tag:blogger.com,1999:blog-32757870307632891082024-02-19T14:12:41.573-05:00Ever Up and OnwardBilly Strayhorn's motto, "Ever Up and Onward" seemed an apt title for the ruminations of a composer/arranger, jazz pianist, music educator, husband, father and Christian.Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.comBlogger225125tag:blogger.com,1999:blog-3275787030763289108.post-52298434846845045372015-11-20T20:09:00.000-05:002015-11-20T20:09:03.045-05:00Jazz Rhythm Section Fundamentals, Part 4<div dir="ltr" style="text-align: left;" trbidi="on">
<i>Here it is!</i> --- the fourth and final installment of a mini-series looking into the formative years of professional rhythm section players. The questions were posed by <a href="http://julesestrin.com/">Jules Estrin</a>, a jazz Masters degree candidate at the University of Toronto. Previously, responses by bassist <a href="http://everupandonward.blogspot.com/2015/11/jazz-rhythm-section-fundamentals-part-2.html">Mike Downes</a>, drummer <a href="http://everupandonward.blogspot.com/2015/11/jazz-rhythm-section-fundamentals-part-3.html">Ted Warren</a> and <i><a href="http://everupandonward.blogspot.com/2015/11/jazz-rhythm-section-fundamentals-part-1.html">me</a></i> were posted. Now we move onto <b>guitar</b>.<br />
<br />
Canadian guitarist, <a href="http://www.mikerud.com/">Mike Rud</a> won a JUNO award with his last disc, "<a href="http://notesonmontreal.com/">Notes On Montreal</a>." He has a brand new disc entitled "<a href="http://www.cdbaby.com/cd/mikerud12">Miniatures</a>," on which he sings in addition to playing guitar. Here's a promo video:<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/L2yswJTGPBY" width="560"></iframe><br />
(I attended McGill University at the same time as Mike, and remember him as the slightly disheveled guy who often stayed up all night transcribing Jim Hall or other master guitarists. He was definitely one of the more advanced players in the McGill jazz program during that era, so it was interesting for me to read about his development, prior to his undergraduate studies.)<br />
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<b>How did you get started on your primary instrument? </b><br />
<br />
I was playing guitar from age 11. It wasn't through school. It was seeing the Beatles on TV. Also my older brother had one around the house and he played. As Stevie Ray Vaughan said about his older brother Jimmy Vaughan "he would leave it [the guitar] out where I could reach it and tell me not to touch it...he knew what he was doing." <br />
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<b> What made you choose your instrument?</b> <br />
<br />
I wanted to be popular! Guitar was what the Beatles were playing (at least the ones who sang) <br />
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<b> Did you spend a lot of time experimenting with instruments or jamming after school as a young musician? How much influence did jamming with other players have on you?</b> <br />
<br />
Massive. Easily as much as any organized class or lessons, though I also took those (starting guitar lessons at 11, clarinet and jazz big band guitar around grade 8-9). Jamming was part of guitar culture. I did it a lot with my older brother, friends, etc. In that context I could dream. <br />
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<b> Who is the first player on recording that made an impression on you and that you tried to emulate on your instrument?</b> <br />
<br />
Probably George Benson. <br />
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<b> Can you list some players that younger players should be initially trying to emulate from recordings and talk about the specific characteristics of their playing that should be noted?</b> <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgviCP7nxFaJIdDPCQnxR5JTDLFhfcHJ_MnlYMWQwxE2HhvQ8MUvrsJqa66JuXPZ8IZ701LNNL_yjzw2dBrWxdgSGYAksmB1bQCT_c0-E6xwB8e5VWLkJ2-qi-jV2lrcb7QF6lIDPaJdr7x/s1600/Mike+Rud.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgviCP7nxFaJIdDPCQnxR5JTDLFhfcHJ_MnlYMWQwxE2HhvQ8MUvrsJqa66JuXPZ8IZ701LNNL_yjzw2dBrWxdgSGYAksmB1bQCT_c0-E6xwB8e5VWLkJ2-qi-jV2lrcb7QF6lIDPaJdr7x/s1600/Mike+Rud.jpg" /></a>Grant Green for time. Ed Bickert for chords and comping. Jim Hall for texture, taste, in-the-moment inspiration and compositionality. Wes Montgomery for warmth, blues ingenuity, and swing. Django for cheer. <br />
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<b> Where do you go for resources when you were young? Did you study locally with a teacher when you were young? </b><br />
<br />
I had a number of strong teachers early on. They all really inspired me. I went to the library a lot and took out records in many styles. <br />
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<b> What do you see as the primary and secondary roles of your instrument in the rhythm section? </b><br />
<br />
Primarily it's feel. Particularly in comping. So many sub-genres of comping need to be mastered. Secondarily it's probably soloing. The better a student gets as a small-group player, the more he or she will understand their role in a big band. <br />
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<b> Can you list some fundamentals that young players should be looking at to get a head start on your instrument?</b> <br />
<br />
CHORDS learn a lot of them. Listen an awful lot. <br />
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<b> Discuss any special relationships that the instrument in the rhythm section have with each other that you have discovered. </b><br />
<br />
Listen to the snare drum of great drummers, and the rhythms of pianists. Their comping uses essentially the same rhythms you want to. <br />
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<b> How do you describe the role of the rhythm section in small band playing vs big band playing?</b> <br />
<br />
The rhythm section is different especially for the drums. The guitarist usually needs to play less often and look for a few well-placed chances to provide a nice texture, often behind the soloist. Stay out of the piano's way, but also look for transparent textures that allow you to co-comp effectively with the pianist. You can play a lot less in a big band, and probably should. <br />
<br />
<b> Who was your biggest musical influence throughout your primary schooling in music? (ie. Middle school or high school music teacher). </b><br />
<br />
Maybe my first jazz guitar teacher Brian Hughes. <br />
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<b> What advice would you give school music teachers about teaching your instrument?</b> <br />
<br />
Be really patient with guitarists. They have an uphill battle getting the jazz style right. Encourage them by giving them as many solos as possible. Start combos, not just a big band. Herb Ellis' album "Rhythm Willie" is a great place to hear both a great jazz soloist, and Freddie Green, crystal clear. Basie's birthday on Jazz Casual by Ralph Gleason is good video of Freddie. The Art Of Jazz Band Rhythm Guitar by Bruce Foreman is a really useful comping book. Berklee A Modern Method for Guitar Vol 1-3 (Leavitt) are great for learning to read. <br />
<br />
<b> What technical advice would you give a young player starting out on your instrument?</b> <br />
<br />
Be a musician first and a guitarist second. Learn to read. Do it every day. Sing everything you play. Everything. Memorize as much as you can about your favorite jazz recordings. <br />
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<br />
<b>About Jules</b>:<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lVxgBx2ItTFnuZQ2DlaZMT1W_3QapmU4hg8SyMjX7nYPajsbzb668ASI4ycwK6xJNnhJNCVrcq20UsQUN0Da_4uSLiOZXWwDJeIEp8V7gORLB7G2LX_Sj9ZkWOlAHDV2UmKFLM17Rcbv/s1600/jules_estrin.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lVxgBx2ItTFnuZQ2DlaZMT1W_3QapmU4hg8SyMjX7nYPajsbzb668ASI4ycwK6xJNnhJNCVrcq20UsQUN0Da_4uSLiOZXWwDJeIEp8V7gORLB7G2LX_Sj9ZkWOlAHDV2UmKFLM17Rcbv/s320/jules_estrin.jpg" width="212" /></a></div>
<span style="line-height: normal;"><a href="http://julesestrin.com/">Jules Estrin</a> is a first-rate trombonist, a graduate of McGill University's jazz program, and is currently completing his Master’s degree, having served as director of the 7 o’clock Jazz Ensemble at the University of Toronto. All the while, Jules continues his regular schedule with the Toronto District School Board, as well as being acting musical director of the JAZZ.FM91 Youth Big Band. During the summer month</span></div>
Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0Storrs, Mansfield, CT, USA41.8084314 -72.24952309999997641.7610869 -72.330204099999975 41.855775900000005 -72.168842099999978tag:blogger.com,1999:blog-3275787030763289108.post-64175362492391064472015-11-11T08:30:00.000-05:002015-11-11T09:29:02.283-05:00Jazz Rhythm Section Fundamentals, Part 3<div dir="ltr" style="text-align: left;" trbidi="on">
Here's the third installment of <a href="http://julesestrin.com/">Jules Estrin</a>'s <a href="http://everupandonward.blogspot.com/2015/11/jazz-rhythm-section-fundamentals-part-1.html">questionnaire</a>, which shares insights into the formative years of professional rhythm section players. Today's subject is drummer Ted Warren. Ted is a member of groups led by Mike Murley, Mike Downes, Kieran Overs, and Ted Quinlan. He was the drummer for Rob McConnell's Boss Brass, and can be heard on six of their CDs. I was pleased to have him play on my debut CD, "Schroeder's Tantrum," recorded back in 1996. Ted has a marvelous blog of his own, "<a href="http://trapdted.blogspot.com/">Trap'd</a>," where he shares ruminations on teaching, playing, writing, and listening (and also pizza). <br />
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<b>How did you get started on your primary instrument?</b><br />
<br />
I took lessons on drums after a year of piano.<br />
<br />
<b>What made you choose your instrument?</b><br />
<br />
I saw a young person on TV playing the drums and thought it looked easy. How wrong I was!<br />
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<b>Did you spend a lot of time experimenting with instruments or jamming after school as a young musician? How much influence did jamming with other players have on you?</b><br />
<br />
I spent many hours jamming with other musicians through high school. Sometimes learning songs, sometimes playing “open form” or “free”. This had a huge influence on me and was a big help in developing my playing.<br />
<br />
<b>Who is the first player on recording that made an impression on you and that you tried to emulate on your instrument?</b><br />
<br />
I can’t remember the first exactly, but I distinctly remember hearing Tony Williams on “Seven Steps To Heaven” and wanting to play something as cool and inventive as that. I’m still working on that!<br />
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<b>Can you list some players that younger players should be initially trying to emulate from recordings and talk about the specific characteristics of their playing that should be noted?</b><br />
<br />
Jimmy Cobb-Time and elegant simplicity<br />
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John Bonham- Time and sound<br />
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Elvin Jones-Groove and inventiveness<br />
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<b>Where do you go for resources when you were young? Did you study locally with a teacher when you were young?</b><br />
<br />
I did study with a teacher for 5 years between the ages of 10 and 15. I didn’t really get so much technically from him as much as an attitude and openness about playing.<br />
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<b>What do you see as the primary and secondary roles of your instrument in the rhythm section?</b><br />
<br />
I see my instrument’s primary as keeping time and groove, but also signifying major events in any particular piece. Another role that’s just as important and harder to quantify is how the drums contribute to the overall spirit of a band more than any other instrument.<br />
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<b>Can you list some fundamentals that young players should be looking at to get a head start on your instrument?</b><br />
<br />
Rudiments, reading, playing to recordings, and learning to play brushes<br />
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<b>Discuss any special relationships that the instrument in the rhythm section have with each other that you have discovered.</b><br />
<br />
Drums encapsulate all the roles of the of the rhythm section. The ride cymbal is similar to the bass line, comping on the snare and bass drum relates to what the piano is doing, and the hi-hat does what guitar initially did.<br />
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<b>How do you describe the role of the rhythm section in small band playing vs big band playing?</b><br />
<br />
The rhythm section in a big band MUST function as a unit, even when it seems at odds with what the horns may be doing. In a small band, there is a lot more room to switch roles around.<br />
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<b>What advice would you give school music teachers about teaching your instrument?</b><br />
<br />
Try to include lots of audio examples to give young players things to strive towards.<br />
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<b>What technical advice would you give a young player starting out on your instrument?</b><br />
<br />
Learn your rudiments.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-Ve4yVCpjDk" width="560"></iframe><br />
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_____________________________________<br />
<br />
<b>About Jules</b>:<br />
<br />
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<span style="line-height: normal;"><a href="http://julesestrin.com/">Jules Estrin</a> is a first-rate trombonist, a graduate of McGill University's jazz program, and is currently completing his Master’s degree, having served as director of the 7 o’clock Jazz Ensemble at the University of Toronto. All the while, Jules continues his regular schedule with the Toronto District School Board, as well as being acting musical director of the JAZZ.FM91 Youth Big Band. During the summer month</span></div>
Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-4816285544408209202015-11-10T09:48:00.001-05:002015-11-10T09:48:06.419-05:00Jazz Rhythm Section Fundamentals, Part 2<div dir="ltr" style="text-align: left;" trbidi="on">
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Understanding the idiosyncrasies of the rhythm section can be a challenge for many jazz educators, especially if their main instrument isn't within the rhythm section. Toronto-based trombonist, <a href="http://julesestrin.com/">Jules Estrin</a> composed <a href="http://everupandonward.blogspot.com/2015/11/jazz-rhythm-section-fundamentals-part-1.html">a questionnaire</a> which he issued to a group of professional rhythm section players to shed some light onto their formative years.<br />
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Bassist <a href="http://www.mikedownes.com/">Mike Downes</a>' responses are posted below. Mike is the author of "<a href="http://www.jazzbooks.com/mm5/merchant.mvc?Screen=PROD&Store_Code=JAJAZZ&Product_Code=JBLB&Category_Code=#.VkH9LoRQozI">The Jazz Bass Line Book</a>," published by Advance Music. He has been the Bass Department Head at Humber College in Toronto since 2000. His CD, "Ripple Effect" won a JUNO award in 2014. Here's a sample of his playing with Molly Johnson:<br />
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<b>How did you get started on your primary instrument?</b><br />
<br />
I began with banjo and piano lessons and took bass lessons from my father, who played and owned a bass. <br />
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<b>What made you choose your instrument?</b><br />
<br />
I quickly realized that I loved the bass. I gravitated to listening to bass players on recordings, and learning bass lines from those recordings. <br />
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<b>Did you spend a lot of time experimenting with instruments or jamming after school as a young musician? How much influence did jamming with other players have on you?</b><br />
<br />
I played trombone through school and studied piano but I also played electric bass. I spent a lot of time playing in rock bands as a young musician (I started playing in these bands at age 10). Playing with other people is the primary way I learned about music and learned how to listen and make music collectively. Also, I saw the way my friends and band members were learning their instruments and that influenced me a lot. <br />
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<b>Who is the first player on recording that made an impression on you and that you tried to emulate on your instrument?</b> <br />
<br />
The first player that really made an impression on me was Geddy Lee from Rush. Before I got into jazz, I was influenced by progressive rock bands like Yes, Rush, etc., so Chris Squire, Geddy Lee and other rock bassists were a big influence. They played bass lines that were quite complex and musical. That led me to other great electric players like Jeff Berlin and Jaco Pastorius. Even before that, my father was playing jazz recordings with bassists like Ray Brown and Paul Chambers. I listened to all of them. This is a bit more than you asked for, but all of them made a big impression on me. <br />
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<b>Can you list some players that younger players should be initially trying to emulate from recordings and talk about the specific characteristics of their playing that should be noted?</b><br />
<br />
