Thanks everyone for a great summer! Really enjoyed hearing you all play last Wednesday. I will be out of town on Tuesday for our last session. Have a great year--make lots of killing music.
-ST
Thanks Max for taking notes last Tuesday:
Practicing Round Table Discussion
Dan:
- Practicing with a purpose
- Thinking about practicing in terms of the “1 degree shift”: Working on something consistently
and being diligent on making some sort of improvement in your skills. Its best to work on
something challenging and its fine if your improvement is gradual
- Learning all different styles and feels in order to be versatile
Michael:
- Be focused: 2min of focused practice > 30min of messing around playing
- If you’re not focused when you sit down to practice, it’s okay to take a break and come back
when you are focused.
- Listening is practice too
- Mix up challenging or theoretical practice vs. fun things like playing tunes
- Try to make some set practice times
Steve:
- Practicing with goals
- Anything you are playing, make it musical. You are playing for this moment, not necessarily for
some future event down the road
- Success is not the amount of hours, it’s the grit (the passion, discipline and work ethic you bring
to playing your instrument)
- What are you excited to get out of bed for? Use that as a starting place
- Structured practiced vs stream of consciousness
- Listening, going to shows, teaching = practicing too
Mr. B:
- Books and systems
- Not trying to practice too fast. There are no shortcuts to the top.
- Isolation and slowing down your practice is a good idea
- Journal – writing down your goals and the things you’ve accomplished
- Patience
- Be motivated by something
- Technique!
- Don’t be afraid of the institution – there is a musical community out there that can support and
push you to be better.
- Be hungry
- Positive mental visualization: spending quality time reflecting on your practicing and
musicianship
Pete:
- There are no limits to what you can do
- If you’re waiting around for something to happen or for someone do it for you, its not going to
happen
- Be organized
- Time management
- Opportunity is everywhere
Max:
- Find a sound model on your instrument and listen as much as you can
- Spend quality time with your instrument – start with something that excites you (ie transcribing
killin solos, composing, playing hip music, working on etudes)
- Go to jam sessions and play gigs – you will learn things from these experiences that will be very
beneficial.
o For example: getting on stage to play a tune and not knowing it and having to sit down.
This makes me want to go home and learn it for next time.
o Ex 2: messing up a melody, or losing the form. Go home and practice that tune
- Start to break away from using music when you can.
Sunday, August 23, 2015
Friday, August 14, 2015
Jazz Colony #8
As a group, we worked on singing scale degrees in solfege along with a C drone (see JC packet) to experience the unique character and tenancies of each scale tone. I like using the Cello Drone recordings, but you can also stream the drone tracks that accompany with my book here. We listened to which notes sounded smooth and which had more dissonance. We experienced how scale degrees 1, 3, and 5 are the most consonant, and scale degrees 2, 4, 6, 7 are more dissonant and have tenancies to resolve to the nearest consonant note.
We then moved on to singing through and improvising on all the paralel modes along with a drone (see JC packet). We began on Lydian, the brightest mode, and moved down the list to Phrygian, the darkest mode. (Locrian isn't a stable mode because it doesn't include the interval of a perfect fifth, so we tossed it out for this exercise). This approach provides a much richer experience than playing the modes that are diatonic to a single key signature--i.e. C Ionian, D Dorian, E Phrygian, etc sounds like an exercise in C major and you don't get to experience the character of each mode.
Be ready to have a focused rehearsal on Tuesday, because our final Sea-Jazz Performance is this Wednesday August 19th at 5:00 PM. Please arrive by 4:30 to listen to the first performance of the new College Place Middle School Jazz Colony! The kids are doing awesome and have their whole set memorized already!
We then moved on to singing through and improvising on all the paralel modes along with a drone (see JC packet). We began on Lydian, the brightest mode, and moved down the list to Phrygian, the darkest mode. (Locrian isn't a stable mode because it doesn't include the interval of a perfect fifth, so we tossed it out for this exercise). This approach provides a much richer experience than playing the modes that are diatonic to a single key signature--i.e. C Ionian, D Dorian, E Phrygian, etc sounds like an exercise in C major and you don't get to experience the character of each mode.
Be ready to have a focused rehearsal on Tuesday, because our final Sea-Jazz Performance is this Wednesday August 19th at 5:00 PM. Please arrive by 4:30 to listen to the first performance of the new College Place Middle School Jazz Colony! The kids are doing awesome and have their whole set memorized already!
Saturday, August 8, 2015
Jazz Colony #7
We started the session by reflecting on our first Sea-Jazz gig this summer. We discussed strategies for talking on the mic.
- Introduce JC Program
- Introduce band members
- Announce titles, composers, interesting info about compositions
- Promote tip jar
- Prepare a couple (appropriate) jokes
We also listened to "Simple" by my mentor, saxophonist George Garzone and had a short discussion. The piece alternates between a simple, almost square melody (with hints of dissonance) and short interludes of rubato, intense free jazz. Great solos!
Because attendance for several combos was low, and we had an abundance of saxophone players, we divided into a rhythm section workshop and a saxophone workshop. In the sax workshop, we listened to sound models and worked on our tone through working on mouthpiece pitch. Here is the handout I put together:
https://drive.google.com/file/d/0B6BGmxv2DkrEbkxqTjJYMml0d2c/view?usp=sharing
Here are notes from Michael Glynn:
- Introduce JC Program
- Introduce band members
- Announce titles, composers, interesting info about compositions
- Promote tip jar
- Prepare a couple (appropriate) jokes
We also listened to "Simple" by my mentor, saxophonist George Garzone and had a short discussion. The piece alternates between a simple, almost square melody (with hints of dissonance) and short interludes of rubato, intense free jazz. Great solos!
