Hello! It's been quite awhile since I last updated this blog. So let's start again, shall we? Starting this week, I'll update the blog every week with interesting jazz sites, things to listen to on your own, and observations on things I'm listening to myself.
Let's begin this week with a YouTube video of the great Phil Woods on alto, backed by the European Rhythm Machine - that's George Gruntz on piano, Henri Texier on bass, and Daniel Humair on drums. This dates from 1972, and the tune is Phil's piece "Flowers."
As you watch and listen, remember my list of things to check out. How many items on the list can you hear? "Flowers" is not a blues or a standard song form, but it's got great "changes" (that is, interesting harmonies) and a simple, attractive melody - a good start for inspired blowing. Both Woods and Texier use some sequence during their solos - can you find those places?
Most jazz historians will tell you that Phil Woods is one of the greatest ever to play alto, and I agree. Check out his web site to learn more about him - you can even get a copy of the lead sheet for "Flowers" there!
Sunday, August 28, 2011
Tuesday, May 11, 2010
Valley View Tenor Players are Listening!
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?
And that's who Andrew and Josh are checking out. So...what are you listening to?
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?
Subscribe to:
Posts (Atom)