In the jazz world, Ray Brown, Paul Chambers, Scott LaFaro and Charlie Haden are a few of the bassists that one should listen to and try to emulate. <br />
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Ray Brown - played with an incredibly powerful, even and dynamic sound and has one of the greatest time feels ever. He is on thousands of recordings, but Night Train and We Get Requests with the Oscar Peterson Trio are two incredible ones. <br />
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Paul Chambers - Paul had a great sound and feel and played beautifully supportive walking lines. He soloed pizzicato and arco and his solos are a model of bop bass playing. Any of his recordings with Miles Davis (Milestones and Round about Midnight are both great) are worth checking out.<br />
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Scott LaFaro - is known primarily for his work with Bill Evans, although he is on many other great recordings. Listen to how he created an interactive dialogue with Bill and Paul Motian. He revolutionized the role of the bass, playing bass lines that were melodic and interesting on their own while still supportive. He was also a great soloist. Sunday at the Village Vanguard, Explorations and Portrait in Jazz (Bill Evans Trio) are all fantastic recordings.<br />
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Charlie Haden - Charlie's depth of tone, time and note choices in his walking lines are inspiring. His playing on Don Cherry's Art Deco and Pat Metheny's Beyond the Missouri Sky are great examples.<br />
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<b>Where do you go for resources when you were young? Did you study locally with a teacher when you were young?</b><br />
<br />
Resources then and resources now are very different. YouTube and iTunes didn't exist when I was young, so I had to buy (and wait for) recordings through record stores. I also studied with various teachers in Winnipeg, where I grew up. I also listened to the radio quite a bit. <br />
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<b>What do you see as the primary and secondary roles of your instrument in the rhythm section?</b><br />
<br />
The primary role of a bassist is to provide the rhythmic and harmonic foundation. The bass "voice" is also a secondary melody below the other melody or melodies sounding at a given time. Outlining the form is a by-product of the harmonic foundation. <br />
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<b>Can you list some fundamentals that young players should be looking at to get a head start on your instrument?</b><br />
<br />
Learn to produce a great sound with the least effort possible, learn to listen to bass lines as a part of the musical whole, learn how to outline harmony with walking bass lines and just generally learn how to play the instrument with a consistent and even tone.<br />
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<b>Discuss any special relationships that the instrument in the rhythm section have with each other that you have discovered.</b><br />
<br />
There are many, but the bass/ride cymbal relationship is very important. Listen to recordings and focus in on how the bass and ride cymbal interact. Where are they playing in relation to the pulse? Next, since the bass provides the harmonic foundation, the relationship with guitar or piano (comping instruments) is also very important. What notes does the bassist play to outline the harmony at any given moment? What happens when the bassist does or doesn't play the root of the harmony? <br />
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<b>How do you describe the role of the rhythm section in small band playing vs big band playing?</b><br />
<br />
That depends on the style of music one is playing. Typically, the small band would provide a more "open" environment where everyone can be "looser" with their roles, but that is not always the case. Some big bands provide more freedom to rhythm section players than certain types of small bands. So.... if the music is highly arranged with specific parts in either sized band, then your role is defined by the arrangement. If the part is more improvised, you have the freedom to choose whatever approach you feel best serves the music. <br />
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<b>Who was your biggest musical influence throughout your primary schooling in music? (ie. Middle school or high school music teacher).</b><br />
<br />
My middle school and high school teachers were both influential. My middle school teacher was Elaine Marks, who was very encouraging, and gave me a lot of feature trombone parts and solos. Jim McKay was my high school teacher, and he gave me the opportunity to play both bass and trombone, to study arranging and write big band charts for the school band. <br />
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<b>What advice would you give school music teachers about teaching your instrument?</b><br />
<br />
Bass, and in particular acoustic bass, is a physical instrument that demands specialized attention. Unless this is a music teacher's main instrument, I would recommend that they help students find a private instructor. I would also recommend that teachers seek out books on the subject. There are many excellent books on bass line construction, etc. that will give them at least a working knowledge of how bass players think. Teachers can't be expected to be specialists in everything, so there is nothing wrong with asking for professional help. <br />
<br />
<b>What technical advice would you give a young player starting out on your instrument?</b><br />
<br />
Get a private instructor as soon as possible. Bad habits are difficult to break, so it is a good idea to establish good habits right away. Don't rely on YouTube and other online sources exclusively. They may or may not be giving good advice. Find someone you respect and ask lots of questions.<br />
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_____________________________________<br />
<br />
<b>About Jules</b>:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lVxgBx2ItTFnuZQ2DlaZMT1W_3QapmU4hg8SyMjX7nYPajsbzb668ASI4ycwK6xJNnhJNCVrcq20UsQUN0Da_4uSLiOZXWwDJeIEp8V7gORLB7G2LX_Sj9ZkWOlAHDV2UmKFLM17Rcbv/s1600/jules_estrin.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lVxgBx2ItTFnuZQ2DlaZMT1W_3QapmU4hg8SyMjX7nYPajsbzb668ASI4ycwK6xJNnhJNCVrcq20UsQUN0Da_4uSLiOZXWwDJeIEp8V7gORLB7G2LX_Sj9ZkWOlAHDV2UmKFLM17Rcbv/s320/jules_estrin.jpg" width="212" /></a></div>
<span style="line-height: normal;"><a href="http://julesestrin.com/">Jules Estrin</a> is a first-rate trombonist, a graduate of McGill University's jazz program, and is currently completing his Master’s degree, having served as director of the 7 o’clock Jazz Ensemble at the University of Toronto. All the while, Jules continues his regular schedule with the Toronto District School Board, as well as being acting musical director of the JAZZ.FM91 Youth Big Band. During the summer months, he has served as jazz program coordinator</span></div>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0Storrs, Mansfield, CT, USA41.8084314 -72.24952309999997641.7610869 -72.330204099999975 41.855775900000005 -72.168842099999978tag:blogger.com,1999:blog-3275787030763289108.post-72409341217155337722015-11-09T15:47:00.000-05:002015-11-10T09:08:44.608-05:00Jazz Rhythm Section Fundamentals, Part 1<div dir="ltr" style="text-align: left;" trbidi="on">
As part of his Masters degree thesis (focusing on jazz pedagogy and conducting), my good friend <a href="http://julesestrin.com/">Jules Estrin</a> asked me to complete the following questionnaire reflecting on my start as a jazz rhythm section player. He posed the same questions to bassist <a href="http://www.mikedownes.com/index/">Mike Downes</a>, drummer <a href="http://trapdted.blogspot.com/">Ted Warren</a> and guitarist <a href="http://www.mikerud.com/">Mike Rud</a>. I asked permission to post all of their responses here, to serve as a resource for jazz educators and students, and they all agreed. Today I'll start with my responses, and continue the series throughout this week.<br />
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<b>How did you get started on your primary instrument?</b><br />
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In high school I switched to the piano after taking about 10 years of lessons on the electronic organ. There seemed to be far more opportunities to play pianos than the organ. I started classical piano lessons at the Manitoba Conservatory of Music and Arts and joined the school jazz band in the same year. As a teenager, I really admired the piano playing skills of Gary Varty, a blind pianist who played at my church. My intrigue with how he embellished hymns was definitely a factor in my wanting to play piano.</div>
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<b>What made you choose your instrument?</b><br />
<b><br /></b>
I wanted to be a guitar player, but Santa never brought me the 6-string electric guitar I requested. My hero at the time was Elvis Presley. My dad liked building Heathkit electronics projects and he built an organ. My parents enrolled me in group organ lessons in a church basement at age 5 or 6. In middle school I chose the French horn so I could sit beside a pretty girl. I wish I had stuck with it; if I had, maybe I’d now be listed in DownBeat critics/readers’ polls in the miscellaneous instrument category.<br />
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<b>Did you spend a lot of time experimenting with instruments or jamming after school as a young musician? How much influence did jamming with other players have on you?</b><br />
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In high school I started playing keyboards in rock bands. During one of our rehearsals, the drummer’s dad (Mr. Mirochnick) came downstairs with some Bill Evans and Oscar Peterson LPs and played them for us. He encouraged us to try playing in that style, and oddly enough, we did. The group that started out as a rock band named “The Camels,” ended up playing in the jazz combo division of Winnipeg’s Optimist Music Festival that year (1985). We played Pat Metheny’s “Phase Dance” and Sonny Rollins’ “Tenor Madness” (although we called it “the Dinosaur Blues” because we didn’t know any better). Both pieces were learned by ear. Gordon Foote was our adjudicator and he HATED us. He told us to go on the road as a blues band and forget about jazz. Maybe I should have listened to him.<br />
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<b>Who is the first player on recording that made an impression on you and that you tried to emulate on your instrument? </b><br />
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Lyle Mays with the Pat Metheny Group. I transcribed the tune “Phase Dance” and learned to play along with Lyle Mays’ solo, note-for-note.<br />
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<b>Can you list some players that younger players should be initially trying to emulate from recordings and talk about the specific characteristics of their playing that should be noted?</b><br />
<br />
Unless really pressed for names, I like for students to transcribe whatever they enjoy listening to. If someone were to start with <i>Snarky Puppy</i> synth solos, I would be fine with that. For jazz to continue evolving in a healthy, natural manner, perhaps students should transcribe current stuff. Many of my younger students seem to have a decent handle on what’s currently hip. If they’re clueless, of course I will step in and make recommendations. But, they will probably progress at a faster rate, if they’re truly passionate about the stuff they are copying.<br />
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When I was a McGill music student, my piano teacher, Fred Henke told me to transcribe Bud Powell, even though at the time I was listening to groups like Pat Metheny and Oregon. I wonder what I would sound like today if my teacher were flexible enough to embrace my youthful interests, rather than pushing bebop. I’m not resentful --- just curious.<br />
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Personally, I transcribed most of the major names in jazz piano. I focused on one person at a time for 3 to 6 months, learning numerous solos for each of them. Bud Powell, Barry Harris, Wynton Kelly, Sonny Clark, Barry Harris, Count Basie, Gene Harris, McCoy Tyner, Chick Corea, Keith Jarrett, Herbie Hancock, etc. Again, I’m not sure if I would advise this. I think I sound like the generic college-educated jazz pianist. If the goal in jazz is to ultimately sound individualistic, maybe we shouldn’t all be copying the same people. If the goal is to play a big band chart in the style of Duke Ellington, by all means, transcribe Duke Ellington.<br />
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I also studied the 'comping' of quite a few pianists --- Cedar Walton and Herbie Hancock especially. At first I’d just write out the rhythms they played and would clap along with the recording. Later I got more adept at identifying the chords they played.<br />
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<b>Where do you go for resources when you were young? Did you study locally with a teacher when you were young?</b><br />
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I found a few jazz books in my high school band room, and also picked up a few at St. John’s Music store in Winnipeg. I remember devouring Frank Mantooth’s book “Voicings for Jazz Keyboard”. I even got Frank to sign it when he adjudicated my high school band, and he got a kick out of how excited I was to meet him when I asked him for his autograph.<br />
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During the summers I took a few lessons with George Laks, who is now Lenny Kravitz’s keyboard player. George grew up in my neighborhood and was a few years older than me. At that time he was a student at the Berklee College of Music in Boston and would come home to visit his mom. He taught me about chord voicings mostly.<br />
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Before preparing audition tapes for university music schools, I had a lesson with Ron Paley. He showed me what scales worked with the chords in the required audition tunes. This was a major revelation to me.<br />
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My biggest resource was a used record store on Corydon Ave. Many Saturday afternoons were spent going through the record bins and I’d come home with 5 or so LPs at a time.<br />
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Today there’s YouTube, which is such an amazing resource. All the major recordings and videos seem to be uploaded in one place. If a young pianist were to stumble upon Hank Jones, for instance, he could look him up, hear a cross-sampling of his playing, and observe his physical approach to playing the instrument.<br />
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<b>What do you see as the primary and secondary roles of your instrument in the rhythm section?</b><br />
<br />
Primary role: outlining harmony<br />
Secondary role: rhythmic punctuations<br />
(Soloing would be much lower on the list.)<br />
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<b>Can you list some fundamentals that young players should be looking at to get a head start on your instrument?</b><br />
<br />
At the risk of appearing self-promoting, I will draw attention to the eight, free, online lessons I have posted on my website: <a href="http://www.earlmacdonald.com/">www.earlmacdonald.com</a>. The topics include spelling and labeling chords, left hand shells, and various voicing types. This material should be enough to get any classically-trained high school pianist up and running should he/she want to delve into the world of jazz.<br />
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<b>Discuss any special relationships that the instruments in the rhythm section have with each other that you have discovered.</b><br />
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Recently I started practicing the drums. ‘Comping’ (accompanimental) rhythms on the snare drum are basically the same as what a pianist plays behind soloists. Playing the drums is making me a better pianist.<br />
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<b>How do you describe the role of the rhythm section in small band playing vs big band playing?</b><br />
<br />
In a big band, the pianist plays much less than he/she might play within a small ensemble. The harmony is outlined in the horns, so he/she isn’t responsible for laying down the chords. In big bands, I look for “holes” where I can tastefully interject myself. Playing like Count Basie is a very different skill set than playing like Wynton Kelly, McCoy Tyner or Chick Corea.<br />
<br />
The key is listening carefully to recordings in a wide variety of styles and genres, and to focus solely on the piano (or your instrument) to see how they are contributing. I have done the same with bass and drums, to fully grasp the roles of my section mates.<br />
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<b>Who was your biggest musical influence throughout your primary schooling in music? (ie. Middle school or high school music teacher).</b><br />
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The best thing my high school band director did was give us the freedom to use the band room to jam and listen to records together, unsupervised. Instruments were there, set up and ready to play. There were instructional books for us to borrow. Guest clinicians were sometimes brought in to work with us (including Paul Reed, Kevin Dean, Gordon Foote and numerous local musicians.) Ron Paley’s professional big band was also invited to rehearse in our band room on Thursday afternoons after school. I would sometimes stay late to hear them. If I were to single out someone as an early influence, it would be Ron.<br />
