same name about artist Ray Johnson.
It's really fun to hear a band that doesn't use a piano, guitar, or some other chordal instrument that provides harmony. What you get with Pop Culture is sometimes a single horn playing with bass and drums; sometimes both horns playing against each other with bass and drums; sometimes just a horn with either bass or drums; and all combinations of the four players you can imagine.
The sound is not really free jazz, in that Pop Culture tends to stick to the general harmonic layout of the tunes they play, but there's so much room to try different combinations of instruments, grooves, moods, and sounds, that every tune sounds fresh and different.
And here's good news for young players: Egan's is open to ALL AGES until 11 PM, so if you can get to their Ballard location you can hear real pros playing real, live jazz music. The food is terrific also, so get something to eat while you're there, and help support live music in Seattle. It's a tiny little place, so every seat is a great seat. Their web site is here and you should check out their calendar.
And that's who I listened to last Friday night. So...what are you listening to?
Sonny Rollins!
One of THE all-time greats, Sonny Rollins, played a short gig at the Paramount Theater in Seattle last night. For those not in the know, Rollins is one of the most influential tenor saxophonists of all time. He played with Miles Davis while still a teenager, Thelonious Monk a bit later, with Clifford Brown and Max Roach in the 50s...the list goes on. See his web site, http://www.sonnyrollins.com/ for details.
The band: Mark Soskin on piano, Bob Cranshaw on electric bass, Kobie Watkins on drums, Victor Y. See Yuen on percussion, and of course Sonny on tenor...and vocals to close the show.
It's amazing to see anyone play with the energy and stamina that Sonny showed last night, sounding more like a young lion than a 79-year-old elder statesman. He went outside...WAY outside...on each tune, playing what to me sounded like extensions of the chord extensions. Sometimes I was able to follow what he was doing with the lines, sometimes not. There were moments when it sounded like he was deliberately playing against the key, letting long dissonant notes crunch against everything going on the busy but grooving rhythm section.
Everyone was featured on at least one tune, and everyone in the band really cooked. I really liked Soskin's work on "Don't Stop the Carnival," in that you could hear the musical stories he was telling - each chorus sounded like a new chapter being added to a book, using familiar characters and developing the plot over time.
Sonny even sang a couple of choruses on "Low Down Dirty Shame," the raucous blues that ended the performance. Sadly, there was no encore...he came out and waved, and that was it. Still, it was quite a treat to hear him play. There aren't many left from his generation of jazz luminaries, and if any of them are passing through the Seattle area (such as Jimmy Heath at this summer's Port Townsend Jazz Festival) you should get out to hear them play.
And that's who I checked out yesterday. So...who have you been listening to?
The band: Mark Soskin on piano, Bob Cranshaw on electric bass, Kobie Watkins on drums, Victor Y. See Yuen on percussion, and of course Sonny on tenor...and vocals to close the show.
It's amazing to see anyone play with the energy and stamina that Sonny showed last night, sounding more like a young lion than a 79-year-old elder statesman. He went outside...WAY outside...on each tune, playing what to me sounded like extensions of the chord extensions. Sometimes I was able to follow what he was doing with the lines, sometimes not. There were moments when it sounded like he was deliberately playing against the key, letting long dissonant notes crunch against everything going on the busy but grooving rhythm section.
Everyone was featured on at least one tune, and everyone in the band really cooked. I really liked Soskin's work on "Don't Stop the Carnival," in that you could hear the musical stories he was telling - each chorus sounded like a new chapter being added to a book, using familiar characters and developing the plot over time.
Sonny even sang a couple of choruses on "Low Down Dirty Shame," the raucous blues that ended the performance. Sadly, there was no encore...he came out and waved, and that was it. Still, it was quite a treat to hear him play. There aren't many left from his generation of jazz luminaries, and if any of them are passing through the Seattle area (such as Jimmy Heath at this summer's Port Townsend Jazz Festival) you should get out to hear them play.
And that's who I checked out yesterday. So...who have you been listening to?
Monday, May 10, 2010
Waiting to hear the legendary Sonny Rollins!
Hey, I'm at the Paramount Theater in Seattle about to hear Sonny Rollins! I'll be back a little bit later with a concert report. I'm sending this from my handy-dandy iPad, and I'm still trying to figure out just how I'm going to use it as a productive music tool. Anyhoo, I'll be back in a bit.