Because attendance for several combos was low, and we had an abundance of saxophone players, we divided into a rhythm section workshop and a saxophone workshop. In the sax workshop, we listened to sound models and worked on our tone through working on mouthpiece pitch. Here is the handout I put together:
https://drive.google.com/file/d/0B6BGmxv2DkrEbkxqTjJYMml0d2c/view?usp=sharing
Here are notes from Michael Glynn:
We discussed a number of things in the rhythm section workshop, but spent the most time working on the jazz "2-feel." This is a common feel used most often on medium swing tunes for the melody, and sometimes parts of the solos. Here are a few recordings of bands playing in a 2-feel.
Things to listen for and think about:
-How long or short are the bass notes? How does it change the feel when they are shorter or longer?
-What is the drummer playing? How does it interact with what the bass is playing?
-When do they change to a 4-feel (if at all)? Do they set up this change musically somehow?
-Compared to the 4-feel, does the 2-feel seem lighter or heavier? Are there other ways you might describe the difference?
https://www.youtube.com/watch?v=LP7C--YxpVw&list= PLf54dkJsWJ3MiI66H2- M4mnAs8B4Juthn&index=3
https://www.youtube.com/watch?v=36wafFjFdYs
https://www.youtube.com/watch?v=RkgT38i5HWg&list=PLdAYdM0K- ygYKXwTZFIfEq65hE9tRgOXw
https://www.youtube.com/watch?v=nHwZXSj6IXM
https://www.youtube.com/watch?v=64T0GjbKBdw&list= RD64T0GjbKBdw#t=104
Wednesday, August 5, 2015
Jazz Colony at Sea Jazz Gig #1 2015
First Colony Gig was a success. Keep up the great work.
Here are a few photos.
Here are a few photos.
Friday, July 31, 2015
Jazz Colony #6
Max Bennett's notes from gig panel discussion on 7/28:
·
Coordination with the employer (restaurant
owner, host, store owner): specifics about the time, set up, pay, venue, type
of music, advertising, etc
o
Approaching employers:
§
Press kit? Or some way the owner/host can listen
to what you have to offer (ie soundcloud, youtube)
§
Business card?
§
Explaining who you are and that you are serious
§
Questions like: do you ever have live music? Would
you? Would you have jazz here?
§
High school tip: get your foot in the door. You might
just settle for food and tips at first and eventually work your way into
getting the owner to pay
o
Finding gigs:
§
Use connections you have (parents, friends,
coworkers etc)
·
Pay: is the pay guaranteed or is based off
ticket sales?
o
Ticket sales =riskier because the band leader
could end up negative if not enough people show up to pay what he/she told the
band members what they would get
o
The band leader pays the musicians usually and
divides it up (usually evenly)
o
What if we make more than was guaranteed? Then the
band leader usually splits that up but it’s not uncommon for the band leader to
take a little extra which is fine. He/she deserves because they got the gig,
formed the band, organized the music, advertised, etc.
o
Sideman risk: the band leader might take most of
the extra money or even most of the guarantee. However, you agreed to take the
gig when the band leader called you up and asked you to play for x amount of
dollars.
·
Calling musicians for a gig
o
Don’t ask this question: Hey, what are you doing
Saturday night?
o
Give as much detail about the gig as you can:
time (set up, warm up or sound check and end of gig), venue (specifics: parking,
are you going to pay for travel if it’s far away?), pay (how much, when will
you get paid, how), food and breaks (included or not), attire, music you will
play (set list), rehearsals?
·
3 reasons to take a gig: People, money or music
o
Strive to get two of the three when accepting
gigs
o
It’s usually good to be a yes man when you’re
starting out however: make connections
·
High school tips:
o
Get a group together, get some music together,
and find a place to play
o
High school venues: Romeos, sea jazz, Egans,
others…
·
Gig etiquette from Dan Chappelle:
o
Show the audience you are having a good time
(eye contact, smile, being into the music)
o
Make connections with the audience (talking to
them during breaks etc.)
o
Move around the stage
o
Stay engaged (pay attention to the soloists etc)
·
Set list!!! Mix up the tempo, style, key. Arrangements?
Try to not have your back to the audience for long periods of time.
Thursday, July 23, 2015
Jazz Colony #5 - July 21 2015
We were delighted to have the great saxophonist, author, and educator Dan Greenblatt join us this week. Thank you to Dan Chappelle for sharing his notes :
See you all next week!
-ST
7/21/14 Improvisational thoughts from Dan GreenblattMichael Glynn and I led a jam session using the concepts Dan outlined in his presentation. Jackson and Nebee taught the group Sonny Rollins's "St. Thomas" through "ear capture" and Michael and I taught the bass line and chord changes without any sheet music. We worked on thematic development, and starting our solos with the last phrase of the previous soloists. Required listening:
- ‘Composing’ what to play is as important as the execution of playing
- Reading music: playing what someone else ‘tells you to play’
- Historically, less than 1% of music was actually ‘read’. Most music around the world done by ear capture.
- Transcribe vs ear capture
- Most blues musicians don’t deal w/charts
- ‘Practice your composition by composing your practice’
- Have to practice being an improviser
- Practice Cycle of 5ths on a daily basis
- Spend more of your time thinking of something to play vs reading what is to be played
- Composition is like a story….it has to go someplace. Tell it.