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<b> What advice would you give school music teachers about teaching your instrument?</b><br />
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Have a bookshelf with books to loan to interested students. For starters I’d suggest Mark Levine’s “Jazz Piano Book” and “Jazz Theory Book” as well as Frank Mantooth’s “Voicings for Jazz Keyboard”.<br />
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Introduce your students to a wide variety of piano players by playing recordings or YouTube videos. The discographies in the back of Levine’s books are a great place to start if you are looking for lists.<br />
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It's important to remember that there are some fundamental differences between what a rhythm section player does when reading a piece of music, compared with their wind-playing counterparts. In a big band, the horns simply try to play what’s on the page as accurately as possible. Rhythm section players, on the other hand, “interpret” the arranger’s cues, drawing upon their recall from recordings. If you don’t believe me, just look at a drum part. If the drummer played exactly what was on the page, the band would be sunk.<br />
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As strange as it may sound, I have encountered times when the only appropriate thing to play is that which is not in my part. Some piano parts include cues for what the ensemble will play, as well as bass lines. Neither would be appropriate for the pianist to play (but it helps to know what the other musicians are doing). In instances like these, I think about similar musical situations I have heard on records and try to recall what the pianist did.<br />
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<b>What technical advice would you give a young player starting out on your instrument?</b><br />
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For pianists, I think a strong classical background is beneficial. Get a good teacher. <br />
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Devote time daily to scales and technique. <br />
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Learn to sight-read.<br />
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The more you practice in your youth, the better you will be. As busy as you may feel, know that you will have less time to practice as you grow older. Use your time wisely and log as many hours as you can, working on things you cannot do.<br />
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If jazz is your interest, start playing along with recordings, copying what you hear. You might even choose to write it down. This is the secret to getting better fast!<br />
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_____________________________________<br />
<br />
<b>About Jules</b>:<br />
<br />
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<span style="line-height: normal;">Jules Estrin is a first-rate trombonist, a graduate of McGill University's jazz program, and is currently completing his Master’s degree, having served as director of the 7 o’clock Jazz Ensemble at the University of Toronto. All the while, Jules continues his regular schedule with the Toronto District School Board, as well as being acting musical director of the JAZZ.FM91 Youth Big Band. During the summer months, he has served as jazz program coordinator and artistic director at the Kincardine Summer Music Festival. He is also a devoted husband and the father of three active boys.</span></div>
Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-2844826024908371492015-10-01T14:35:00.000-04:002015-10-02T09:21:17.098-04:00There's Jazz In Them Thar Hills<div dir="ltr" style="text-align: left;" trbidi="on">
I just completed a short guest artist residency at <a href="http://marshallparthenon.com/6155/news/6155/#prettyPhoto">Marshall University</a> in Huntington, West Virginia. My stay culminated in a concert of my big band music performed by their <i>Jazz 1</i> ensemble last night. I shared the conducting duties with their director, <a href="http://www.marshall.edu/somt/bio/martin-saunders/">Martin Saunders</a> and also played piano on a few selections. In the three days leading up to the concert I gave lectures in jazz arranging and improvisation, in addition to rehearsing their two big bands and top combo.<br />
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<tr><td class="tr-caption" style="text-align: center;">Conducting the Marshall University <i>Jazz 1</i> Ensemble (09/30/2015)<br />
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Marshall's jazz program is unique and well-poised in that they have three full-time jazz faculty members, and they benefit from a substantial endowment which included the gift of <b>a designated jazz building</b>, complete with a recording studio, plus rehearsal and performance space. There are about twenty undergraduate jazz majors, most of whom appear very open to instruction, and are "hungry" for new information. Many of these students come from remote locales throughout Appalachia, so jazz is a newly aquired passion for them, and they are keen to unlock it's mysteries.<br />
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<tr><td class="tr-caption" style="text-align: center;">Rehearsing with the MU Jazz 1 ensemble.</td></tr>
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Besides the gratifying experience of having my music performed, brief residencies such as this are valuable to me for collecting new pedagogical approaches, as well as gathering administrative and recruiting ideas which I can apply back at home. I gain perspective as I assess the ensemble I am hired to conduct and rehearse, and consider how they compare to my students in Connecticut. Without question these experiences make me a stronger ensemble leader and educator.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtqEh_EOloIGbKk4P9lkAtZXOtkjpUT19N4Y0D-iZOv4F7RHY1H2SZWo61ScO_8NDfo2ommhL3LpSVuYdBkGmR7wpCunXILB1Ln7XtKCPCYINrbaLiXZC6ZxR7zVzxreaGaToKtb25TDn/s1600/Jesse_Nolan.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtqEh_EOloIGbKk4P9lkAtZXOtkjpUT19N4Y0D-iZOv4F7RHY1H2SZWo61ScO_8NDfo2ommhL3LpSVuYdBkGmR7wpCunXILB1Ln7XtKCPCYINrbaLiXZC6ZxR7zVzxreaGaToKtb25TDn/s200/Jesse_Nolan.jpeg" width="143" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Drummer Jesse Nolan</td></tr>
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It is equally inspiring to hear about the research interests of professors at other institutions. Marshall's newest faculty hire, percussionist Jesse Nolan brings a lot to the table, with expertise in using new online platforms capable of transforming how information is collected and disseminated. As technologically impaired as I am, he managed to get me excited by the potential a customized version of "<a href="https://studio.mashplant.com/welcome">MashPlant</a>" could offer organizations such as <a href="https://jazzednet.org/">JEN</a> (the Jazz Education Network). He serves on their Education Committee and has imaginative ideas which could transform the entire organization. Imagine an online destination connecting all the scholarly work of its members, neatly organized and in one place, which allows for collaboration and dialogue, in addition to documenting successful initiatives to demonstrate the effective use of donor's investments. Wow! Sign me up!<br />
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It's nice to have reached this point in my career where I can choose to occasionally bounce around the country and work with different ensembles, share the expertise I have to offer, while gaining new insights and ideas which keep me fresh and recharge my batteries. <br />
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Here's a glimpse into how I spent the last three days:<br />
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<tr><td class="tr-caption" style="text-align: center;"><br />
the Jomie Jazz Center, Marshall University</td></tr>
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<b>Mon:</b><br />
9:30am – Depart from hotel<br />
10-11am – Jazz Arranging (JJ114)<br />
12-1pm – Jazz I rehearsal (JJ210)<br />
1-2pm - Lunch<br />
2-3pm – Jazz II rehearsal (JJ210)<br />
Dinner<br />
<br />
<b>Tues:</b><br />
9:30am – Depart from hotel<br />
10 - 11, 11 - 12: morning piano lessons<br />
12 – 1pm - Lunch<br />
3:30-4:30pm – Jazz Improv I (JJ210)<br />
6-6:50pm – Jazz Jam Session (JJ210)<br />
7-9:30pm – Extended Jazz I rehearsal (JJ210)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOvbSgG8dLwu7zEFMbH7o2rNeieYX_Z3WHZ7L9EpLAoDPY0JmRsaqw8cIUsoEhlT5_4cqE_NiOeojHMTixfilfmVPmCYhnnjQWpEJDSgK0NmIK3PKolWkXklLJRBw0qIsKB4KwmRqNu1U1/s1600/Marshall_University.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOvbSgG8dLwu7zEFMbH7o2rNeieYX_Z3WHZ7L9EpLAoDPY0JmRsaqw8cIUsoEhlT5_4cqE_NiOeojHMTixfilfmVPmCYhnnjQWpEJDSgK0NmIK3PKolWkXklLJRBw0qIsKB4KwmRqNu1U1/s320/Marshall_University.jpg" width="207" /></a></div>
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<b>Wed:</b><br />
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9:30am – Depart from hotel<br />
10-11am – Jazz Arranging (JJ114)<br />
12-1pm – Jazz I dress rehearsal (Smith Recital Hall)<br />
1-2pm – Lunch<br />
2-3pm – Jazz II rehearsal (JJ210)<br />
5:30pm – Sound Check<br />
7:30pm – Jazz I Concert<br />
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Reviews of last night's concert appeared in both <i><a href="http://marshallparthenon.com/6155/news/6155/">the Parthenon</a></i> (Marshall's campus newspaper) and <i><a href="http://www.herald-dispatch.com/news/renowned-jazz-composer-performs-with-mu-students-faculty/article_705d2f98-682f-11e5-980e-b709e2943141.html">the Huntington Herald-Dispatch</a></i>, both of which are posted online.</div>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0Huntington, WV, USA38.4192496 -82.44515438.3197081 -82.6065155 38.5187911 -82.2837925tag:blogger.com,1999:blog-3275787030763289108.post-54716676799826869872015-09-28T07:00:00.000-04:002015-09-28T08:44:14.722-04:00Jazz Meets Hollywood Squares<div dir="ltr" style="text-align: left;" trbidi="on">
Despite being touted as the exemplification of creative music, jazz could benefit from a new influx of outside-the-box thinkers. To a degree, the problem may stem from how jazz is now taught. Young jazz students are indoctrinated into a mindset of revering and emulating <i>the masters</i> who proceeded them. Oddly those same masters bucked convention in their youth. So, here we are, with a new generation of highly skilled players, well-schooled in the music's past, who are seemingly content to play in the style of their predecessors; and jazz (at least a good-sized chunk of it) remains at a standstill.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KgLFiP8t8XhpiMWXz30VOpnep0HFySCKX3Vsug3_791Q9jFZBA_hQasz_w8vd8cvPmPWGeT9aD-83p_l-K3MhltiY8sN1DCsM8TbvQilAmDLUgeBkLTrtM_2ikxCDZu7PCFzlERP0CbR/s1600/jazz+quintet.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KgLFiP8t8XhpiMWXz30VOpnep0HFySCKX3Vsug3_791Q9jFZBA_hQasz_w8vd8cvPmPWGeT9aD-83p_l-K3MhltiY8sN1DCsM8TbvQilAmDLUgeBkLTrtM_2ikxCDZu7PCFzlERP0CbR/s200/jazz+quintet.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://youtu.be/mni84dQUq00">Ambrose Akinmusire</a>'s band has piqued my curiosity,<br />
but they still need to ditch the suits.<br />
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The absence of <b>challenging convention</b> extends way beyond musical vocabulary in jazz. No one seems to be questioning why performing jazz quintets still dress like they are living in the mid-1950s. C'mon folks, let's stir things up; it's 2015 <i>for crying out loud!</i> </div>
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Similarly it is rare to see a university jazz program embracing instrumentations other than big bands and combos (consisting of trumpet, sax, trombone and rhythm section). Since when is respecting the music's lineage more important than artistic advancement?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5oH5jwHKrH9rn8KeVcbN-WWKEWGJz2Lf6UoamS_vkKGHMsLSmCauus1Zs0n7F9OHWDRjgj5DURbb7skC7GA7GMJY1CQpcMEsi7KbPZBZMn81n7N1ATlOxajkT47TrPZEpYVJXfjWS3fKo/s1600/Kenton.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5oH5jwHKrH9rn8KeVcbN-WWKEWGJz2Lf6UoamS_vkKGHMsLSmCauus1Zs0n7F9OHWDRjgj5DURbb7skC7GA7GMJY1CQpcMEsi7KbPZBZMn81n7N1ATlOxajkT47TrPZEpYVJXfjWS3fKo/s320/Kenton.jpeg" width="320" /></a>Even big band seating configurations have become nonmalleable. Whatever happened to Kenton's "flying V" set-up? Ellington and Basie weren't locked into three rows with the rhythm section to the side for their entire careers.</div>
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Sure there are benefits and practicalities in setting up <i>as we do</i>, but with mic-ing and monitors, visually appealing, truly creative staging could be realized, that both compliments and enhances the music (like we see in dramatic art and pop music productions). </div>
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<a href="http://www.secretsocietymusic.org/">Darcy James Argue</a> needs to be applauded for taking the lead here. His most recent set-up, as documented in <a href="http://observer.com/2015/09/theyre-out-to-get-you-bam-premieres-musical-history-of-american-conspiracy-theories/">the New York Observer</a>, resembles a clock face, with the horns seated around its perimeter.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwgGteAmb3KwYCoYSwFL1kWEEmCQCQA23Wo6ioW4-d6RwHMBne8M1-l1P5ITRYcya21QWy7wG85iQrB-h1x6xZ4aYxTjHzAJ6yd9ZYvL0yjbWZr7NgoSkpQAL7EBTD6PoHX92JN4g9C3tP/s1600/semi+circle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwgGteAmb3KwYCoYSwFL1kWEEmCQCQA23Wo6ioW4-d6RwHMBne8M1-l1P5ITRYcya21QWy7wG85iQrB-h1x6xZ4aYxTjHzAJ6yd9ZYvL0yjbWZr7NgoSkpQAL7EBTD6PoHX92JN4g9C3tP/s400/semi+circle.jpg" width="400" /></a></div>
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Equally stunning is the stage plot for his "Brooklyn Babylon" production. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCO8ywG8iKqjTqXjZAKjVZCPZ7Mb_7XCjOPLMr6HQomSmxn-texY2IZhG_mB-ZYDw6bhCUsSqq1CdFqNO8Biv4JAt1esT1_ayoMYXCfUn0A89tgNpCGKSFwyzTY2c-6LmAo7ffRfg3rrS/s1600/Darcy+Argue.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCO8ywG8iKqjTqXjZAKjVZCPZ7Mb_7XCjOPLMr6HQomSmxn-texY2IZhG_mB-ZYDw6bhCUsSqq1CdFqNO8Biv4JAt1esT1_ayoMYXCfUn0A89tgNpCGKSFwyzTY2c-6LmAo7ffRfg3rrS/s400/Darcy+Argue.png" width="400" /></a></div>
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The bar has been raised folks! Just think of the countless possibilities which could be explored! Off the top of my head, I could envision "going vertical", with a variation of Hollywood Squares.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA1BSYo_Ywd9i9Kpv4ynFLgsnMERcb5jXMoz3ubwG7FsDQNPr1szoRiFbeMkN6NMzxd4qmDcoh4pqmRQsJH2iU_8Iw-H_7F78dcw-VttcolpljJzqPBQl0T_JBqs0FcoxTskESsfxtFPxj/s1600/hollywoodsquares-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA1BSYo_Ywd9i9Kpv4ynFLgsnMERcb5jXMoz3ubwG7FsDQNPr1szoRiFbeMkN6NMzxd4qmDcoh4pqmRQsJH2iU_8Iw-H_7F78dcw-VttcolpljJzqPBQl0T_JBqs0FcoxTskESsfxtFPxj/s320/hollywoodsquares-1.jpg" width="320" /></a></div>
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Hopefully others will follow suit in transforming not only the music, but how it is presented. I'm tired of the same old, same old. How about you?</div>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-28928879799561447342015-09-23T16:32:00.003-04:002015-09-23T16:32:46.135-04:00Jazz Showcase<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAjKAMZbiZYl5iYmfG-Abpa7TjkC7VmcNZrGYcGJDe_8TtQJfltwY4iaCSaPA5DImHs9bU1OIiDYJnxcWPoO5I3Z93t2S9H_JqPeGjzojl103Ou4U2aUylRHVSaqW4w0vIDzAAyMhp5FR/s1600/photo%255B1%255D.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="UConn Jazz" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAjKAMZbiZYl5iYmfG-Abpa7TjkC7VmcNZrGYcGJDe_8TtQJfltwY4iaCSaPA5DImHs9bU1OIiDYJnxcWPoO5I3Z93t2S9H_JqPeGjzojl103Ou4U2aUylRHVSaqW4w0vIDzAAyMhp5FR/s400/photo%255B1%255D.JPG" title="Jazz at UConn" width="400" /></a>Coordinating a university jazz program is no small task; but it is especially challenging at the onset of a semester. In addition to teaching related duties (like planning course work and writing syllabi), there are ensemble placement auditions and the formation and scheduling of groups. It took lots of time, energy and organization, but I’m pleased to say that all the UConn jazz groups are up and running once again, like a well-oiled machine.</div>
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<br />Our <b>fall semester Jazz Showcase Concert</b> is tomorrow night, Thursday, Sept. 24th, from 7 – 9 p.m. at the UConn Co-Op Bookstore in Storrs Center. All the UCONN jazz groups perform an evening of music spanning a wide range of eras, styles and instrumentations - from bebop-infused quintets to big band swing. <i>C’mon down!</i><br /><br />Here’s the program:<br /><br /><div style="text-align: center;">
<b>University of Connecticut Jazz Showcase Concert – Fall 2015</b></div>
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UConn Co-Op Bookstore at Storrs Center</div>
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Thursday, Sept. 27th, 2015</div>
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7 – 9 p.m.</div>