Friday, March 19, 2010
What Other Young Players Are Listening To
As I mentioned earlier, I thought it would be great to hear from some of the members of the bands I heard at the Viking Jazz Festival last month. Five of these young musicians responded to my basic questions about their listening habits. The responses here are from Peter Graham and Brian Lawrence of Bellevue HS, and from Josh Supkoff, Ben Wheeler, and Ryan Donnelly of Mt. Si HS.
Although I asked for brief answers, Peter was especially insightful about listening and why it's important for all young jazz players, so I've included his complete replies here.
Josh: 6th grade year, after my private instructor told me how important it was to do so. He hooked me up with some new jazz every week.
Ben: 7th grade. I was in my middle school jazz band and my teacher had told the band to start listening because it would make us better players so I figured if I was really into playing jazz then listening is the next step to get better.
Peter: 6th grade when my friend Gus from Roosevelt HS introduced me to Brad Mehldau and I got hooked. I had listened to a bit of Oscar Peterson and Bill Evans prior to that, but Mehldau was the reason I got started.
Josh: When I listen to something brand new, I don't necessarily listen for anything specific, just the sounds as a whole. I will go back later, and listen to specific things then. I also make sure that I listen to new stuff actively, rather than passively.
Ben: When I am listening to something new, I listen for how well the band plays between sections and inside of sections as well as things I can learn from like phrases and intonation, but I don’t have a super specific approach.
Ryan: The first time I listen, I'm mostly listening for the form and the changes of the song. Then the second time, I focus more on what the melody sounds like. To understand the form and changes, I listen to the bass and piano to hear what chords they're playing. To figure out what intervals they are, (like the 4 or 5 chord), I use my ear.
Peter: The main thing I listen for when I hear a new recording is if I am hearing anything new. I always want to hear new songs, or old ones played in a new way. People can try and replicate past musicians, but I would rather listen to the original musician rather than a replicator. My approach is to stay open minded and never ever fast forward through a song or album, making sure to hear it in its entirety. I also love to hear people with a command over their instrument. Essentially, I love standards and classics, but I am always trying to expand my ears into the realms of more and more modern improvisational music. However, just because someone throws a recording together, that doesn't mean they are a good musician. I always listen critically and don't give away any free passes as an audience member when it comes to "professional" music.
Josh: Listening is far more important than actually playing, because if you don't hear it, it won't come out of your instrument. So listening plays a HUGE part of my practice regimen.
Ben: For a little bit of my practicing I try to find a cool solo lick and find out how to play it in a few different keys and also trying to learn from the pros and how they play and I can learn from them.
Ryan: Around 20 minutes on the way to school, sometimes more after school.
Peter: Even on days where I can't make time to practice, I always have some time to listen, and I find few things more helpful than sitting down and trying to play with a recording. So the answer is that listening to jazz is the largest part of my practice regimen because otherwise I would have no musical frame of reference. In order to know what's hip and what's not, you have to listen critically and constantly.
ML: When did you start listening to jazz music?
Brian: 6th grade, when we would do listening sessions during Middle School Jazz Band.
Josh: 6th grade year, after my private instructor told me how important it was to do so. He hooked me up with some new jazz every week.
Ben: 7th grade. I was in my middle school jazz band and my teacher had told the band to start listening because it would make us better players so I figured if I was really into playing jazz then listening is the next step to get better.
Ryan: 6th grade when I joined jazz band. I'm now a Junior in high school.
Peter: 6th grade when my friend Gus from Roosevelt HS introduced me to Brad Mehldau and I got hooked. I had listened to a bit of Oscar Peterson and Bill Evans prior to that, but Mehldau was the reason I got started.
ML: How much listening do you do every day?
Brian: Whenever I'm in the car, one of the XM Jazz Stations is almost always on. Also, I listen to Jazz in the background when I'm doing my homework, or if I'm checking out a song someone recommended to me.
Josh: The time I spend listening varies...on average, I would say I listen at least 30 minutes a day.
Ben: I used to have to kind of force myself to listen to jazz for a long time, but now I listen whenever I do my homework so that can be anywhere from 30 minutes to 3-4 hours.
Ryan: I listen to a few songs every morning on my way to school.
Peter: I listen at least 2 hours a day actively, and I always have music on whenever I do homework or play games or anything. I watch a lot of YouTube (this is a great resource) and I buy as many albums as I can afford.