- Ear capture exercise: Pete picked a tune (head), Dan G. copied, JC members replicate, then move to next place on cycle of 5ths
- Example of using pure ear capture vs using some level of theory to improvise: Hadi accomplished soloist who could read, but chose to use pure ear capture to improvise – didn’t want to look at charts/changes. Dan G more intellectual/tactical used more theory-based approach to figure out.
- Dial tone (does anyone actually know what this is?) vs siren. Anyone can tell the difference in pitch contour. As humans, we can all hear this. Thus, ear capture is innate to every human being. But….we still have to practice.
- In combo session: Take an idea….and tell a story. Using target tones.
- Melody is a succession of relationships between notes, not just a succession of notes. Think of using a phrase in different settings as a relationship between notes.
See you all next week!
-ST
Thursday, July 16, 2015
Jazz Colony #4 - July 14, 2015
Here's a summary of Jazz Colony session #4 for July 14, 2015.
Several contributors (see colored areas below).
Advice from Mr. B
Students need to practice daily and read and interact with the blog would be a good rest from your practice.
Read through the whole blog so you're ready for "TRIVIA SWAG!"
Wanna hear some great live jazz tonight (Thursday)? Read the bottom of this post.
On Tuesday, July 14, the JC Instructors encouraged the Jazz Colony students to take notes. Getting actively involved with the learning will help you retain the concepts and possibly review them between sessions. Recording portions of the session or parts of your rehearsals is also highly encouraged!
I'm excited to have Dan Greenblatt as one of the guest clinicians on Tuesday, July 21st as Alex Dugdale will be away. Dan is an amazing tenor player and jazz pedagog. Both Mr. Treseler and Mr. Bergevin have taken private lessons with him. His books on the blues scales and the importance of minor scale practice are worth your time. Take a moment to read about the books?
http://www.shermusic.com/1883217776.php
Dan's son is a great trumpeter too. He lives in NYC and has been playing a bit with Wynton Marsalis
http://wyntonmarsalis.org and the Jazz at Lincoln Center Orchestra.
http://www.tatumgreenblatt.com/newspress.php
On the topic of reading, consider READING about jazz or music (or read anything at all) once in a while. There's more to practice than practicing. There are too many great books to list here, but the more you read when you are young, the easier reading will be when you're in college and the reading requirements increase! Don't let your SUMMER SLOTH sneak up and rob you of your great progress in school this year ... in other words; "use it or lose it".
True, summer is a great time to recharge your batteries, sleep more and have fun. Please don't spend all of your valuable youth playing video games so that you're too exhausted to practice, read or listen to jazz. Also go outside and enjoy the amazing weather we are having. A little activity can increase your energy level. I've been biking and it's really fun and I feel better too.
See you soon!
Mr. B
This from Steve Treseler ...
We all listened to three bands led by Miles Davis perform "Walkin'" and actively listened to ensemble interpretation and interaction:
Miles Davis All Stars, Walkin' 1957
https://www.youtube.com/watch?
Miles Davis, trumpet
Lucky Thompson, tenor saxophone
J. J. Johnson, trombone
Horace Silver, piano
Percy Heath, bass
Kenny Clarke, drums
Stockholm 1969 Completehttp://open.spotify.com/track/
Miles Davis, trumpet
John Coltrane, tenor saxophone
Wynton Kelly, piano
Percy Heath, bass
Kenny Clarke, drums
The Complete Concert 1964: My Funny Valentine and Four + More
https://www.youtube.com/watch?
Miles Davis, trumpet
George Coleman, tenor saxophone
Herbie Hancock, piano
Ron Carter, bass
Tony Williams, drums
My combo is working on Jones and Symes's "There Is No Greater Love". I taught them the piece by ear, and I want my combo members to do some research about the piece starting at http://www.jazzstandards.com/ Please look for an original score, original recording from the film, study how the lyrics interact with the melody, and listen to famous jazz interpretations. Here is my favorite version from Gene Ammons and Sonny Stitt's 1962 record Boss Tenors:
https://www.youtube.com/watch?
This from Alex Dugdale
In my combo (Cannonball Combo) we ran through Little Sunflower and Super Secret Buffalo Sauce. We focused on attitude of a solo (aggressive, melodic, thoughtful, locking in with the groove). The horns worked on coming up with harmony parts using the melody notes against chord changes (what scale degree of the chord is the melody on and what notes can be played in the chord in conjunction with the melody). Rhythm section experimented with grooves and came up with organic motives. Very creative and independent. Also touched on non verbal communication and cues.
Mainly I wanted to remind my combo (especially those that weren't there!) to check out recordings of "The Intimacy of the Blues" by Billy Strayhorn. -Michael Glynn
Several contributors (see colored areas below).
Advice from Mr. B
Students need to practice daily and read and interact with the blog would be a good rest from your practice.
Read through the whole blog so you're ready for "TRIVIA SWAG!"
Wanna hear some great live jazz tonight (Thursday)? Read the bottom of this post.
On Tuesday, July 14, the JC Instructors encouraged the Jazz Colony students to take notes. Getting actively involved with the learning will help you retain the concepts and possibly review them between sessions. Recording portions of the session or parts of your rehearsals is also highly encouraged!