<br /> <br /><b>Jazz Lab Band</b><br />Directed by John Mastroianni<br /><br /><i>Minor Matter</i>..........Lennie Niehaus<br /><i>Festival</i>..........Rick Stitzel<br /><br />Alto Sax 1: David Jardim<br />Alto Sax 2: Rebecca Demaio <br />Tenor Sax 1: Rich Sadlon<br />Tenor Sax 2: Sally Kurdziel<br />Bari Sax: Nick Oliveira<br />Flute: Haley Hanenbaum<br />Trumpet 1:Kameryn Larkins<br />Trumpet 2: Sarah Falkenstine<br />Trumpet 3: Jeremy Cruz<br />Trumpet 4: Nathan Kwak<br />Trombone 1: Liam Evans<br />Trombone 2: Matt DeNegre <br />Trombone 3: Akua Frimpong<br />Bass Tbn: Gregory Bicknell<br />Piano: Alec McCandless<br />Bass: Nick Monllos<br />Drums: Steven McArdle<br /><br /><br /><b>Combo #2:</b><br />Doug Maher, director<br /><br /><i>I Mean You</i>..........Thelonious Monk<br /><i>Stella By Starlight</i>..........Victor Young<br /><br />Grant Eagleson - trumpet<br />Kevin Duffy – tenor sax<br />David Caffrey - guitar<br />James Duffy – bass<br />Michael O’Callaghan - drums<br /> <br /><br /><b>E-Bop:</b><br />Earl MacDonald, director<br /><br /><i>No Moe</i>..........Sonny Rollins<br /><i>St. Thomas</i>..........Sonny Rollins<br /><br />Michael O’Callaghan – trumpet<br />Andrew Wynsen – piano<br />Nate Giordano – string bass<br />Earl MacDonald - drums<br /><br /><br /><b>Combo #3:</b><br />Doug Maher, director <br /><br /><i>Darn That Dream</i>..........Jimmy Van Heusen and lyrics by Eddie DeLange<br /><i>Au Privave</i>..........Charlie Parker<br /><br />Jeremy Cruz - trumpet<br />Patrick Pierce – alto sax<br />Danny Cioffari - guitar<br />Alexandria Bodick – string bass<br />Steven McArdle - drums<br /><br /><br /><b>UConn Jazz 10tet</b><br />Earl MacDonald, director<br /><br /><i>Sordid Sort of Fellow</i>..........Earl MacDonald <br /><i>Miles Apart</i>..........Earl MacDonald<br /><i>Smoke and Mirrors</i>..........Earl MacDonald<br /><br />Adam Harris – alto saxophone<br />Charles Salley – tenor sax<br />Kevin Duffy – bari sax<br />Grant Eagleson – trumpet 1<br />Michael O’Callaghan – trumpet 2<br />Alex Gertner – French horn<br />Liam Reynolds – trombone<br />Andrew Wynsen – piano<br /><br /><br /><b>Combo #1:</b> <br />Gregg August, director<br /><br />Moose the Mooche..........Charlie Parker<br /><i>Cheryl</i>..........Charlie Parker<br /><i>Lover Man</i>..........Jimmy Davis, Roger Ramirez & James Sherman.<br /><i>Confirmation</i>..........Charlie Parker<br /><br />Michael O’Callaghan - trumpet<br />Adam Harris – alto saxophone<br />Patrick Adams - guitar<br />Andrew Wynsen - piano<br />Nathan Giordano – string bass<br />William Trautmann – drum set<br /><br /><br />--- jam session to follow ---<br /><br /><br /> </div>
Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-7927188487149449362015-06-26T22:52:00.000-04:002015-06-26T22:52:13.890-04:00Jim McNeely's BMI Summer Showcase Concert Remarks<div dir="ltr" style="text-align: left;" trbidi="on">
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I alluded to the seeming demise of the BMI Jazz Composers' Workshop in my last post. Since then, there have been several "developments". <a href="http://deannawitkowski.com/">Deanna Witkowski</a> and <a href="http://miggymigiwa.net/bio--2">Miggy Miyajima</a> had a 45-minute sit down meeting with Charlie Feldman and Pat Cook at BMI, during which they gave them a printed out copy of the petition with its 1000+ signatures. This resulted in:</div>
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1. The band and its personnel staying intact.<br />
2. The focus of the workshop - at least for the next two years, if not longer - remaining as it currently is, on writing for large jazz ensemble.<br />
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Pat Cook has given a tentative date of June 30 for announcing a new MD. I'll go out on a limb and express my hope that it is no one affiliated with Jazz at Lincoln Center --- especially the self-appointed jazz spokesperson, Wynton Marsalis. (Trust me, I didn't vote for him and neither did <i>any</i> of my esteemed colleagues around the country.)<br />
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On Thursday of this week, the BMI Jazz Composer's Workshop had it's final summer showcase concert of the Brookmeyer/Albam/McNeely/Abene/Holober era. <a href="http://jim-mcneely.com/home.html">Jim McNeely</a>, who is stepping down as the workshop's director, delivered the following remarks, which are posted with his permission:<br />
<blockquote>
Every year I’ve stood up here and talked about the state of the workshop, and here I am again, for the last time. This past year has been typical—we’ve had 27 members in the two groups. We’ve looked at probably 50-60 pieces for big band that were at least started, if not all finished. Members commute from Philadelphia, Maryland, and Boston. There are members who originally come from Japan, Israel, Holland, Colombia, and Uruguay. And, of course, we always have members from Canada (it would be interesting one day to document the impact that Canadian composers have had on the workshop). The reputation of the workshop is, indeed, international. </blockquote>
<blockquote>
It all started in 1988. BMI’s Burt Korall approached Bob Brookmeyer about forming a jazz composition workshop, to be funded by the BMI Foundation. Although Bob had written for many sizes of ensembles, in the ‘80’s he was essentially re-defining the way that a lot of us thought about big band composition. So the decision was made to keep that the focus. They also asked Manny Albam to come in as a second musical director. They all approached BMI’s Robbin Ahrold, at the time the VP for Corporate Relations. He was all for it, as was BMI CEO Frances Preston. So the groundwork was laid and the workshop began. It was designed to be a non-academic institution. Bob was quoted as saying he wanted an alternative to the current system of students being “taught by teachers, who were taught by teachers, who were taught by teachers.” He wanted the composers to be active professional musicians, taught by active professional composer/arrangers. </blockquote>
<blockquote>
Three years later Bob decided to move to Holland, and he proposed that I come in as associate musical director. Back then I was well-known as a big band composer in Germany, but not much in the U.S., so Burt also brought in Roger Kellaway. Roger’s mother-in-law, in Los Angeles, got quite sick, so after one year Roger and his wife moved out west. After that it was Manny and I. We brought in Michael Abene as a third director when I became chief conductor of the Danish Radio Big Band in 1998. When Mike became chief conductor of the WDR Big Band (Cologne) we brought in Mike Holober, who has been Associate M. D. for eight years now. I’ve learned so much from all of these people, especially Manny, who became kind of a mentor. I benefitted from not only his immense knowledge of orchestration and harmony, but also his sense of history, giving me a sense of what it was like to be staff arranger for Charlie Barnett (3 arrangements a week), or writing arrangements for countless big band recordings in the ‘50’s and ‘60’s. </blockquote>
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In all of these years I’ve seen several big developments: </blockquote>
<blockquote>
• The change from pencil & paper to computer notation. When I entered the workshop in 1991, virtually all scores were done in pencil, on conventional score paper. If you get stressed out now, the night before a reading session, because your printer is having issues, imagine what it was like back then (the Dark Ages, I know!) when you had to copy out all your parts by hand! After a couple of years there’d be an occasional piece done in Finale, or Encore, or Music Printer Plus. They looked terrible, printed on a daisy-wheel printer. We used to say, “Who’d want to read this stuff? Who’d even be able to read it?” As time went on the software and printer technology improved by leaps and bounds, and composers started to really learn how to use the programs. Now virtually everything that comes into the workshop is done on computer, although many of the members still use pencil and paper for the initial sketches (as do I). The computer has its upside and downside, to be sure. But it is a fact of modern life.</blockquote>
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• The growth of the B group into a force unto itself. In my early days the level of the B group was quite low, relative to the experienced writers in the A group. Around seven years into my tenure the B group started to really improve. I had the sense that the raw creative spirit of some of the “B’s” was high, sometimes more so than some of the “A’s”, who might have had better big band craft but not as interesting ideas. The improvement in the B group coincides, not surprisingly, with… </blockquote>
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• The evolution of the reading session from an occasional, “special” event, to a regular A group event, to an alternating A-B event. When the reading sessions became a regular monthly event, composers had something concrete to work toward. In the beginning they were A group events, with one or two B readings thrown in. But as time went on we alternated the groups, A-B-A-B-A-B-A-B-A. This gave the B members a lot more feedback for their music; it also increased their motivation to write. The reading sessions also gave the band a chance to see potential concert pieces well in advance of the concert rehearsals. This was a huge improvement. (I remember in my early years we would program 12 pieces on the concert, and the band wouldn’t see them until the actual concert rehearsals. Chaos!) We finally made it workshop policy that the concert would contain at least one B group composer. In the last few years the concert has regularly featured two or three B composers. And the increase in reading session activity helped to fuel…</blockquote>
<blockquote>
• The growth of the BMI/NY Jazz Orchestra—a dream of Burt Korall’s, who wanted to establish a big band in residence to work with the composers—into a real band. Along with the musical directors and the composers, they have become the third member of the workshop trinity. I do a lot of work with European radio bands, where the challenge for the players is to figure out their identity—their “character”—from project to project. In the BMI band the challenge is the same, but from piece to piece, due to the wide diversity of the music. Most of the players in tonight’s band have been doing the readings and concerts for many years. John Eckert was at the first-ever reading, and has played almost every one since. Rob Middleton has been playing tenor sax in the band since 1994. Several of the band members are former composer members: Tim Sessions, J.C. Sanford, Rob Middleton, Pete McGuinness, and Deanna Witkowski. And a couple of the players-- Rob Middleton and J.C. Sanford--are large ensemble leaders in their own right.</blockquote>
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• In the spirit of jazz since Jelly Roll Morton and Dizzy Gillespie, the influences of non-jazz elements. These days these elements are minimalism, many different genres of World Music, and Indie—Electro—Dance—EDM whatever-you-call-it things like Dubstep, etc. At the age of 66, one of the reasons I love teaching is that it regularly puts me in contact with people 40-50 years younger than me, and the different music they listen to. I don’t like all of it, but it’s fascinating to learn about. </blockquote>
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Now, at the end of my tenure in the workshop, I’ve had time to reflect on what Bob and Manny started; and what we’ve been able to continue. And, honestly, I’m a bit overwhelmed. </blockquote>
<blockquote>
I’ve worked with, probably, two hundred composers, with so many different results. There are many who formed their own rehearsal bands; got gigs with their bands; recorded CD’s. In the last few years the “Size Matters” series of big band performances at the Tea Lounge in Brooklyn, curated by J.C. Sanford, became the de facto performance arm of the workshop. The majority of composer/bandleaders showcased there were former or current BMI Workshop members. And for a few people the workshop was a game-changer—it set them along a new path for their musical life. The important thing was that so many people got so excited about composing for large ensemble that they would devote time, energy, passion, and sometimes money to starting their own venture. I hope that they all learned something about jazz composition. But, more importantly, something about themselves. <b><i>You can do this.</i></b> Composition has an aura about it; but it isn’t necessarily some magical, obscure process. It takes belief in yourself and your ideas, the courage to put those ideas on paper, the opportunity to hear those ideas played, and then a brutally honest assessment of the outcome. Then you repeat that process—again, again, and again. I’ve been writing for big band since high school—50 years. Over and over. And I still feel like I’ve just scratched the surface.<br />
In the workshop our aim was not to tell people what or how to write; it was to inspire them to find their own voice and let it grow; to ask questions of themselves—and if they didn’t ask them, I would ask them. To accept that their musical ideas are valid, worth pursuing because they are theirs; not better, or worse, than someone else’s; to not judge an idea, but develop it; to not accept an idea merely at face value but work with it. Also learn to tell a story—develop the plot, the story line. Your ideas become characters in the play; the musicians, the actors. When we were little children we were entranced when someone would tell us a story. And we are still like that. We all want to hear a good story. </blockquote>
<blockquote>
As listeners we want to be excited. Sometimes we want to be challenged; other times comforted and soothed. We want to be moved. We want to groove. These are all crucial aspects of composition that have little to do with chord voicings and scales. But they represent the human aspect of music. We can’t ever lose sight of that. </blockquote>
<blockquote>
So at the end of my run, I must thank a number of people: </blockquote>
<blockquote>
• First, the three godfathers of the workshop—they’re all gone now: Bob Brookmeyer, Manny Albam, and Burt Korall.<br />
• Robbin Ahrold<br />
• My fellow musical directors: Roger Kellaway, Mike Abene and Mike Holober.<br />
• Raette Johnson, who was Robbin’s assistant. After Robbin retired from BMI she became the go-to person for logistical and financial affairs. She always supported us, and was always a joy to work with.<br />
• The BMI Foundation, for supporting the workshop for 27 years.<br />
I give special thanks to:<br />
• J.C. Sanford. For years he has been the band’s contractor, always putting together a great band for the readings and the concerts. And so many times when a player had to bail from a reading session 3 hours before it starts, J.C. always could scramble and get a very last-minute replacement.<br />
• The band. Not just for working so hard and supporting the workshop; but also for the feedback they’ve given the composers on issues like notation, orchestration and conducting. One of the principal ways a composer learns about those things is hearing comments from players. And the members of the BMI band have always done that in a positive, constructive way.<br />
• Deanna Witkowski. She is, first of all, a marvelous musician, the band’s pianist. But of late she has functioned in another important way. In the aftermath of my resigning, there has been, let’s say, “a bit of turmoil” regarding the future of the workshop. I was, frankly, stunned at the outpouring of emotion, ranging from nostalgia to concern to great anger. Deanna, with the help of Migiwa Miyajima and Erica Seguine, was able to channel all of these feelings into a positive force, meeting with BMI executives to talk about and ensure that the big band format remain in the future of the workshop. </blockquote>
<blockquote>
And I’d like to give a Very Special Thanks to Mike Holober. He’s been my official colleague in the workshop for eight years. I’ve known Mike since he was a grad student at NYU in 1983. We’re also colleagues in a few other areas, notably Manhattan School of Music and The Frankfurt Radio Big Band. He is a great musician—composer, arranger, conductor, and pianist. And his help, knowledge, point of view, and input have been immeasurable. I can’t imagine having done the last eight years without him. </blockquote>
<blockquote>
When I first came into the workshop I saw what it wasn’t, but wasn’t quite sure what it really was. As time went on I came to regard it as a meeting place—where jazz composers could get away from their solitary existence—meet like-minded individuals—present what they were working on, and hear about what their colleagues were working on. Hear their music at reading sessions, and present their best efforts in a yearly concert. This definition worked for me for many years. But in the last few weeks I’ve come to realize that the workshop is even more than that. The workshop is THIS. TONIGHT. The synergy of so many elements: the composers; the band; the musical directors; and you, the audience—current and former members—spouses and significant others, who all know the feeling of seeing their loved one disappearing down the compositional rabbit hole for hours at a time, wondering if they’ll ever see them again! And fans of the workshop; I see people out here tonight who have never been members, but have come to every summer concert as long as I can remember, to hear what we’ve been doing. And the judges, both from tonight and past concerts. You are all part of this; we have all come together over the last 27 years, to form tonight’s version of the BMI Jazz Composers Workshop.<br />
It is my fervent hope that, wherever the workshop goes in the future, this spirit, energy and synergy that we have created will not just survive, but grow and flourish. As Billy Strayhorn put it: “Ever up and onward!” </blockquote>
<blockquote>