ML: Who are your favorite two or three jazz players...and why?
Brian: I have a lot of artists I like to listen to, but I don't have any absolute favorites. Every musician has a different style, but I enjoy Herbie Hancock not only for his early works, but for his ability to play many different styles, from swing to fusion and others.
Ryan: Duke Ellington, and Count Basie. Duke for becoming more familiar with solos, and Basie because I like the melodies.
Josh: Among so many, a few of my favorites would have to be Dexter Gordon, Sonny Rollins, and Wynton Marsalis. I just really like the tone and musical ideas each of them produce.
Ben: My favorite two jazz players are Pepper Adams because I feel I can learn a lot from his technical ability and I admire his tone, and Charlie Parker because listening to him is really fun.
Peter: While this question is almost impossible, the three people I listen to most right now are:
- Brad Mehldau: Amazing piano player who I just saw live. He turns standards inside out, as well as plays pop tunes from every decade. His trio work with Larry Grenadier and Jeff Ballard is some of my all time favorite music. He is also killing as a solo player, utilizing the full range and scope of the instrument. Good CD's are "Brad Mehldau trio live", every CD in the "Art of the Trio" series, and "Day is Done".
- Kurt Rosenwinkel: Beautiful guitarist with an amazing quartet. He has a completely unique sound, and harmonies and melodies in his solos are really dense. His two disc album "The Remedy Live" is absolutely fantastic. "Enemies of Energy" is also beautiful.
- Mark Turner: My all time favorite tenor player. He doesn't have any licks that make him easy to pick out, and he moves through the lowest range of his sax all the way up into super high harmonics, all with amazing tone. You will find him on many Kurt Rosenwinkel albums. One of my favorite CD's of his is "Dharma Days."
ML: When you're listening to something for the first time, something you haven't checked out before...what are you listening for? What's your approach?
Brian: When I first listen to a song, if it is one that we will be playing in a band, I follow along with my music to see how my part fits in to the song as a whole. I also listen for how the melody fits over the changes, because that helps establish a basis for soloing for me.
Josh: When I listen to something brand new, I don't necessarily listen for anything specific, just the sounds as a whole. I will go back later, and listen to specific things then. I also make sure that I listen to new stuff actively, rather than passively.
Ben: When I am listening to something new, I listen for how well the band plays between sections and inside of sections as well as things I can learn from like phrases and intonation, but I don’t have a super specific approach.
Ryan: The first time I listen, I'm mostly listening for the form and the changes of the song. Then the second time, I focus more on what the melody sounds like. To understand the form and changes, I listen to the bass and piano to hear what chords they're playing. To figure out what intervals they are, (like the 4 or 5 chord), I use my ear.
Peter: The main thing I listen for when I hear a new recording is if I am hearing anything new. I always want to hear new songs, or old ones played in a new way. People can try and replicate past musicians, but I would rather listen to the original musician rather than a replicator. My approach is to stay open minded and never ever fast forward through a song or album, making sure to hear it in its entirety. I also love to hear people with a command over their instrument. Essentially, I love standards and classics, but I am always trying to expand my ears into the realms of more and more modern improvisational music. However, just because someone throws a recording together, that doesn't mean they are a good musician. I always listen critically and don't give away any free passes as an audience member when it comes to "professional" music.
ML: How much is listening to jazz a part of your daily practice regimen?
Brian: I almost always have jazz on the radio in the car. As for practicing, if I need to work on a solo, I will listen to numerous recordings of the chart to get ideas for licks, and try to capture the style of the chart in my solo.
Josh: Listening is far more important than actually playing, because if you don't hear it, it won't come out of your instrument. So listening plays a HUGE part of my practice regimen.
Ben: For a little bit of my practicing I try to find a cool solo lick and find out how to play it in a few different keys and also trying to learn from the pros and how they play and I can learn from them.
Ryan: Around 20 minutes on the way to school, sometimes more after school.
Peter: Even on days where I can't make time to practice, I always have some time to listen, and I find few things more helpful than sitting down and trying to play with a recording. So the answer is that listening to jazz is the largest part of my practice regimen because otherwise I would have no musical frame of reference. In order to know what's hip and what's not, you have to listen critically and constantly.
****************
The bands from Mt. Si and Bellevue performed exceptionally well at the Festival, and Peter Graham earned one of the soloist awards that evening. These young players are positive proof that listening to jazz music will make your band sound better.
