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 :

7/21/14  Improvisational thoughts from Dan Greenblatt

- ‘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.
Michael 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:





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?v=WMW3RloxEyA
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/0Rr43qFQ9WZuPUUa4Pvn1d
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?v=wo5cio1KNkE
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?v=7tnEV2IDx6g


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/L31pDORVifQ

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 /  / 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.

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!
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-training/chord-progressions

-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?v=uXIu2pypbVY
recorded 1954
piano - Horace Silver
bass - Percy Heath
drums - Art Blakey

https://www.youtube.com/watch?v=8xNbqG9PtyE
recorded 1956
piano - Red Garland
bass - Paul Chambers
drums - Philly Joe Jones

https://www.youtube.com/watch?v=zfjw03ixLSw
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

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.

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 
2) we should be interdependent learners and try to get more out of the sessions by learning from each other and not just the instructors.
  • 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)  
We spent most of the time memorizing chords to Ladybird by Tadd Dameron. 
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.