Jim McNeely</blockquote>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com2tag:blogger.com,1999:blog-3275787030763289108.post-55922051635396971022015-05-31T17:05:00.000-04:002015-05-31T19:29:59.058-04:00BMI: Disregarding A Legacy<div dir="ltr" style="text-align: left;" trbidi="on">
The following letter comes from Deanna Witkowski, the pianist in the BMI/New York Jazz Orchestra. <b>I urge you to sign <a href="http://petitions.moveon.org/sign/an-open-letter-to-bmis?source=s.fwd&r_by=6421999">the petition</a></b> she has initiated following BMI's decision to abandon the Jazz Workshop's current structure, thereby disregarding the legacy established by Bob Brookmeyer, Manny Albam, Roger Kellaway, Mike Abene, Jim McNeely and Mike Holober. <br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAK3-Spo0ZiJCbNedAefD_44gWsrP1yIG5Bx0uoU8zvRtR-RPR36zkgIQinmcHxeyIajpQ8szvbQW0p-XT6Cfv92GxrB_vmamIUb2j2LRRlAYKLZcyd6OD353RlqAEzW80wk7I4hble43f/s1600/Brookmeyer.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAK3-Spo0ZiJCbNedAefD_44gWsrP1yIG5Bx0uoU8zvRtR-RPR36zkgIQinmcHxeyIajpQ8szvbQW0p-XT6Cfv92GxrB_vmamIUb2j2LRRlAYKLZcyd6OD353RlqAEzW80wk7I4hble43f/s320/Brookmeyer.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, 'Proxima Nova', 'Helvetica Neue', Helvetica, 'Segoe UI', 'Nimbus Sans L', 'Liberation Sans', 'Open Sans', FreeSans, Arial, sans-serif; font-size: 15px; line-height: 20px; text-align: start;"><span style="background-color: white; color: #666666; font-size: 14px;"> </span><span style="background-color: white; font-size: xx-small;">Bob Brookmeyer, co-founder of the </span></span><span style="font-size: xx-small;"><span style="border: 0px; font-family: DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, 'Proxima Nova', 'Helvetica Neue', Helvetica, 'Segoe UI', 'Nimbus Sans L', 'Liberation Sans', 'Open Sans', FreeSans, Arial, sans-serif; font-size: 15px; line-height: 20px; margin: 0px; padding: 0px; text-align: start; vertical-align: baseline;">BMI</span><span style="background-color: white; font-family: DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, 'Proxima Nova', 'Helvetica Neue', Helvetica, 'Segoe UI', 'Nimbus Sans L', 'Liberation Sans', 'Open Sans', FreeSans, Arial, sans-serif; font-size: 15px; line-height: 20px; text-align: start;"> </span><span style="border: 0px; font-family: DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, 'Proxima Nova', 'Helvetica Neue', Helvetica, 'Segoe UI', 'Nimbus Sans L', 'Liberation Sans', 'Open Sans', FreeSans, Arial, sans-serif; font-size: 15px; line-height: 20px; margin: 0px; padding: 0px; text-align: start; vertical-align: baseline;">Jazz</span><span style="background-color: white; font-family: DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, 'Proxima Nova', 'Helvetica Neue', Helvetica, 'Segoe UI', 'Nimbus Sans L', 'Liberation Sans', 'Open Sans', FreeSans, Arial, sans-serif; font-size: 15px; line-height: 20px; text-align: start;"> Composers </span><span style="border: 0px; font-family: DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, 'Proxima Nova', 'Helvetica Neue', Helvetica, 'Segoe UI', 'Nimbus Sans L', 'Liberation Sans', 'Open Sans', FreeSans, Arial, sans-serif; font-size: 15px; line-height: 20px; margin: 0px; padding: 0px; text-align: start; vertical-align: baseline;">Workshop</span></span></td></tr>
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<br />
Dissolving the professional big band which read the new works by the hand-picked, professional participants, is nothing short of deplorable. </div>
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<blockquote>
It has come to our attention as current band members of the BMI/New York Jazz Orchestra that there are core components of the current configuration of the workshop that are about to be dropped (namely, the professional jazz orchestra). Many of us have performed in the orchestra for over a decade; some have been here since the workshop's inception in 1988. Many of us are not only performers: we are composers who have participated as writers in the workshop. Furthermore, some of us are BMI-affiliated writers and publishers.<br />
<br />
All of us are aware of the one-of-a-kind experience that the workshop affords us as a community-- most keenly, to the composers who are able to study big band writing free of charge with the most respected large ensemble composers writing today. Many of the workshop composers have gone on to receive significant awards and accolades and credit the workshop as a key part of their development. As band members, our monthly playing in and of itself provides a sounding board for composers to hear what works and what doesn't. Both the composers and the performers are vital parts of the BMI Jazz Composers Workshop.<br />
<br />
To be a longtime affiliate or supporter of a performing rights organization- one whose mission is to serve composers not only by collecting royalties but by providing opportunities for their musical development (and, in turn, providing performance opportunities for performers)- and to be a longtime member of the BMI/New York Jazz Orchestra, where we provide services mostly free of charge for the entire year- is a commitment that all of us take extremely seriously.<br />
<br />
To come to a final reading session and to not be met by BMI's director of jazz, or, frankly, anyone on senior management and then to be told that the professional reading band will not be used after next month's concert does not show any of us the same respect that we have faithfully given to BMI.<br />
<br />
We ask that Patrick Cook mee t with the current workshop composers and band members to discuss his vision that seems to disregard the vibrant community of jazz composers and performers that have, in conjunction with the legacy of artistic directors including Bob Brookmeyer, Manny Album, Jim McNeely, and Mike Holober, made BMI attractive as a creative home for jazz musicians.<br />
<br />
Finally, we realize that the dissolution of the jazz workshop as it has been known for the past 26 years does not merely affect us as current band members and composers: we realize that it affects those composers coming after us who are losing the opportunity to learn this idiom in this environment, and it affects the public who will have fewer opportunities to experience progressive big band music. </blockquote>
<blockquote>
That's why I signed a petition to Patrick Cook, Director of BMI Musical Theatre and Jazz, Charlie Feldman, VP, BMI Writer/Publisher Relations, New York, and Michael O'Neill, CEO, BMI, which says: </blockquote>
<blockquote>
<i>"We urge BMI's senior management to seriously consider the legacy and the uniqueness of the BMI Jazz Composers Workshop as they plan for the workshop's future. We also ask that Patrick Cook meet with the workshop composers and band members in person to explain his vision that does not include the professional big band that has been an integral part of the workshop since 1988."</i><br />
<br />
<b>Will you sign the petition too?</b> Click here to add your name:<br />
<br />
<a href="http://petitions.moveon.org/sign/an-open-letter-to-bmis?source=s.fwd&r_by=6421999">http://petitions.moveon.org/sign/an-open-letter-to-bmis?source=s.fwd&r_by=6421999</a> <br />
Thanks! </blockquote>
<blockquote>
Deanna Witkowski </blockquote>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-71217372256014632082015-05-12T10:01:00.000-04:002015-05-12T10:01:57.335-04:00No More CDs<div dir="ltr" style="text-align: left;" trbidi="on">
Does anyone else see the irony in this Disc Makers' catalog caption?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN1d5mXlcArsBufB1JgUg0PnMBbQyzkS8RtQsxfNU3D9u8QODFNsTOB0T8No-KiYfUifXfTkO1ECzkVB4Hd9Z4DpDymyZBgHVNSwK-ixZgQ_xnFzFQCEFHaL6yHl2EB90DLEkiHpilQtgK/s1600/disc+makers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN1d5mXlcArsBufB1JgUg0PnMBbQyzkS8RtQsxfNU3D9u8QODFNsTOB0T8No-KiYfUifXfTkO1ECzkVB4Hd9Z4DpDymyZBgHVNSwK-ixZgQ_xnFzFQCEFHaL6yHl2EB90DLEkiHpilQtgK/s320/disc+makers.jpg" width="246" /></a></div>
<br />
<b>Time is definitely not on the side of the CD manufacturing industry.</b> The writing has been on the wall for years, but now that laptop computers are no longer made with CD slots, I think it's safe to declare the debate over. CDs and CD players will now join the ranks of Polaroid cameras, cassette tapes, palm pilots, answering machines and dot matrix printers. <br />
<br />
The reality is hitting me hard as I plan my next recording. Will I only release it digitally? It's a tough decision because on past projects, physical CD sales have far outweighed digital sales. At the moment, I'm leaning towards making the leap, with the exception of printing a few physical discs to sell after gigs and to send to those reviewers who like me, appreciate having tangible, printed rosters and liner notes as part of their listening experience. I don't envision ordering 1000 copies as I have done in the past. <br />
<br />
I'd love to hear from other musicians on this one. Have we all accepted the demise of the CD at this point? Are any of you planning to release a recording on CD this year? In your experience, are people buying download cards? They are <b>not</b> a big seller at my post-gig "mech booths", but I wonder if this might be different if no other purchasing option were presented.<br />
<br />
I still like CDs, but maybe it's time to accept that the technology has changed. Let me know your thoughts.<br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com1Storrs, Mansfield, CT, USA41.8084314 -72.24952309999997641.7610869 -72.330204099999975 41.855775900000005 -72.168842099999978tag:blogger.com,1999:blog-3275787030763289108.post-44613799574899701592015-04-23T10:36:00.000-04:002015-04-23T10:36:36.352-04:00Mishigas<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivcU_Af1bp2KY9BuD0XzwWRDnA0RGFxRJMz3DM8q9Y3pVv63Z0Sr6XnEJDh8vrRGztYZa6G3NPNco9PXynefJUId_Tn934C-sbakOIlMOAAaYFo9-JIb1c0iL_8rbKuWUHxf_nRBcDWLmz/s1600/mishegas.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivcU_Af1bp2KY9BuD0XzwWRDnA0RGFxRJMz3DM8q9Y3pVv63Z0Sr6XnEJDh8vrRGztYZa6G3NPNco9PXynefJUId_Tn934C-sbakOIlMOAAaYFo9-JIb1c0iL_8rbKuWUHxf_nRBcDWLmz/s1600/mishegas.jpg" height="200" width="200" /></a></div>
I couldn't resist trying my hand at writing an arrangement using the "Birth of the Cool" instrumentation. I call this one "Mishigas", which is Yiddish for... the craziness of this world <i>(lack of sense and order)</i>.<div>
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The drums are used to outline the three roots in a blues progression. The melody over top uses a weird scale that resembles harmonic minor with a raised fourth degree. If there's an official name for this scale I'm unaware of it.</div>
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The song starts off and ends in G. Each soloist plays in a different key; Dmi for piano, Emi for horn and F#mi for alto saxophone. I added some simple backgrounds to frame each solo.</div>
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Check out Alex Gertner on that French horn! Go Alex go!</div>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-88396496945511261652014-12-20T13:54:00.003-05:002014-12-21T14:15:38.626-05:00Insights into Duke Ellington, Bob Brookmeyer, Billy Byers and Gil Evans.<div dir="ltr" style="text-align: left;" trbidi="on">
Arranger, David Berger sent me this video on which he discusses the compositional habits of Duke Ellington, Bob Brookmeyer, Billy Byers, and Gil Evans. He also provides some insights into his own methods.<br />
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Like Berger, I am always on the lookout for proven, successful methods to incorporate into my own work. For my next writing project, composing a series of educational jazz band charts for high school and middle school groups, I will try adopting Ellington's practice of using a reduced score. I created the following template which is photocopied and ready to go:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDovJNUmxp8k_VGewoBMtj5x_jFkA-O-RcBRAKFqRnKBSfziVfoxVdtFKKNbct-BJvreTu_gU1v1R5KtDSHxPdzRSobWNb_gJ7LmWpR86K7m7IpJNPftcgwa25j5Ojw5-tUxy13UoHlGBb/s1600/score+paper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="big band score paper" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDovJNUmxp8k_VGewoBMtj5x_jFkA-O-RcBRAKFqRnKBSfziVfoxVdtFKKNbct-BJvreTu_gU1v1R5KtDSHxPdzRSobWNb_gJ7LmWpR86K7m7IpJNPftcgwa25j5Ojw5-tUxy13UoHlGBb/s1600/score+paper.jpg" height="256" title="big band score paper" width="400" /></a></div>
<br />
I question if working this way might result in less combining of instruments across sections. But then again, if this truly was the method employed by Ellington and Strayhorn, they certainly were not orchestrationally impeded.<br />
<br />
More and more I am drawn to the idea of returning to paper and pencil, rather than sitting at a computer, entering notes. The question is: To what degree will the process affect the imagined music?<br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com4Storrs, Mansfield, CT, USA41.8084314 -72.24952309999997641.7610869 -72.330204099999975 41.855775900000005 -72.168842099999978tag:blogger.com,1999:blog-3275787030763289108.post-35665824420034616322014-11-30T14:26:00.001-05:002014-11-30T14:26:14.745-05:00Maria Schneider Orchestra at the Jazz Standard, NYC - 11/28/2014<div dir="ltr" style="text-align: left;" trbidi="on">
I had absolutely no desire to play big band music back in 1993, when I began my jazz graduate studies at Rutgers University. I felt I had played enough Sammy Nestico and Bob Mintzer charts, and I was back in school solely to hone my piano chops under Kenny Barron's tutelage. I remember walking into my mandatory ensemble audition and requesting NOT to be placed in the big band. Mike Mossman, the ensemble's director countered, "But you don't know what music we're playing this semester. Have you heard <a href="http://www.mariaschneider.com/">Maria Schneider</a>'s band yet?" I admitted I hadn't, to which he replied, "Go to Visiones on Monday night to check out her band, and then report back to me on Tuesday to let me know if you still have no interest in big band music."<br />
<br />
That Monday night in September, 1993 my life was forever changed. I had no idea that a big band could be a such an effective vehicle for self expression, or that such a variety of orchestrational colors could come from just seventeen players. I bought Maria's <i>Evanescence</i> CD that evening, and was hooked; the course of my life took an unexpected turn.<br />
<br />
Fast forward twenty-one years (not to mention heaps of big band writing, performing, conducting and recording, etc.)...<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Pcxug_6H7YdilcY7NbQGn9XzXjHsA1pCtFg_uTNYV9t73dAQyOPWfJjscmVdXBeAGskhJ0IMHi-wljwxVvxFeYxk0JP7l4iEOZGfyYCRsLErJsC99Zq0mFMCcbH4-A0EBNal8JF0ZXPF/s1600/Maria+Schneider.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img alt="Maria Schneider Jazz Orchestra" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Pcxug_6H7YdilcY7NbQGn9XzXjHsA1pCtFg_uTNYV9t73dAQyOPWfJjscmVdXBeAGskhJ0IMHi-wljwxVvxFeYxk0JP7l4iEOZGfyYCRsLErJsC99Zq0mFMCcbH4-A0EBNal8JF0ZXPF/s1600/Maria+Schneider.jpg" height="299" title="Maria Schneider Jazz Orchestra" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Maria Schneider Orchestra at the Jazz Standard</td></tr>
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One of my former UCONN jazz students, Matt Baum now works at the <a href="http://jazzstandard.com/">Jazz Standard</a> night club in New York City, as executive assistant to the club's artistic director. He invited my wife and me to be his guests during one of Maria Schneider's tenth Anniversary Thanksgiving week performances at the Jazz Standard. We chose to attend the early set on Friday night, Nov. 28th. In a word, the show was "brilliant". <br />
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They played the following material:<br />
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<li style="text-align: left;"><i>Journey Home</i></li>
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<li style="text-align: left;">featuring trombonist Ryan Keberle</li>
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<li style="text-align: left;">A P<i>otter's Song</i></li>
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<li style="text-align: left;">dedicated to Laurie Frink</li>
<li style="text-align: left;">featuring <b>UCONN Music alumnus</b> (!!!), Gary Versace on accordion</li>
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<li style="text-align: left;"><i>Night Watchmen</i> (middle mvt. from "Scenes from Childhood")</li>
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<li style="text-align: left;">featuring Steve Wilson and Mike Rodriguez</li>
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<li style="text-align: left;"><i>Gumba Blue</i></li>
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<li style="text-align: left;">featuring pianist Frank Kimbrough, trumpeter Greg Gilbert and trombonist Marshall Gilkes.</li>
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<li style="text-align: left;"><i>Home</i></li>
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<li style="text-align: left;">a new Rich Perry feature written for the upcoming release, "The Thompson Fields"</li>
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<li style="text-align: left;"><i>Arbiters of Evolution</i></li>
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<li style="text-align: left;">another new piece, featuring saxophonists Donny McCaslin (a.k.a. Dwight Schrute!) and Scott Robinson, whose facility in the bari's upper register is beyond remarkable.</li>