Thanks to the players for sharing their experiences, and thanks also to band directors Adam Rupert and Vince Caruso for help in setting up these "interviews."
Thanks to the players for sharing their experiences, and thanks also to band directors Adam Rupert and Vince Caruso for help in setting up these "interviews."
So...what are YOU listening to?
Sunday, March 14, 2010
Updates later this week...
Sorry for the long time between posts. I've been trying, only partially successfully, to finish a new arrangement of an Andy LaVerne tune called "Process of Illumination," and just got past a major case of writer's block. So I've put the blogging on pause for a week or two, but I plan to get a new piece written this week.
I thought it would be good to learn about the listening habits of some of the young jazz musicians I heard at the Viking Jazz Festival last month, so I E-mailed their band directors and contacted them. Several of them replied with answers to these questions:
I thought it would be good to learn about the listening habits of some of the young jazz musicians I heard at the Viking Jazz Festival last month, so I E-mailed their band directors and contacted them. Several of them replied with answers to these questions:
- When did you start listening to jazz music?
- How much listening do you do every day?
- Who are your top two or three favorite jazz players...and why?
- When you're listening to something for the first time - something you haven't checked out before - what are you listening for? What's your approach?
- How much is listening to jazz a part of your daily practice regimen?
I'll be back later this week. You have been listening on your own...right?
Wednesday, February 17, 2010
Some things I heard at the Viking Jazz Festival in Poulsbo WA
A couple of weeks ago, I adjudicated once again at the Viking Jazz Festival. I listened to 18 junior high school & middle school bands and 22 high school groups on Thursday/Friday 4-5 Feb. The festival is co-hosted by North Kitsap HS and Poulsbo JH in Poulsbo WA, where I taught band for a year back in 1991. Kudos to Susan Peters of NKHS and Bryce Adams of PJH for a great Festival! Here's some of what I heard during those two days...
One of the things that really separates the great bands from the good ones is the ability of the rhythm section to play dynamics well. The best bands had rhythm sections who could play at a whisper-soft level to match the ensemble when needed, and then really kick the band at stronger volumes without rushing.
Additionally, bands that could really emphasize the difference between soft and loud volume levels tended to be the better-sounding groups. There were a few bands who played everything too loud, and as a result they didn't phrase well, notes and intonation were sloppier, and they generally sounded less competent. When the details are missing, the music stops being interesting.
Another key is the ability of everyone in the band to play swing quarter notes at exactly the same length as required by the tempo. It's the difference between "daht," "dot," and "dit" - when everyone plays quarter notes the same length, the time/tempo really locks in and makes the band swing harder. It's really hard to describe in words what that sounds like, but once you've heard it it makes perfect sense.
There were some bands that didn't have really strong brass sections - after all, we're talking about groups in which the trumpet/trombone players have been playing for only two or three years. But many of them made up for it by playing very musically - clean phrase endings, nice shape to the melodic lines. I think most listeners would rather hear a great melody played well than a great melody played high but poorly.
Most bands played at least one straight-8ths tune - sometimes Latin, sometimes a rock/funk tune. The bands that could really pull off those charts understood that Latin and funk rhythms must be played very precisely or they don't work. Usually in those kinds of charts, there are lots of cross-rhythms in the melodic lines and other figures, and if the lines are played sloppily you lose the effect of those cross-rhythms. And then the chart just sounds muddy.
As for soloists, you could REALLY tell who's been doing their listening homework. The soloists who took home awards for their performances included several young players from (among other schools) the Bellevue, Mt. Si, and Garfield high school groups. I hope to have some input from those soloists on this blog shortly.
And that's what I heard at the Festival. So...what have you been listening to?
One of the things that really separates the great bands from the good ones is the ability of the rhythm section to play dynamics well. The best bands had rhythm sections who could play at a whisper-soft level to match the ensemble when needed, and then really kick the band at stronger volumes without rushing.
Additionally, bands that could really emphasize the difference between soft and loud volume levels tended to be the better-sounding groups. There were a few bands who played everything too loud, and as a result they didn't phrase well, notes and intonation were sloppier, and they generally sounded less competent. When the details are missing, the music stops being interesting.
Another key is the ability of everyone in the band to play swing quarter notes at exactly the same length as required by the tempo. It's the difference between "daht," "dot," and "dit" - when everyone plays quarter notes the same length, the time/tempo really locks in and makes the band swing harder. It's really hard to describe in words what that sounds like, but once you've heard it it makes perfect sense.