I'm excited to have Dan Greenblatt as one of the guest clinicians on Tuesday, July 21st as Alex Dugdale will be away. Dan is an amazing tenor player and jazz pedagog. Both Mr. Treseler and Mr. Bergevin have taken private lessons with him. His books on the blues scales and the importance of minor scale practice are worth your time. Take a moment to read about the books?
http://www.shermusic.com/1883217776.php
Dan's son is a great trumpeter too. He lives in NYC and has been playing a bit with Wynton Marsalis
http://wyntonmarsalis.org and the Jazz at Lincoln Center Orchestra.
http://www.tatumgreenblatt.com/newspress.php
On the topic of reading, consider READING about jazz or music (or read anything at all) once in a while. There's more to practice than practicing. There are too many great books to list here, but the more you read when you are young, the easier reading will be when you're in college and the reading requirements increase! Don't let your SUMMER SLOTH sneak up and rob you of your great progress in school this year ... in other words; "use it or lose it".
True, summer is a great time to recharge your batteries, sleep more and have fun. Please don't spend all of your valuable youth playing video games so that you're too exhausted to practice, read or listen to jazz. Also go outside and enjoy the amazing weather we are having. A little activity can increase your energy level. I've been biking and it's really fun and I feel better too.
See you soon!
Mr. B
This from Steve Treseler ...
We all listened to three bands led by Miles Davis perform "Walkin'" and actively listened to ensemble interpretation and interaction:
Miles Davis All Stars, Walkin' 1957
https://www.youtube.com/watch?
Miles Davis, trumpet
Lucky Thompson, tenor saxophone
J. J. Johnson, trombone
Horace Silver, piano
Percy Heath, bass
Kenny Clarke, drums
Stockholm 1969 Completehttp://open.spotify.com/track/
Miles Davis, trumpet
John Coltrane, tenor saxophone
Wynton Kelly, piano
Percy Heath, bass
Kenny Clarke, drums
The Complete Concert 1964: My Funny Valentine and Four + More
https://www.youtube.com/watch?
Miles Davis, trumpet
George Coleman, tenor saxophone
Herbie Hancock, piano
Ron Carter, bass
Tony Williams, drums
My combo is working on Jones and Symes's "There Is No Greater Love". I taught them the piece by ear, and I want my combo members to do some research about the piece starting at http://www.jazzstandards.com/ Please look for an original score, original recording from the film, study how the lyrics interact with the melody, and listen to famous jazz interpretations. Here is my favorite version from Gene Ammons and Sonny Stitt's 1962 record Boss Tenors:
https://www.youtube.com/watch?
This from Joel Steinke ...
Killer joe. Working on memorizing the melody and being able to use voice leading through the chord changes as a stepping stone to soloing.
This from volunteer extrodinaire: Dan Chappelle
Great session last night led by ST listening to the styles of Miles. A shout-out to the drummers who were able to attend the early session (Lauren, Brady, Miriel, Cedar) since this is outside normal JC hours. We launched the 'Beginning of No End to Control', a study in and around independence. We had discussion time around the 'Keys to the Vault' - why might a bandleader call you first?? (Note: not all of the keys involved playing a drum or cymbal!!) And reflection time on my studies with Jim Chapin (Advanced Techniques for the Modern Drummer).
Best to those who are headed to Centrum later this week. Have fun and dig deep!
Cheers!
Dan Chappelle
This from Max (the Sax) Bennett
Nice! The Art Blakey combo was all there last night which was great! We worked on Moanin again and I gave some suggestions on different scale and harmonic devices one can use to solo on the tune (minor blues, harmonic minor and melodic minor, etc). I also gave the horn players some voice leading suggestions to begin working on the changes. Everyone's time felt great but getting some of the changes and developing some better phrasing would be the next step in improving. We also played through a couple of blues heads.
Homework:
1) Everyone will write a blues head and bring it in. Any key is fine. It should be at least somewhat repetitious and easy to learn by ear. We will likely play one or two of these at Sea Jazz.
Here is Joe Williams on everyday I have the blues (One of the most swingin tunes on the planet) http://youtu.be/
2) bring in a chart or any other suggestions for tunes we want to work on in the future.
3) extra credit: learn some licks from the Art Blakey version of Moanin
This from Alex Dugdale
In my combo (Cannonball Combo) we ran through Little Sunflower and Super Secret Buffalo Sauce. We focused on attitude of a solo (aggressive, melodic, thoughtful, locking in with the groove). The horns worked on coming up with harmony parts using the melody notes against chord changes (what scale degree of the chord is the melody on and what notes can be played in the chord in conjunction with the melody). Rhythm section experimented with grooves and came up with organic motives. Very creative and independent. Also touched on non verbal communication and cues.
Mainly I wanted to remind my combo (especially those that weren't there!) to check out recordings of "The Intimacy of the Blues" by Billy Strayhorn. -Michael Glynn
Here's a chance to hear some great live jazz in Seattle this Thursday.
Thursday night: Michael Blake, Donnie McCaslin, Matt Wilson and Dawn Clement, piano; Jay Thomas, trumpet/sax; Chuck Deardorf, bass.
July 14, 2015 / aajseattle / No Comments
Thursday, July 16 at The Royal Room
5000 Rainier Ave South
Seattle
Cornish Jazz Camp Faculty
Featuring Matt Wilson, drums; Donnie McCaslin, saxophone; Dawn Clement, piano; Jay Thomas, trumpet/sax; Chuck Deardorf, bass.
5000 Rainier Ave South
Seattle
Cornish Jazz Camp Faculty
Featuring Matt Wilson, drums; Donnie McCaslin, saxophone; Dawn Clement, piano; Jay Thomas, trumpet/sax; Chuck Deardorf, bass.