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There aren't many bands in the world with such a stacked roster of soloists. Every solo was jaw-droppingly awesome. Describing highlights would be superfluous, as these players don't need my adjectives to affirm their validity.</div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePqyrJfioGR-xaZEkdnrwDo6MOyOa-5OmoK0iAEp3EmGH8pDTh9BZY14ghL4WdaAiKdWv3O2uDSxH7XXIOt_GOQfYEAYxrwLeMFRiCXM_H29mmD1oPPoYEgEdRLiMjG6pH1QO0H84KhD_/s1600/Maria+Schneider+and+Earl+MacDonald.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Maria Schneider and Earl MacDonald" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePqyrJfioGR-xaZEkdnrwDo6MOyOa-5OmoK0iAEp3EmGH8pDTh9BZY14ghL4WdaAiKdWv3O2uDSxH7XXIOt_GOQfYEAYxrwLeMFRiCXM_H29mmD1oPPoYEgEdRLiMjG6pH1QO0H84KhD_/s1600/Maria+Schneider+and+Earl+MacDonald.jpg" height="300" title="Maria Schneider and Earl MacDonald" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 14px;">Maria Schneider and Earl MacDonald. The Jazz Standard, Nov. 28, 2014<br />
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I look forward to Maria's next CD. It was recorded in August, is currently being mixed, and will be released on April 21st. Seeing this timeline was a good lesson for me. It is interesting to see how much carefully calculated planning goes into the release of her discs. To learn more about her <a href="http://www.artistshare.com/v4/projects/experience?artistID=1&projectID=463&langID=1&recordID=&salestypeID=6">ArtistShare crowdfunding project</a>, click on the link. </div>
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What a fun and inspiring evening. I think I'll sharpen my pencils, roll up my sleeves, and get back to the business of writing my own big band music. My creative batteries are recharged. Thanks Matt <i>and Maria!</i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsogo8_f-9EplgbH51Y_PqURzsV7KCLR0kcXfc-6Ed68uIPR37n6lzjLF-XJHxTqHdMtHTKa-eGPDx4IujTwocy8uf6108yPaPHxQQPJkAyuctG-_tP6K7Le1Cf99M9Dfrm2LnJ7Zq1Prn/s1600/Matt+Baum+and+Earl+MacDonald.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Matt Baum and Earl MacDonald at the Jazz Standard, NYC" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsogo8_f-9EplgbH51Y_PqURzsV7KCLR0kcXfc-6Ed68uIPR37n6lzjLF-XJHxTqHdMtHTKa-eGPDx4IujTwocy8uf6108yPaPHxQQPJkAyuctG-_tP6K7Le1Cf99M9Dfrm2LnJ7Zq1Prn/s1600/Matt+Baum+and+Earl+MacDonald.jpg" height="300" title="Matt Baum and Earl MacDonald at the Jazz Standard, NYC" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With my former UCONN Jazz student, Matt Baum who now works at the Jazz Standard in NYC.</td></tr>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-56768602061182138672014-11-24T13:01:00.001-05:002014-11-24T13:09:35.706-05:00Birth of the Cool<div dir="ltr" style="text-align: left;" trbidi="on">
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This semester, the <a href="http://www.earlmacdonald.com/uconn-jazz-ensemble.html">UCONN Jazz Ensemble</a> and I prepared the music from Miles Davis' "Birth of the Cool" album. <span style="text-align: center;">It was a thoroughly enjoyable undertaking. I witnessed considerable growth in the individual band members as they carefully studied the album and worked to replicate the stylistic nuances of the original players.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Miles Davis, Lee Konitz and Gerry Mulligan in rehearsal (circa 1948)</td></tr>
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Here we are performing at the Co-Op Bookstore in Storrs Center on November 13th.<br />
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<b><i>Boplicity</i></b>, by Miles Davis and Gil Evans. Arranged by Gil Evans.<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/dZ-NCScY9Lg" width="560"></iframe><br />
On his own initiative, the bari sax player learned Gerry Mulligan's recorded solo.<br />
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<b><i>Moon Dreams</i></b>, by Chummy MacGregor and Johnny Mercer. Arranged by Gil Evans.<br />
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"Moon Dreams" may be my favorite of the album's twelve charts. It is not surprising that a critic who heard Davis' nonet perform in 1948 said "the music sounds more like that of Maurice Ravel than it does like jazz... it is not really jazz."<br />
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I love how this music stemmed from musicians' discussions about the future of jazz and drew from contemporary classical music they had heard on recordings.<br />
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<b><i>Move</i></b>, by Dezil Best. Arranged by John Lewis.<br />
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This performance took place earlier on Nov. 13th for the high school students at Norwich Free Academy. As a teacher, I am encouraged by the trumpet player's solo. He is starting to incorporate some solid jazz vocabulary into his playing. This wasn't happening a year ago. He's still working on execution at this tempo, but a year from now, if he continues on his current path, I believe he will be "a force to be reckoned with".<br />
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<b><i>Deception</i></b>, by Miles Davis. Arranged by Gerry Mulligan.<br />
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This is my second time preparing music from "the Birth of the Cool". The first time (back in 2002,) I acquired the music directly from Gerry Mulligan's widow, Franca. The charts were a mess and full of inconsistencies, which made rehearsals difficult. This time around I bought the published, edited music from <a href="http://www.ejazzlines.com/-BIRTH-OF-THE-COOL-JAZZ-LINES-PUBLICATIONS-SERIES-COMPLETE-SET-OF-NINE-ARRANGEMENTS-p170580.html">ejazzlines.com</a>, which made for a much more pleasant experience.<br />
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<b><i>Rouge</i></b>, by John Lewis.<br />
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Our final performance of the year will take place on <b>Monday, December 1st at Black-eyed Sally's</b> in Hartford. The club is hosting a "College Night" where bands from UCONN, the Hartt School, WestConn and the Berklee College of Music will each play a set. The evening will culminate with a collective jam session.<br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-26461284850836917542014-11-10T15:58:00.001-05:002014-11-10T16:28:00.003-05:00Jan Jarczyk Tribute<div dir="ltr" style="text-align: left;" trbidi="on">
On Friday evening I shared a brief eulogy honoring my former composition teacher, Jan Jarczyk. Jan passed away in August. His family organized a series of concerts in the cities where he lived and worked, to celebrate his life and music. This was the third stop, at the Lilypad in Cambridge, MA, following gatherings in Montreal and Toronto.<br />
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I was one of three invited speakers, along with drummer <a href="http://www.berklee.edu/people/marcello-pellitteri">Marcello Pellitteri</a> and Jan's daughter, Amaryllis, who read comments by Berklee emeritus professor, Ken Pullig. Our remarks were interspersed between musical selections performed by a stellar quintet led by tenor saxophonists <a href="http://www.jerrybergonzi.com/">Jerry Bergonzi</a> and <a href="http://www.georgegarzone.com/">George Garzone</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9FxHgYtqSwXd0fa7zp1ICitN7r5JudcgIXv9a-lTgZL0EL3C8fqVEhlvpX0NXpvnInTPUV007DGHctjYpv9OCHNUp835BlmKHqGBKRySnEBwVkasl76S2KyUJEVtPSDchvuvBgOzMVTde/s1600/Jan_Jarczyk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Celebrating the life and music of pianist and composer, Jan Jarczyk." border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9FxHgYtqSwXd0fa7zp1ICitN7r5JudcgIXv9a-lTgZL0EL3C8fqVEhlvpX0NXpvnInTPUV007DGHctjYpv9OCHNUp835BlmKHqGBKRySnEBwVkasl76S2KyUJEVtPSDchvuvBgOzMVTde/s1600/Jan_Jarczyk.jpg" height="640" title="Jan Jarczyk Tribute Concert" width="484" /></a></div>
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I chucked during a story shared by Pellitteri. Three times he turned in a composition assignment to Jan only to be handed the piece back with the advice, "You can do better." In my own experience I can attest that Jan certainly did possess the uncanny ability to make us reach to achieve higher levels.<br />
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When I spoke, I alluded to Jan's legacy through his teaching and example: McGill was a special place in the early 90s, because students came from all across Canada to study there. All regions of the country were represented. When we graduated, some went back to their home provinces, some stayed in Montreal or went to Toronto or Vancouver, some moved to Europe, and others tried their hand at New York. Jan's spirit, music and teaching impacted a lot of people, <i>and I hear it</i> in Canadian jazz. When people say that Canadian jazz has a unique sound of its own, I don't think its a tremendous stretch to say <i><b>that sound</b></i> can be traced back to Jan. I'm not saying he produced musical clones of himself. He didn't. He did, however, push us to dive deep into the exploration of harmony, melody and the development of ideas. I hear Jan in the music of Josh Ranger, <a href="http://www.joelmillermusic.com/#about">Joel Miller</a>, <a href="http://www.johnstetch.com/#featured">John Stetch</a>, <a href="http://www.mikedownes.com/">Mike Downes</a>, <a href="http://www.bryn-roberts.com/">Bryn Roberts</a>, <a href="http://www.reverbnation.com/jimhead">Jim Head</a>, <a href="http://www.tildenwebb.com/">Tilden Webb</a> and many others. He's there.<br />
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Jan arrived at McGill half way through my undergraduate studies. If I remember correctly, there were only two full-time jazz faculty before he was hired. One was a big band expert with a penchant for Sammy Nestico; the other was a "hard bopper" influenced by Kenny Dorham, Lee Morgan and Hank Mobley. Jan instantly flipped the scene on it's head with improvised solo recitals on piano or<i> pipe organ(!)</i>, in addition to his vast catalog of sophisticated, quirky compositions. He opened our ears to other possibilities, and suddenly it "became cool" to admit to liking Jan Gabarek, Keith Jarrett and other cutting-edge improvisers. Frequently groups of us would make the trek to hear Jan at Claudio's, a loft jazz club/restaurant in Old Montreal. <br />
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But when I think of Jan, I smile thinking of his fun personality as much as I think about his music. I played a trick on him once, which I outline in the introduction of the following tune, which was performed a couple of weeks ago at a UCONN faculty showcase concert.<br />
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My one disappointment in the evening was how little of Jan's music was performed. I was really looking forward to hearing his tunes played live, but I think they only did two of his pieces: an Ornette (Coleman)-like melody followed by free improv and "There Is Always Time". (They may have done one other.) I heard that in Toronto his tunes were played exclusively --- as they should have been.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWxdrZm3_JgaohaB4eqygA9ld8kPkHCVgshlax2JAYQ8PBizMkCJW1hzsJllmur6eD5qcecL64PbxB0iiLukXu_N6irzC-QAM3pnbyM5vSsQcs7ldLbVuPzF42HkmYJBJOeAJQ_K9AZyy-/s1600/Bergonzi_Garzone.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Saxophonists Jerry Bergonzi and George Garzone performing at the Lilypad in Cambridge, MA" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWxdrZm3_JgaohaB4eqygA9ld8kPkHCVgshlax2JAYQ8PBizMkCJW1hzsJllmur6eD5qcecL64PbxB0iiLukXu_N6irzC-QAM3pnbyM5vSsQcs7ldLbVuPzF42HkmYJBJOeAJQ_K9AZyy-/s1600/Bergonzi_Garzone.jpg" height="300" title="Jerry Bergonzi and George Garzone" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bergonzi and Garzone "tearing it up" at the Lilypad in Cambridge.</td></tr>
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I wish I could have also attended the gatherings in Montreal and Toronto. It would have been nice to hear my Canadian friends share their memories. Since his passing, I have had several opportunities to chat with former classmates about him, but until Friday night I hadn't made the complete emotional connection that he is gone. Visiting with Jan's wife and daughter was especially touching. It was a bittersweet evening that I will treasure, along with my other memories of Jan.<br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-55912613639720258382014-10-15T20:22:00.000-04:002014-11-17T09:39:53.766-05:00Bill Evans' Influence<div dir="ltr" style="text-align: left;" trbidi="on">
Reading Peter Pettinger's biography of Bill Evans got me thinking about how much of an influence Bill was on me early on in my musical development. I listened to Bill, transcribed his solos, and learned his repertoire all through high school and for most of my undergraduate years. You might say I was obsessed.<br />
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Strangely, I haven't listened to those records in a very long while --- probably because most of my Bill Evans collection is on cassette tape or LP. Maybe its time to bring them out of storage.<br />
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It was a nice surprise to see how much video footage there is of Bill on YouTube. I hope you will enjoy this concert as much as I did. It's from October, 1966, with Eddie Gomez on bass and Alex Riel on drum set.<br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-46218945172715029872014-10-08T14:41:00.000-04:002014-10-08T14:41:02.400-04:00My Man, Thad<div dir="ltr" style="text-align: left;" trbidi="on">
To ease myself back into blogging after an exceptionally busy period, I think I'll reinstitute "Wordless Wednesdays", where I post a video that has captured my interest.<br />
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Before the advent of YouTube I often wondered about Thad Jones' big band leading. (I never got to see him live.) Did he conduct in a traditional sense? Did he conduct from scores or by memory? Did he stand in front of the band or play within the section? Was he a stern taskmaster? <br />
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Thankfully we now have plenty of video examples to answer these questions and more. I could watch Thad all day <i>(and have to practice self discipline to refrain from doing so)</i>! With simple gestures and a big smile on his face, he engages with the musicians and elicits a fun, swinging atmosphere that is sometimes missing from bands today. He and the band exude joy.<br />
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Jazz ensemble directors (myself included) can learn a lot from watching Thad.</div>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-46303819508284219342014-08-04T09:00:00.000-04:002014-08-04T09:00:01.832-04:0026.2 Miles<div dir="ltr" style="text-align: left;" trbidi="on">
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I came <b>very close</b> to completing my first marathon this past weekend, <i>by accident</i>. I was scheduled to run 20 miles (my furthest distance yet!), but at mile 9 the running app on my phone started acting up. It jumped from 9 to 14 miles and said I was running at a 6 minute per mile pace, when I was running closer to 9:30. At that point, I turned it off. The problem was, I didn't map out my run prior to starting. Based on the mileage indicator on my app, I had planned to either take a shortcut as I approached mile 20, or do an extended cool down walk at the end. I ended up estimating my distance which turned out to be 23.5 miles when I clocked it afterwards with my car's odometer. <div>
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For the most part, I felt good throughout. Around mile 18 my feet were tired, but my legs felt fine. I "ate" 3 GU energy gel packs along the way (1 every 60 minutes, approximately). Prior to running I dropped 3 water bottles, two of which I would visit twice on the running route. So I stopped and hydrated at miles 6, 9, 11, 15 and 19.</div>
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The route had several tough hills. At the 4.5 mile point there is a steep 1/2 mile incline on Bousa Rd. At mile 8, Horse Barn Hill is another brutal 1/2 mile ascent. Then, at about mile 16 the hills on Hunting Lodge Rd. present a bit of a challenge to tired legs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwGfZoWHyHovqT4j0pv-g4CFPTsuN9DtMyGuN01Eyp7mT5cF6RXy4rXvFJY31MxkP2B844QH1mJ3dvDfTGV3zvcoHtLHCzqlxHg2bH7rK6-0jUUb-i1L_Le8fn_6B0C92i3exVFUT7xEHY/s1600/Hartford+Marathon.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwGfZoWHyHovqT4j0pv-g4CFPTsuN9DtMyGuN01Eyp7mT5cF6RXy4rXvFJY31MxkP2B844QH1mJ3dvDfTGV3zvcoHtLHCzqlxHg2bH7rK6-0jUUb-i1L_Le8fn_6B0C92i3exVFUT7xEHY/s1600/Hartford+Marathon.jpg" height="70" width="200" /></a>I'm training for the <a href="http://www.hartfordmarathon.com/">Hartford Marathon</a> on Oct. 11th. At this point, I'm feeling strong, and know I can do it, provided I stay injury free. I have been following a training plan on the RunKeeper app, and now plan to reset the schedule to correspond with the race. My mileage will decrease and I'll focus more on building speed. I may be dreaming, but I'd like to try to complete it in under 4 hours. This tortoise has a ways to go. </div>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0Mansfield, CT, USA41.788489 -72.229291341.5990415 -72.5520148 41.9779365 -71.9065678tag:blogger.com,1999:blog-3275787030763289108.post-53866488073412337862014-08-03T09:37:00.003-04:002014-08-03T09:37:53.125-04:00Tinkle, Twinkle, BAM!<div dir="ltr" style="text-align: left;" trbidi="on">
I was going through old videos and stumbled upon this 7-second gem. It gives a fairly accurate glimpse into daily life in the MacDonald household.<br />
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Against my better judgement I feel half-inclined to start a new blog called "Life With Logan".</div>
Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0tag:blogger.com,1999:blog-3275787030763289108.post-81184311102811501842014-07-24T20:31:00.002-04:002014-07-24T20:33:20.880-04:00Cadence Magazine Review - Mirror of the Mind<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEm5iOWuDWqCqnvwbcQzLJjNleXxLbTxqnsjesYxrBAVn6ZkofZVWimx0UcBjFFDGUAvNbfKNvkuzFUhQOwjSP2WljZDzOIBvdcJHLSIrpO7a4igR-b5a7hlA1OkAyWRq7gKVjgMvbkZV/s1600/CDs.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEm5iOWuDWqCqnvwbcQzLJjNleXxLbTxqnsjesYxrBAVn6ZkofZVWimx0UcBjFFDGUAvNbfKNvkuzFUhQOwjSP2WljZDzOIBvdcJHLSIrpO7a4igR-b5a7hlA1OkAyWRq7gKVjgMvbkZV/s1600/CDs.jpg" height="240" width="320" /></a><br />
This time last year, boxes of <a href="http://www.cdbaby.com/cd/earlmacdonald3">my new CD</a> had just arrived and I was busily mailing copies to reviewers. In truth, hundreds of copies were mailed along with a press release I had written (and a personal note to each reviewer).<br />
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In all, this yielded <a href="http://www.earlmacdonald.com/cd-reviews/mirror-of-the-mind.html">13 written reviews</a> (to my knowledge), which isn't bad considering how many musicians are vying for critical attention with new discs. Nevertheless, I hope never again to act as my own publicist; the whole process took a serious toll on my soul. I hope to delegate promotion to the pros from now onwards.</div>
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This week I received notification that Cadence Magazine will publish the following review in their October Issue. This was a nice surprise when I thought the lifespan of <a href="http://www.cdbaby.com/cd/earlmacdonald3">this disc</a>'s promotion had lapsed. Here's the review:</div>
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EARL MACDONALD AND THE CREATIVE OPPORTUNITY WORKSHOP<br />
<a href="http://www.cdbaby.com/cd/earlmacdonald3">MIRROR OF THE MIND</a><br />
<a href="http://www.deathdefyingrecords.com/">DEATH DEFYING</a> DD0009<br />
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MIRROR OF THE MIND/ A THOUSAND MEMORIES/ BENEATH/ BLACKBIRD/ BIDWELL CRONIES/ DISILLUSIONMENT/ MILES APART/ IT WAS WHISPERED/ A PRIORI PERCEPTION/ WHERE THINKING LEAVES OFF/ I NEVER TOLD YOU/ BOTTOM FEEDERS; 51:47.</div>
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<a href="http://allenjazz.com/">Kris Allen</a> (ss, as, ts), <a href="http://www.earlmacdonald.com/">Earl MacDonald</a> (p), <a href="http://christopherhoffman.com/">Christopher Hoffman</a> (clo), <a href="http://rogerioboccato.com/">Rogerio Boccato</a> (perc); Westwood, MA, November 2-3, 2012.</div>
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Pianist Earl MacDonald has assembled an interesting cast of characters for the Creative Opportunity Workshop on this rewarding and largely enjoyable release. The assertive and hard-swinging saxophonist Kris Allen has recorded with fellow reedmen Chris Bryars and Loren Stillman and as a member of the Illinois Jacquet orchestra. Cellist Christopher Hoffman has worked with Henry Threadgill’s Zooid and Matt Holman’s Diversion Ensemble, and the exceptionally tasty drummer Rogerio Boccato has been heard with John Patitucci, David Binney, and the Curtis Brothers. The use of cello instead of bass pushes the band a little outside of a typical post-bop mindset. The different range of the instrument moves the rest of the group to a higher state of mindfulness to accommodate it. And Hoffman is adept at shifting from the usual function of bass in a band to become a forceful solo voice, which in turn gives MacDonald more to work with. Most of the tunes are originals by MacDonald. The title tune starts things off with a mid-tempo groover, with Allen on alto. From layers of carefully organized melodic patterns, the arrangement carves space for convincing solos by Allen, Hoffman and Allen again to take it out. A repeated piano figure is at the core of the first theme of “A Thousand Memories,” followed by a release that gives MacDonald his first solo of the date. His piano skips and dances attractively, setting the stage for a gruff tenor solo by Allen. A jittery Hoffman playing arco glides in for a solo, then slips back into the ensemble. It’s all over by 3:33, a refreshing change from sessions where everything seems to last too long. MacDonald makes a point of keeping the songs under control; only “Where Thinking Leaves Off” exceeds the six-minute mark. “Beneath” is funky and stark at first, opens up quickly into mid-tempo groove featuring Allen on a fine-sounding soprano. He seems to be equally at home on all three of his horns, widening the band’s range even more. While you might not think of the Beatles’ “Blackbird” as a useful vehicle for improvisation, MacDonald’s reharmonization and tempo shifts work quite well and features a warm soprano sax solo by Allen, a bouncy piano break by the pianist, and a typically spry solo by Hoffman. That’s one of two covers on the disc. The other is the seldom-played “I Never Told You,” by Johnny Mandel and Arthur Hamilton. Premiered on a Quincy Jones orchestra date in 1969, it’s a lovely dark melody. MacDonald’s arrangement puts Hoffman’s sweet cello out front to excellent effect for one of the highlights of the session. I was also quite taken with “Disillusionment,” with its twisty melody and wide-open solos by a snake-charming Allen and Hoffman. The fractured melody of “It Was Whispered” makes for another standout performance. Boccato sounds great on this one, nailing every sharp twist and turn in the atomized, out of tempo middle section. Certainly the weirdest passage on the disc is the theatrical laughter that greets the saxophone solo on “Where Thinking Leaves Off,” followed by a section of random noises and squeaks plus the odd grunt or two. Eventually, they settle into a groove that breaks down quickly, only to reestablish itself before dissipating into a series of overlapping solo statements that converge into a crescendo. At least there’s no more laughing. The album ends with the straight-ahead upbeat groove of “Bottom Feeders,” a satisfyingly bluesy way to wrap things up. A playful MacDonald is followed by Allen, in a mood to explore the full range of his alto while Boccato and Hoffman keep pace. It’s the kind of tune designed to put a smile on your face and leave the listener with a good feeling. At least that’s the effect it had on me. This Creative Opportunity Workshop is well worth hearing.<br />
– Stuart Kremsky<br />
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<b>Mirror of the Mind</b> can be purchased at the UCONN Co-Op Bookstore at Storrs Center and through <a href="http://cdbaby.com/cd/earlmacdonald3">CD Baby</a>, <a href="https://itunes.apple.com/us/album/mirror-of-the-mind/id712624311">iTunes</a>, and <a href="http://www.amazon.com/Mirror-of-the-Mind/dp/B00FCIPLQS/ref=sr_1_1?s=dmusic&ie=UTF8&sr=1-1&keywords=Earl+MacDonald+Mirror+of+the+Mind">Amazon</a>.<br />
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<a href="http://www.cdbaby.com/cd/earlmacdonald3">http://www.cdbaby.com/cd/earlmacdonald3</a></div>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0Mansfield Center, Mansfield, CT, USA41.7653764 -72.19813340000001741.7179989 -72.278814400000016 41.812753900000004 -72.117452400000019tag:blogger.com,1999:blog-3275787030763289108.post-51189612973957398482014-06-29T13:00:00.000-04:002014-07-02T19:07:29.735-04:00New Big Band Composition Debuted by the BMI/New York Jazz Orchestra<div dir="ltr" style="text-align: left;" trbidi="on">
My latest composition for jazz orchestra, "It Was Whispered", was debuted on June 27th, 2014 by the <a href="http://www.bmi.com/events/entry/567032">BMI/New York Jazz Orchestra</a>. The concert took place at Christ and St. Stephen's Church in New York City. Here is the video footage:<br />
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To a degree, this piece was inspired by <a href="http://en.wikipedia.org/wiki/Ornette_Coleman">Ornette Coleman</a>. I am fond of the short, folksy, poetic melodies he writes, and wanted to capture this aesthetic within the context of a fully-developed large ensemble piece. My challenge/balancing act was evoking the essence of "free jazz" while retaining enough compositional control to avoid the chaos of mass, collective, free improvisation.<br />
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The soloists were: Satoshi Takeishi (drums), Marc Phaneuf (alto sax), JC Sanford (trombone), Dave Smith (trumpet)<br />
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The band roster is as follows:<br />
<b>Woodwinds:</b> Marc Phaneuf, <a href="http://www.benkono.com/">Ben Kono</a>, <a href="http://www.danwillis.com/">Dan Willis</a>, <a href="http://www.robmiddletonmusic.com/RobMiddletonmusic.com/Home.html">Rob Middleton</a>, Alden Banta<br />
<b>Trumpets:</b> Dan Urness, John Eckert, Steve Smyth, <a href="http://www.davesmithtrumpet.com/">Dave Smith</a><br />
<b>Trombones:</b> Tim Sessions, <a href="http://www.petemcguinness.com/">Pete McGuinness</a>, <a href="http://www.jcsanford.com/">JC Sanford</a>, <a href="http://www.jenniferwharton.com/">Jennifer Wharton</a><br />
<b>Rhythm:</b> <a href="http://www.sebastiannoelle.com/">Sabatian Noelle</a> (guitar), <a href="http://www.deannawitkowski.com/">Deanna Witkowski</a> (piano), Dave Ambrosio (bass), Satoshi Takeishi (drums)<br />
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This was a fun, celebratory way to wrap up my yearlong affiliation with the BMI Jazz Composers' Workshop.<br />
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Here I am, posing with the workshop's director, one of my strongest musical influences, Jim McNeely:<br />
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<tr><td class="tr-caption" style="text-align: center;">Earl MacDonald and Jim McNeely.</td></tr>
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...ever up and onward!<br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com2New York, NY, USA40.7127837 -74.00594130000001840.3275957 -74.651388300000022 41.0979717 -73.360494300000013tag:blogger.com,1999:blog-3275787030763289108.post-4298074146505367912014-06-09T08:45:00.000-04:002014-06-09T09:05:26.857-04:00New Works For Big Band<div dir="ltr" style="text-align: left;" trbidi="on">
The<b> <a href="http://www.bmi.com/genres/entry/bmi_jazz_composers_workshop">BMI Jazz Composers Workshop</a> </b>will present its 26th annual Summer Showcase Concert on Friday, June 27, 7:30 pm at Christ-St. Stephen Church (120 W. 69th St., NYC). The BMI/NY Jazz Orchestra will be playing new music by <a href="http://www.ericaseguine.com/">Erica Seguine</a>, <a href="http://miggymigiwa.net/">Migiwa Miyajima</a>, <a href="http://www.annakristinwebber.com/">Anna Webber</a>, <a href="http://www.tomericksonmusic.com/about/">Tom Erickson</a>, <a href="http://www.scottninmer.com/">Scott Ninmer</a>, <a href="http://annbelmont.com/Music%20for%20Jazz%20Orchestra.html">Ann Belmont</a>, <a href="http://www.creativejazz.com/">Scott Reeves</a>, <a href="http://www.jamrice.co.jp/miho/en/">Miho Hazama</a> and <a href="http://www.earlmacdonald.com/">yours truly</a>. Free admission!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1lkthNCJoEe8hW8B5iH1HCYHNn-eDoMZLOGb3EkoDglAYtt0a90Ak4Wjgs8XUsPFEPqb4euwdkDX72ickAdfvlE6w3jjXPTXUqmdu2F1qnIB1M1CH6S0HqiVRAmPBYg0buwHz5eWINdV/s1600/Big+Band.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1lkthNCJoEe8hW8B5iH1HCYHNn-eDoMZLOGb3EkoDglAYtt0a90Ak4Wjgs8XUsPFEPqb4euwdkDX72ickAdfvlE6w3jjXPTXUqmdu2F1qnIB1M1CH6S0HqiVRAmPBYg0buwHz5eWINdV/s1600/Big+Band.jpg" width="457" /></a></div>
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Here is the program information I submitted for my selected work:<br />
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Earl MacDonald<br />
“It Was Whispered”<br />
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To a degree, this piece was inspired by Ornette Coleman. I am fond of the short, folksy, poetic melodies he writes, and wanted to capture this aesthetic within the context of a fully-developed large ensemble piece. My challenge/balancing act was evoking the essence of "free jazz" while retaining enough compositional control to avoid the chaos of mass, collective, free improvisation.</div>
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The premier performance of my first orchestral piece, "Dolphy Dance", took place last night at von der Mehden Recital Hall, with the <a href="http://music.uconn.edu/symphony-orchestra/">University of Connecticut Symphony Orchestra</a>. I conducted, which in itself was a thrill.<br />
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Here is a video from the concert, followed by my program notes:<br />
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Dolphy Dance (2014)<br />
Composed by Earl MacDonald (b. 1970)<br />
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Last summer, I ran a Kickstarter campaign to fund the manufacturing of <a href="http://www.cdbaby.com/cd/earlmacdonald3">my latest compact disc</a>. Commissioning “a tune” was offered as an incentive. My friend Paul Gruhn ordered a song as a surprise birthday present for his wife Donna, but with the caveat that in couldn’t be “too jazzy”. Apparently she hates jazz. For a jazz composer, this presented quite a problem, but we eventually decided upon something in the salsa style.<br />
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After two weeks of listening to <a href="http://eddiepalmierimusic.com/">Eddie Palmieri</a>, Tito Puente and Mario Bauza recordings, I sat down and wrote a relatively simple piece, trying to adhere closely to the style. Paul requested the title “Donnamite”, which was his wife’s nickname as a stock car racer several years ago. The surprise debut took place on the outdoor patio of Willimantic’s <a href="http://www.cafemantic.com/">Cafémantic</a>, and Donna was ecstatically pleased.<br />
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In hindsight, perhaps I should have let the story end there --- “happily ever after”. Instead, I decided to tinker with the piece. After immersing myself in salsa recordings, I started questioning the importance of melody to the genre. Would it still be “danceable” if the clavé rhythmic pattern was retained, but the predictable melodies were replaced with more complex linear material? Similarly, what if the harmonies were altered; could it still pass as authentic Afro-Cuban music?<br />
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As I experimented with taking the melody and harmony further left of center, I began imagining what jazz saxophonist Eric Dolphy might have sounded like had he been featured with a salsa band around 1960. Out of this vision, “Dolphy Dance” was born.<br />
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I later added a musical prologue, in the spirit of an orchestral ritornello. It uses the same linear and harmonic material, presented in triple meter, while drawing upon the orchestra’s vast color palette.<br />
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Graduating senior, Colin Walters will play the role of Eric Dolphy in tonight’s performance. During his time at UCONN, Colin has worked diligently and his musical development has been significant. Featuring him as a soloist with the orchestra is my graduation present to this fine young man.<br />
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Lastly, I wish to thank Maestro <a href="http://music.uconn.edu/symphony-orchestra/harvey-felder-director/">Harvey Felder</a>. It was Professor Felder who instigated this collaboration, and persisted when I said “no” initially. He gave me complete freedom to write whatever I wanted, to be myself, and to write jazz, so as to expose the orchestral students to the genre’s authentic, stylistic nuances. This and his inviting me to conduct, reveal his selfless pedagogical fervor. What he accomplished in the orchestra’s initial rehearsals of the piece, prior to handing me the reigns, established a solid foundation upon which I could build.<br />
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This was my first experience writing for and conducting a full symphony orchestra. I have a sneaking suspicion it won’t be my last. Thank you Professor Felder for this opportunity, as well as your encouragement and guidance throughout the process.<br />
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<a href="http://today.uconn.edu/blog/2014/05/jazzman-macdonald-debuts-first-orchestral-composition/">UCONN Today</a> also published an article in advance of the concert. Here is a link: <a href="http://today.uconn.edu/blog/2014/05/jazzman-macdonald-debuts-first-orchestral-composition/">Jazzman MacDonald Debuts First Orchestral Composition</a><br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com2Storrs, Mansfield, CT, USA41.8084314 -72.24952309999997641.7610869 -72.330204099999975 41.855775900000005 -72.168842099999978tag:blogger.com,1999:blog-3275787030763289108.post-9155663429529822732014-04-25T13:41:00.003-04:002021-05-29T13:26:13.795-04:00The Selfie: Earl MacDonald answers his own questionnaire about jazz composition<div dir="ltr" style="text-align: left;" trbidi="on">
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At the risk of appearing <i>completely</i> narcissistic, I will answer my own questionaire, which was posed to the members of the <a href="http://www.bmi.com/genres/entry/bmi_jazz_composers_workshop"><b>BMI Jazz Composers' Workshop</b></a>. I had not originally intended to complete my own survey, but am doing so at the prompting of some of my fellow composers in the workshop. Before proceeding, I would like to say thank you to <a href="http://everupandonward.blogspot.com/2014/04/interview-with-tom-erickson-jazz.html">Tom Erickson</a>, <a href="http://everupandonward.blogspot.com/2014/04/interview-with-composer-alan-chan.html">Alan Chan</a>, <a href="http://everupandonward.blogspot.com/2014/04/interview-with-quinsin-nachoff-jazz.html">Quinsin Nachoff</a>, <a href="http://everupandonward.blogspot.com/2014/04/interview-with-anna-webber-jazz-composer.html">Anna Webber</a>, <a href="http://everupandonward.blogspot.com/2014/04/interview-with-miho-hazama-jazz-composer.html">Miho Hazama</a>, <a href="http://everupandonward.blogspot.com/2014/03/interview-with-erica-seguine-jazz.html">Erica Sequine</a> and <a href="http://everupandonward.blogspot.com/2014/03/interview-with-scott-ninmer-jazz.html">Scott Ninmer</a> for taking the time to thoughtfully respond. I appreciate your assistance in creating a resource for likeminded or upcoming composers who will no doubt benefit from your experiences.</div>