There were some bands that didn't have really strong brass sections - after all, we're talking about groups in which the trumpet/trombone players have been playing for only two or three years. But many of them made up for it by playing very musically - clean phrase endings, nice shape to the melodic lines. I think most listeners would rather hear a great melody played well than a great melody played high but poorly.
Most bands played at least one straight-8ths tune - sometimes Latin, sometimes a rock/funk tune. The bands that could really pull off those charts understood that Latin and funk rhythms must be played very precisely or they don't work. Usually in those kinds of charts, there are lots of cross-rhythms in the melodic lines and other figures, and if the lines are played sloppily you lose the effect of those cross-rhythms. And then the chart just sounds muddy.
As for soloists, you could REALLY tell who's been doing their listening homework. The soloists who took home awards for their performances included several young players from (among other schools) the Bellevue, Mt. Si, and Garfield high school groups. I hope to have some input from those soloists on this blog shortly.
And that's what I heard at the Festival. So...what have you been listening to?
Monday, February 1, 2010
Mingus recordings added to the Suggested Listening list...
Thanks to Tadd Morris for pointing out we should have some Charles Mingus (Mingus Ah Um and Pithecanthropus Erectus) on the List!
Jazz Listening Session - Thanks to attendees and teachers!
We just finished the first Jazz Listening Session - checked out "Each Side Of The River," from the rare LP "The Soul Of Jazz," and the classic "Stolen Moments" by Oliver Nelson. Good crowd of 14-15 people, with students from Centennial MS, Snohomish HS, and Glacier Peak HS in attendance, plus a number of interested grownups. There were a couple of students who weren't already listening to anything just yet - this was a good way to get their feet wet, and to start talking about HOW you listen to jazz music as a young player.
Thanks to the local JH/HS teachers for helping publicize the Session. Hopefully we've generated enough interest to set up more sessions over the rest of this year. And thanks to my wife Melanie for helping get the house ready!
Some particulars on the music:
"The Soul of Jazz" is not in print, and unavailable at iTunes and apparently not at Amazon either. Recorded in 1958 and engineered by Rudy Van Gelder, the label number is World Wide MGS-20002, and it's part of the Savoy Records Catalog. Personnel:
Thanks to the local JH/HS teachers for helping publicize the Session. Hopefully we've generated enough interest to set up more sessions over the rest of this year. And thanks to my wife Melanie for helping get the house ready!
Some particulars on the music:
"The Soul of Jazz" is not in print, and unavailable at iTunes and apparently not at Amazon either. Recorded in 1958 and engineered by Rudy Van Gelder, the label number is World Wide MGS-20002, and it's part of the Savoy Records Catalog. Personnel:
- Joe Wilder - tpt
- Bill Harris - trb
- Bobby Jaspar - tenor
- Pepper Adams - baritone
- Eddie Costa - piano
- George Duvivier - bass
- Art Taylor - drums
- Billy Ver Planck - arranger
"Stolen Moments" is from Oliver Nelson's 1961 recording "Blues and the Abstract Truth," available from iTunes or Amazon. Personnel:
- Fredddie Hubbard - tpt
- Eric Dolphy - alto, flute
- Oliver Nelson - arranger, alto/tenor
- George Barrow - baritone
- Bill Evans - piano
- Paul Chambers - bass
- Roy Haynes - drums
So...what are you listening to?
Friday, January 15, 2010
YouTube links added to the "Suggested Listening" list!
A couple of people suggested YouTube links in the Suggested Listening list...so I've added what I found. I'll try to add links to Amazon next...hopefully this weekend.
Matso
Matso
Sunday, January 10, 2010
Welcome!
Hello! I hope you found the stuff at Start Listening! helpful. This blog is a place to share your listening experience with others...to compare notes, make suggestions about stuff to check out, and otherwise join other musicians trying to make their jazz bands sound better.
I hope to have some guest bloggers from time to time - other jazz musicians willing to share their experience with all of you. Jazz music has always been about improvisation and interaction with others, and a blog like this seems like the natural way to go!
I hope to have some guest bloggers from time to time - other jazz musicians willing to share their experience with all of you. Jazz music has always been about improvisation and interaction with others, and a blog like this seems like the natural way to go!
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