Wednesday, July 8, 2015
Summary from #3 - July 7
Mr. Bergevin's welcome was intended to get students to consider the name of the Jazz Colony and why is it called this?
Mr. Bergevin first learned of the "Isle of Shoals" which claims to be America's first Musicians' and Artists' Colony by stumbling upon a book by Caleb Mason which has a great charcoal sketch of a flautist on the cover.
He referenced the attached wikipedia definition of an Artist's Colony and encouraged folks to read it.
https://en.wikipedia.org/wiki/Art_colony
Key among the definition is the idea that it is a place where "creative practitioners live and interact with each other". This is the type of community which the EW Jazz Colony is attempting to achieve and he hopes that, while we're not living together away from everyday life, we are embracing the idea of striving to become creators and not just craftsmen.
Mr. Alex Dugdale's group plays tonight (Wednesday July 8) at Tula's in Seattle.
Tomorrow the Ave B Combo plays at Romeo's in Edmonds.
Below are some of the summaries from the adults helping to steer the direction of the Jazz Colony.
Steve Treseler = blue
Dan Chappelle = yellow
Michael Glynn = green
For the large group workshop, I introduced some improvised games and listening exercises adapted from Butch Morris's "Conduction" system and John Zorn's game piece "Cobra." These conducted improvisations are fun and engaging for improvisors of all levels and encourages players to experiment with new sounds, listen to one another, and find inspiration for original compositions. It was a blast!
Watch Conduction and "Cobra" in action:
https://www.youtube.com/watch?
https://www.youtube.com/watch?
https://www.youtube.com/watch?
https://www.youtube.com/watch?
https://www.youtube.com/watch?
https://www.youtube.com/watch?
In the jazz theory/harmony class, we discussed the fundamentals of tonal harmony, including diatonic chords, chord function, and cadences. We also worked on identifying chord progressions from folk songs by ear. Here is the website where you can practice chord dictation: http://tonedear.com/ear-
-ST
I put together a program for the drummers focused on independence and control. I spoke with the drummers attending last night (Lauren, Eric, Cedar, Brady) about gathering at 5:30 on Tuesdays to go through this and bond as drummers, if they are able. Miriel and Hugh were not there. Worked with Cedar for an hour at 5:30 so he has gotten an intro.
This is ninja - It works on drumming from the subconscious mind, to open up the conscious to work on style, interpretation, etc. It is not to replace what they are currently doing with their private instructors, but only to supplement.
I went through the program with the author in late teens and it rocked my world as a drummer. I have handouts.
Cheers!
Dan Chappelle
This info from Michael Glynn
Here's the stuff for the rhythm section people:
The most critical element in learning how to play jazz is listening. Finding good role models and listening carefully to their playing can help to teach us how jazz is supposed to sound and feel. For those of you who may not know the names of many rhythm section players, or for those who are just looking for some more people to check out, here is a very brief list of some of the greats. I have chosen players who played in the 1950s and 1960s and who often played bebop or in related styles. I chose this period and style not because it is necessarily the best, but because much of the jazz we study and play in school is based on this music. There are of course many great players from before and after this period as well.
PIANO:
Wynton Kelly
Red Garland
Horace Silver
Herbie Hancock
Sonny Clark
BASS:
Ray Brown
Ron Carter
Sam Jones
Paul Chambers
Charles Mingus
DRUMS:
Philly Joe Jones
Art Blakey
Roy Haynes
Elvin Jones
Kenny Clarke
GUITAR:
Grant Green
Herb Ellis
Wes Montgomery
Jim Hall
Kenny Burrell
When you are listening to jazz, try to focus on what the rhythm section is doing, and especially your own instrument. Here are three versions of the song "Four" played by Miles Davis with three different rhythm sections. Try listening to all three and comparing what the rhythm players are doing. What is the same? What is different? What do you like about each? Dislike?
https://www.youtube.com/watch?
recorded 1954
piano - Horace Silver
bass - Percy Heath
drums - Art Blakey
https://www.youtube.com/watch?
recorded 1956
piano - Red Garland
bass - Paul Chambers
drums - Philly Joe Jones
https://www.youtube.com/watch?
recorded 1964
piano - Herbie Hancock
bass - Ron Carter
drums - Tony Williams
The most critical element in learning how to play jazz is listening. Finding good role models and listening carefully to their playing can help to teach us how jazz is supposed to sound and feel. For those of you who may not know the names of many rhythm section players, or for those who are just looking for some more people to check out, here is a very brief list of some of the greats. I have chosen players who played in the 1950s and 1960s and who often played bebop or in related styles. I chose this period and style not because it is necessarily the best, but because much of the jazz we study and play in school is based on this music. There are of course many great players from before and after this period as well.
PIANO:
Wynton Kelly
Red Garland
Horace Silver
Herbie Hancock
Sonny Clark
BASS:
Ray Brown
Ron Carter
Sam Jones
Paul Chambers
Charles Mingus
DRUMS:
Philly Joe Jones
Art Blakey
Roy Haynes
Elvin Jones
Kenny Clarke
GUITAR:
Grant Green
Herb Ellis
Wes Montgomery
Jim Hall
Kenny Burrell
When you are listening to jazz, try to focus on what the rhythm section is doing, and especially your own instrument. Here are three versions of the song "Four" played by Miles Davis with three different rhythm sections. Try listening to all three and comparing what the rhythm players are doing. What is the same? What is different? What do you like about each? Dislike?
https://www.youtube.com/watch?
recorded 1954
piano - Horace Silver
bass - Percy Heath
drums - Art Blakey
https://www.youtube.com/watch?
recorded 1956
piano - Red Garland
bass - Paul Chambers
drums - Philly Joe Jones
https://www.youtube.com/watch?
recorded 1964
piano - Herbie Hancock
bass - Ron Carter
drums - Tony Williams
Friday, July 3, 2015
Session #2 summary June 30 - 2015
Happy 4th of July Jazz Folks!
If you missed Jazz Colony or you have foggy summer memory, you may benefit from this summary of our last session. Mr. Bergevin's comments are followed by Max Bennett's comments in italics.
Congrats to Joel Steinke for the great guest DJ session last night on KPLU.
If you missed it, take a look and listen:
http://www.kplu.org/post/guest-student-dj-joel-steinke-ushering-next-generation-jazz
Congrats to Joel Steinke for the great guest DJ session last night on KPLU.
If you missed it, take a look and listen:
http://www.kplu.org/post/guest-student-dj-joel-steinke-ushering-next-generation-jazz
Next Sea Jazz Gig is hosted by Jack, Luis, Rahul 5-7 PM on Wednesday July 8.
Tyler Pritchard has signed up for Sunday July 12.
Tyler Pritchard has signed up for Sunday July 12.
Summary of June 30 evening from Mr. Bergevin's viewpoint.
Mr. Bergevin's initial greeting stressed two concepts:
1) we should have a heart of gratitude for the Jazz Colony - show gratitude by:
- attending faithfully
- practicing
- arriving (and leaving) on time
- being a helpful team player and encouraging each other
- exhibiting enthusiasm for learning and community
- pay attention to what others are playing
- ask what others are listening to and practicing
Mr. Bergevin encouraged everyone to sign up for the "REMIND" app - if you need instructions, email Mr. B.
Mr. Dugdale and Mr. B gave out free t-shirts for the purpose of reviewing the previous session and catching up anyone who may have missed that gathering. More t-shirts and prizes may be given away to students modeling the key elements of a Jazz Colony member.
New Colony instructor, Michael Glynn, did a great job with a very large group of rhythm section students.
There were about 11 students in the band room for this session. Michael focused on the idea of keeping internal time and trying to get this huge group to find a pulse together (playing for 2 measures of quarter notes, then resting for 2 measures, then coming back in without any visual or sonic cues). He also modeled some excellent technique.
Ornette Combo Summary
Mr. B helped with Steve's combo (ornette). I love the idea of breaking into smaller groups as it really helps everyone engage. In attendance were Rimmy, Brandt, Edward, Hugh (with his own drum kit - kudos to him!), Liz, Jack H, Jason W. Mr. B played guitar.
In the Ornette group there was an assignment for students bringing in their own compositions or portions of compositions. Nobody followed through with this so we "improvised". I recommend that everyone involved realize the power of basics i.e.
- have a pencil
- bring your own stand to your rehearsal space (and put it back when you're finished)
- if you bring in ideas in writing, transpose them so everyone is comfortable
- having ideas in writing speeds up a rehearsal quite a bit - it also improves editing and memory for the next session or rehearsal
- spend time thinking about orchestration - who's playing which sections?
- strive for sonic clarity so it doesn't sound crowded (these combos are big)
Here's a modern rendition I found on youtube - nice piano solo.
https://www.youtube.com/watch?v=pMbjqjgcWlI
I asked students to play roots for a bit until we all had it. We did all of this using our phones (iRealb app) and no music stands.
We worked on it in a very slow funk groove. We focused on sonic clarity and planning our attack when improvising. We talked about the idea of setting a goal before you begin playing so you have something intentional that you're working on ... instead of just playing whatever pops into your head.
At the end kids shared what other things they are excited about in music right now. Some kids talked about literature that their private teachers were working on. Some talked about recordings they're excited about right now. Hugh is enjoying Herbie Hancock's "The Prisoner" record.
Brandt and Jack H offered to bring in some original material (in writing) for the next session.
The upstairs gallery location is not ideal for a jazz combo as it's so loud and ringy. I did unlock the piano and will leave it unlocked. We'll try another location next week.
Summary from Max Bennett
For the workshop portion Alex Dugdale and I focused on rhythm as a big concept. We worked from the JC packet on the page with one measure riff rhythms and traded 8 and 16 bar solos on So What. We discussed all the different ways you could make 3-4 notes sound good (ie rhythm on or off beat, volume, pitch, rhythmic placement, note choice). There were only 3 sax players who showed up to this masterclass but it meant for more playing time and more personal feedback.
The "homework" for this masterclass was to go home and transcribe the rhythm of a blues head and one chorus of someone's solo. Then they would write their own notes to the solo. The goal of this assignment would be to analyze and identify riffs rhythms within the solo while also allowing the students to be creative with the note choice.
Next session we will present those transcriptions. Also, Alex and I talked about bringing in some recordings of some players who really focus on developing short motives in their solos (ie Sonny Rollins on Newks time, Coltrane on Acknowledgment, various Miles Davis solos). We will also continue with the one bar riffs.
The Blakey combo learned "Moanin" by ear and also worked on some roots in the solo section. This took up about the whole time.
Goals for next time would be to play through the head and start working on the solos for Moanin.
Also the small practice room got hotter than I thought so we might play outside if possible next time.
Tuesday, June 30, 2015
Communication
Hi All,
Thanks for being a part of the EW Jazz Colony this summer. To help stay informed I'd like you to subscribe to my texting application called REMIND. Send me an email for instructions and I will tell you how to sign up. Then get updates as a text on your phone. It's handy and efficient. Send the email to bergevinj@edmonds.wednet.edu or ask one of your colony buddies for the instructions on how to join the group. See you soon.
Yours in Swing, Mr. B
Thanks for being a part of the EW Jazz Colony this summer. To help stay informed I'd like you to subscribe to my texting application called REMIND. Send me an email for instructions and I will tell you how to sign up. Then get updates as a text on your phone. It's handy and efficient. Send the email to bergevinj@edmonds.wednet.edu or ask one of your colony buddies for the instructions on how to join the group. See you soon.
Yours in Swing, Mr. B
Thursday, June 25, 2015
JC 2015: Week One
Here is a recording of the Mingus song "Nostalgia In Time Square" that we learned last week. Review the two sections of the melody and work on composing/improvising your own melodic variations.
Here are the chord changes from this recording:
Eb7 Db7 | Eb7 Db7 | Eb7 Db7 | Eb7 Db7 |
F#m7 B7 | F#m7 B7 | Eb7 Db7 | Eb7 Db7 |
Cm7 F7 | Bbm7 Eb7 | Abm7 Db7 | Eb7 |
2015 Jazz Colony Combos
Cannonball Combo, directed by Alex Dugdale (band room)
Ben - tpt
Graeme - alto
Kyle B - bari
Alec - bone
Nebee - piano
Rodbey - bass
Muriel - drums
Blakey Combo, directed by Max Bennett and Jack White (small practice room)
Isaac - tenor
Stuart - tenor
Mikala - piano
Amanda - bass
Eric - drums
Mingus Combo, directed by Michael Glynn (choir room)
Jackson - tpt
Chris C - bari
Sam - bone
Benson - bass
Mason - bass
Brady - drums
Ornette Combo, directed by Steve Treseler (upstairs)
Brandt - alto
Rimmy - tenor
Jason - tpt
Elizabeth - bone
Edward - piano
Luis - bass
Hugh - drums
Konitz Combo, directed by Joel Steinke (large practice room)
Tyler M - tpt
Tyler P - tpt/piano
Noal - tenor
Joanna - Piano
Amanda-Bass
Cedar - drums
Saturday, April 4, 2015
EWHS Jazz Colony Videos and Photos and Music from Summers of 2012 & 2013 Jazz Colony Jams and Gigs --
This is what EWHS Jazz Colony is:
1. Student Musician's learning how to improvise, and how to improve all summer....
2. Every Tuesday night, clinics and jams.
3. A couple gigs at the Port of Edmonds and Romeo's Restuarant.
4. Fun with your friends all getting better and creating fantastic local Jazz!
For EWHS Jazz Colony Musicians and Parents:
Here are some other lost videos and photos from past Jazz
Colony summers that you might find interesting and even find yourself playing:
1. This is the Edmonds Woodway High School Jazz Colony for the
Summer of 2013 performing a group gig/jam session at the Port of Edmonds, -
"Sea Jazz" event on Wednesday, July 10, 2013. For some this is their
first gig. We mixed in a few professionals, ie Steve Treseler and Alex Dugdale.
2. 2014 Sea Jazz
Performance and photos of regular sessions:
Video of EWHS Jazz Colony 2014 Sea Jazz Performance
Video of EWHS Jazz Colony 2014 Sea Jazz Performance:
Link: https://www.dropbox.com/s/1v0l5f3tic5914q/Jazz%20Colony%20082714.wmv?dl=0
Video put together courtesy of Earle Oda.
Link: https://www.dropbox.com/s/1v0l5f3tic5914q/Jazz%20Colony%20082714.wmv?dl=0
Video put together courtesy of Earle Oda.
Sunday, March 29, 2015
EWHS Jazz Colony Summer of 2015 -- Ready for Sign Ups.... -- Print this out and fill out and send in....
The Edmonds Woodway High School Music
Booster Club Sponsors and Presents:
“EWHS Jazz Colony” - Improv Camp
at EWHS for the Summer of 2015
What: The Jazz Colony Improv Camp at EWHS is in its
6th year, formed and spearheaded by Music Director Jake Bergevin, Chaperone Pete
Bennett and Head Clinician Steve Treseler to fill a void for wanna-be EWHS Jazz
musicians who want to improve their jazz playing skills, over the summer, with
an emphasis on jazz improvisation and working in small Jazz Combos. We want all musicians to feel comfortable and
enjoy performing solos, improvising and playing in small Jazz Combos. We bring in professional clinicians to work
with the students for part of the time each session. We will jam for part of the time. As part of the process we will also work on:
Jazz Theory and Harmony; Sight-Reading; The Art of Solo Transcription; Ear
Training and Much More. We will
meet on Tuesday nights during the summer.
We will also have 2 Jazz Colony Gig/Jam Sessions at the Port of Edmonds,
by Anthony’s Home Port. Sometimes the
kids will also participate in the monthly EWHS Summer Performance/Jam Session
at Romeo’s Restaurant . We ask that musicians practice between
the weekly sessions. That is what it
takes to get good!
Why?: For Jazz musicians the dilemma has always been, how
can I improve myself as a solo musician and as a musician as part of a
group? Is there something that is
inexpensive, convenient, regular, challenging and not overly time consuming? The answer, in part, is to practice, practice
and practice, solo and improvision skills for your instrument and in small
group settings that are comfortable. The
vision is for many of us, to figure out a way to provide easy access to the
EWHS Jazz students to let them have that same type skill development, which
will immensely help the Jazz Students with individual and group musical
skills. We love seeing kids get better
and we love Jazz! As a result of
participating, the players don't put their instrument down and they work on their
Jazz all summer long..... They get good!
Where: Edmonds Woodway High School Music Building. - Band Room.
When: Evening Sessions – 10 Tuesdays, (Occasional changes with Notice)
7:00p – 9:00p Main Event – Clinic Hour 1/ Jam Hour 2 (see attached schedule)
Optional Chaperoned Solo
Practice times from 5:30 – 7:00 – Tuesday Nights
2 Wedn evening gig/Jam Sessions at Edmonds Anthony’s
Home Port
– “Sea Jazz “–
5:00p – 8:00p (See attached Schedule)
July 29, 2015 & 8-27-2015.
Plus possible part in 2 Romeo’s
Gig’s Tuesday – July 30, 2015 &
August 26, 2015.
Costs: $100.00 per student musician (to cover the cost of
bringing in clinicians and for music, t-shirts, snacks, etc.) (Scholarships may be available on request).
Who: Current
Edmonds-Woodway
Jazz I and II students (or other Sophmores-Sr's) from 2014-2015 and Alumni
(with permission). We will take enough
kids to make up 2-3-4-5 Jazz Combos, so sign up soon as we may fill up. We have had over 30 kids for each of the last
three summers!
How: Each Session we will take the first 1 hour
(7-8p) to warm up and do a group lesson/Clinic.
The next hour (8-9p) we will break out into assigned small Combos and
play music and practice improvisation and other jazz skills as a small group. Clinicians or other teaching musician’s will
be working with each group.
Students
may also come early on Tuesdays from 5:30 – 7:00 for chaperoned practice times
and/or more Playing/Jamming.
Head
Clinician
will be Steve Treseler. Head
Chaperone will be Peter Bennett.
Assistant Clinician will be Alex Dugdale. We will/may also have others as well. We understand that student’s travel and take
vacation each summer and that no one student will be available to be at every
session. So, below is a form to help us
plan. Please complete it to the best of
your ability… of course, the more you come, the more you improve. Most
Jazz I students have participated in Jazz Colony for the last couple years. No surprise that these kids can really play!
For more information,
including scholarships and deadlines, please contact Peter Bennett at
425-299-1340 or email Pete at pb@edmondslaw.com
- Jazz Colony Blog: http://jazzcolony.blogspot.com/
“EWHS JAZZ COLONY”
- Improv Camp at
EWHS for the
Summer of 2015
Registration Information
Please complete all sections of the registration form and
carefully review the attendance and payment policies.
Name_________________________________
Parent/Guardian_________________________
Address: _______________________________
______________________________________
_______________________________________
Home Phone: ____________________________
Student’s Cell Phone:
_____________________________
Parent’s Cell Phone:
______________________________
Student’s Email:
_________________________________
Parent’s Email:
__________________________________
________________________________________
Instrument(s):
______________________________
Years on Instrument(s):________________________
Age_______________
Grade (Fall of 2015)___________________
Please send Registration (or drop in Music Box), Check for $100.00,
Availability Form and T-Shirt Size to:
EWHS Music Boosters
C/O Peter Bennett
400 Dayton, Suite A
Edmonds, WA 98020 phone
425-299-1340
2015
- EWHS Jazz Colony Availability Calendar FORM
for Student: (and
T-Shirt Size Selection below)
FILL OUT, COPY,
AND RETURN A COPY WITH CHECK FOR $100.
Student Name:
_________________________________________
Calendar and Scheduling: We realize that students may be out of town
from time to time, so we are asking you to fill out the Calendar to let us know
when you are or are not available: (and
if things change and you are here or are gone, then make sure to let Peter
Bennett know…. Call , Text or Email).
Sessions: (all sessions
shall be at the EWHS Band Room, except as stated)
1. – Tues – June 23,
2015 -- 7:00p – 9p: Available – Not
Available (circle one)
2. – Tues – June 30, 2015
-- 7:00p – 9p: Available – Not Available (circle one)
3. – Tues – July 7,
2015 -- 7:00p – 9p: Available
– Not Available (circle one)
4. – Tues -- July 14, 2015 – 7:00 p - 9p Available
– Not Available (circle one)
5. – Tues – July 21,
2015 – 7:00 p – 9p Available – Not
Available (circle one)
6. -- Tues -- July 28,
2015 - 7:00p - 9p Available – Not
Available (circle one)
7. -- Wed -- July 29,
2015 - 5p-8p Gig-Jam Session
-- At "Sea Jazz"
at Port of Edmonds
-- Available – Not Available (circle one)
8. – Tues – August 4, 2015 – 7:00p – 9p Available
– Not Available (circle one)
9. – Tues – August 11, 2015 – 7:00 p – 9p -- Available
– Not Available (circle one)
10. – Tues – August 18,
2015 – 7:00 p – 9p -- Available – Not Available (circle one)
11. – Tues – August 25, 2015 – 7:00 p – 9p -- Available
– Not Available (circle one)
12. – Wed – August 26, 2015 – 5:00p – 8:00p – GIG-Jam Session at
Sea Jazz
Available – Not available (circle one) (weather permitting) (Last event)
SELECT
T-Shirt Size: Small, Medium, Large, X-large, XX- large (circle one)
FILL OUT, COPY,
AND RETURN A COPY WITH CHECK FOR $100.
Thanks for participating!
Man on the Street
EWHS Jazz Colony Coordinator
Peter Bennett - 425-299-1340
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