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<br /><b>Do you write music daily?<span style="mso-spacerun: yes;">
</span>What is your routine?<span style="mso-spacerun: yes;"> </span>Do you
write in the morning, afternoon or at night?<span style="mso-spacerun: yes;">
</span>When are your most productive hours of composing?<span style="mso-spacerun: yes;"> </span>Can you write in small units of time or do
you need to set aside larger blocks of multiple hours?<span style="mso-spacerun: yes;"> </span>How many hours per week do you devote to
composing and arranging music?</b><o:p></o:p></div>
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As a composer, I am almost 100% deadline driven. In life, I "wear many hats" (husband, dad, teacher, administrator, composer, pianist...), but what's unique to composing is my preference <i>and need</i> for big blocks of uninterrupted time. I have to plan ahead and map out when it I will be feasible to write. Once started, I use every moment available to me to complete the piece. When a piece is done, I often need a week to physically recover, and to catch up on things I have neglected to create time for composition. <a href="http://everupandonward.blogspot.com/2014/03/interview-with-scott-ninmer-jazz.html">Scott Ninmer</a>'s response to this question seems much healthier, and is something I might try adopting. I'm not sure if it will work for me.</div>
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<b>Describe your compositional process.<span style="mso-spacerun: yes;"> </span>From where do your initial ideas come?<o:p></o:p></b></div>
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<b>What happens next?<span style="mso-spacerun: yes;"> </span>What’s
“step two?” (and three...)</b><o:p></o:p></div>
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<o:p><i>Here's some candor for you:</i> I most often I start with ideas I have <i>stolen</i> from other people's music. When listening to a recording, some small "nugget" might catch my attention; it could be a sonority, a rhythmic idea... whatever. I will then take that nugget, play with it, and see where it takes me. As I manipulate it, it becomes my own.</o:p></div>
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<o:p>As I develop little ideas into a larger work, I think more about non-musical, big picture concepts --- developing a story, depicting emotions, shapes, contrasts, pacing etc.</o:p></div>
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<b>Do you compose at the piano or away from it?</b><o:p></o:p></div>
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In the rooms where I typically write music (my home studio and university office) there are keyboards within an arm's reach of my desk. I use them often. That said, I work through musical problems throughout the day, regardless of where I am. I scribble thoughts in little notebooks and use the voice memos recording function on my iPhone to capture melodies or rhythms. I plan pieces away from the piano - sometimes in a library carrel.</div>
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<b>Do you use MIDI playback on Finale/Sibelius?<span style="mso-spacerun: yes;"> </span>How else do you utilize technology in the act
of composing?</b><o:p></o:p></div>
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<o:p>I do find MIDI playback to be helpful. Otherwise, I am relatively "low tech". My electronic keyboard has a record feature, which is helpful when trying to find linear material to layer over top of another part.</o:p></div>
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<b>What do you wish Finale/Sibelius would improve about their
music notation programs?</b></div>
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<o:p></o:p></div>
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<o:p>From what I have seen, very few people create scores and parts that look as good as mine. I use Finale. It has improved over the years, but I still must spend ridiculous amounts of time moving things around to get my desired look and feel. This is a real drag. I wish I could click some options at the onset, and then <i>voila!</i>.... when the score is done, the parts are DONE.</o:p></div>
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<b>Is transcription/analysis and score study something you do
regularly?<span style="mso-spacerun: yes;"> </span>If so, can you site
examples?<span style="mso-spacerun: yes;"> </span>Do you find nuggets of ideas
this way?</b><o:p></o:p></div>
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I definitely don't transcribe entire big band pieces, but I certainly figure out, write down and collect ideas that catch my attention. In my youth, I transcribed solos relentlessly.</div>
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As the director of a university jazz ensemble, I study scores in preparation for rehearsals, and in doing so, absorb the gist of what's going on formally, harmonically, orchestrally, etc. </div>
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There are some instances where I have gone out of my way to obtain scores to analyze. These include Kenny's Wheeler's "Music for Large Ensembles", Jim McNeely's Paul Klee project, Maria's "Evanescence", some Gil Evans and a few <a href="http://www.fredsturm.com/">Fred Sturm</a>'s educational charts.</div>
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<b>How important is musical innovation to you?</b><o:p></o:p></div>
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I believe it was Jim McNeely who said "we should be well-schooled in the past, and write in the present, while keeping an eye on the future". </div>
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The jazz I love (throughout it's history) is more or less synonymous with innovation and rebellion. As a perpetual student of this music, I have acquired the skills to write in the style of my predecessors, but usually choose not to, despite loving their music and finding inspiration in it. Whether my music is innovative, probably isn't for me to decide or worry about, but aesthetically, I would embrace innovation over replication any day.</div>
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<b>What concepts have you explored in your recent work?</b><o:p></o:p></div>
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<o:p>"Dolphy Dance" was just completed in both big band and orchestra formats. It started as an attempt to be ultra-hip within the salsa tradition. In the spirit of development, I wrote a variation which functions like a ritornello, at the beginning. The verdict is still out whether it is effective or overwritten.</o:p><br />
<o:p><br /></o:p>
<o:p><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/145339634&color=ff5500&auto_play=false&hide_related=false&show_artwork=true" width="100%"></iframe></o:p></div>
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<o:p>The piece I am currently writing explores the balance between capturing a "free jazz" aesthetic while still retaining compositional control. I'm experimenting with constant, parallel structures, chords of ambivalence etc.</o:p></div>
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<b>On average, how long does it take you to write a piece? </b><o:p></o:p></div>
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This usually depends on how pressing the deadline is. On average, I like to give myself a month to write a fully developed big band piece. My last project dragged on much longer, because I gave myself the luxury of returning to revise.</div>
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<b>Typically, how many big band charts do you write per
year?<span style="mso-spacerun: yes;"> </span>How does this compare with music
you write for other instrumentations?</b><o:p></o:p></div>
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I average about two or three big band charts per year. I was relieved when I asked this question to <a href="http://neilslater.com/">Neil Slater</a>, the former <a href="http://jazz.unt.edu/oneoclock/">UNT One O'Clock Lab Band</a> director, and he gave the same response.<br />
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I often adapt my big band charts to fit my 10-piece band as well. My composing is all project-driven, so the instrumentation for which I write depends upon the specific circumstances. I just finished an orchestra piece, have another big band chart on-the-go, and plan to write a few sextet charts to premier at a summer festival. There's always a reason to write.</div>
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<b>Do you still practice and perform on an instrument
professionally?<span style="mso-spacerun: yes;"> </span>How do you balance
writing and playing?</b><o:p></o:p></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8k0u6nMbPJ7YjA1jA4ZgFW90ZtKHBea7Ptv0A8pTv9nbHncOWD4bLjlHumVHmQMtAahKBjj7nR6Z1bV_x9owgDsTn1PppRuAnhk5sn3DBLy-tPw6QTItr-AsPShBb4hq_vy8UKkcYoegF/s1600/jazz_piano.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="jazz pianist" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8k0u6nMbPJ7YjA1jA4ZgFW90ZtKHBea7Ptv0A8pTv9nbHncOWD4bLjlHumVHmQMtAahKBjj7nR6Z1bV_x9owgDsTn1PppRuAnhk5sn3DBLy-tPw6QTItr-AsPShBb4hq_vy8UKkcYoegF/s1600/jazz_piano.jpg" title="jazz pianist" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.earlmacdonald.com/">Earl MacDonald</a> at the piano.</td></tr>
</tbody></table>
<o:p>I do still perform on the piano. My gigging and practicing has decreased in recent years. Three nights per week of gigging was typical for quite a while. For about a decade I practiced at least eight hours a day. Now, I may perform twice per month. I prepare for those performances by learning and reviewing repertoire, and occasionally doing some technical maintenance. I certainly prepare before recording sessions, practicing not only the tunes but doing plenty of technique for at least a month prior.</o:p><br />
<o:p><br /></o:p>
<o:p>Every once in a while I "get the bug" to get back in the studio and "hit the piano" hard. During the summer months I often set up a practice project for myself, which might be repertoire, transcription or concept based. There are some Billy Strayhorn tunes that I plan to add to my repertoire this summer.</o:p><br />
<o:p><br /></o:p>
<o:p>At some point I would like to record solo piano and trio CDs. But the unresolved questions are: What repertoire will I tackle, and how will I approach the music so that it comes across as being unique, and not just another "stock" solo or trio disc of standards? I don't want to come across as a clumsy, subpar replica of Cedar Walton.</o:p><br />
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<b>When you think about it, writing big band music makes no
sense.<span style="mso-spacerun: yes;"> </span>It takes hours to write and
prepare the music.<span style="mso-spacerun: yes;"> </span>It’s exorbitantly
expensive to assemble a band for performances, let alone recording.<span style="mso-spacerun: yes;"> </span>The audience for it is miniscule.<span style="mso-spacerun: yes;"> </span>Very few performance venues have the space or
money for a big band.<span style="mso-spacerun: yes;"> </span>Big band CDs sell
poorly.<span style="mso-spacerun: yes;"> </span>So….<span style="mso-spacerun: yes;"> </span>Why are you interested in writing big band
music?<span style="mso-spacerun: yes;"> </span>Why do you do it?</b><o:p></o:p></div>
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I have chosen not to lead a professional, performing big band for the reasons above. For my <a href="http://www.cdbaby.com/cd/earlmacdonald2">"Re:Visions" CD</a>, I hired top-flight musicians to record my music, but we never performed as a unit. <br />
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In some ways, I regard the university jazz ensemble I direct as "my big band". With my students, I can try, hear and prepare my new musical creations, whenever I want.</div>
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I write for big band because it is the default large ensemble within jazz education. I work as a professor and clinician (among other roles) in this field, and can market not only my music, but my services as a guest conductor and soloist. </div>
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<b>Do you have a job outside of being a composer?<span style="mso-spacerun: yes;"> </span>How do you support your composing and band
leading “habit”?</b><o:p></o:p></div>
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Following my time on the road with Maynard Ferguson, I was hired as a full-time music professor. It's hard to believe that was almost 15 years ago.</div>
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Grant writing funds most of my artist pursuits, and helps prevent me from dipping into personal/family finances to support my projects. I try to keep the two separate whenever possible.</div>
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<b>Define success from your vantage point.</b><o:p></o:p></div>
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If I was a touring member of Joe Lovano's quartet, the composer-in-residence for the <a href="http://www.vanguardjazzorchestra.com/">Vanguard Jazz Orchestra</a>, had a mantle full of Grammy awards, routinely won critics polls, and was annually featured on the front cover of Downbeat magazine.... YET, had a failed marriage and didn't play an active role in raising my kids, would I still be a success? (This is sounding strangely similar to the beginning of 1 Corinthians 13.)<br />
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Similarly, if I headed the top university jazz program in the country, but was universally regarded as an asshole, would I have accomplished anything of worth?<br />
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The above listed accomplishments may (or may not) transpire, but how I spend my life outside of music --- as a husband, dad, neighbor, friend, colleague, etc. --- is to me, even more important than what I do professionally.<br />
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Rather than finding success in the stuff I've done and accumulated, I want to focus more on relationships. Ever since the Newtown massacre, and specifically Ana Marquez-Greene's funeral, I have adopted and embraced the phrase "love God; love God's people" as my personal motto. I've got a long ways to go, but my eyes were opened on that day.</div>
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<b>What are your career goals?</b><o:p></o:p></div>
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At times in my life, I have had unhealthy obsessions with my career goals. With varying degrees of success, I'm trying to achieve a better work/life balance these days. But when I am working, I try to do so in a focused manner. with specific pursuits in mind.<br />
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My goals have definitely shifted over the years, and continue to change. I'm fairly good about setting goals, and accomplishing them ahead of schedule. When I was twelve, I dreamed of one day playing the organ at Winnipeg Jets hockey games. I did this full-time by age fifteen. At twenty, I decided I'd like to be a music professor or a touring jazz musician. I've done both.<br />
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Conducting and writing for the leading European jazz orchestras is something I'd like to pursue. I imagine it would be fun to work with the Frankfurt Radio Big Band (<a href="http://www.hr-online.de/website/rubriken/kultur/index.jsp?rubrik=39528">hr-BigBand</a>) and <a href="http://www1.wdr.de/radio/orchester/bigband/">WDR big band</a>, as well as the <a href="http://www.brusselsjazzorchestra.com/">Brussels</a>, <a href="http://stockholmjazzorchestra.wordpress.com/">Stockholm</a> and <a href="http://www.swissjazzorchestra.com/">Swiss jazz orchestra</a>s, to name a few.<br />
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I'm considering writing a series of educational big band charts for high school bands. If I commit to this, it might be in conjunction with a goal of conducting all 50 All-State high school jazz bands within the next decade. We'll see.<br />
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When I read the bios of other musicians, I take note of the the grants, fellowships and awards they have won. I compile lists, and then dig around on the internet to see if I'm eligible to apply. If so, I add the deadlines to my calendar and strategize accordingly. </div>
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<b>Why did you enroll in the BMI Jazz Composers’ Workshop?</b><o:p></o:p></div>
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I felt like I needed a tune-up. I saw some repeated occurrences in the music I was writing, and wanted to get out of some ruts, by benefitting from the critical eyes and ears of <a href="http://www.jim-mcneely.com/home.html">Jim McNeely</a> and <a href="http://mikeholober.com/bio.html">Mike Holober</a>. I liked the idea of putting myself in a group with young composers (straight out of grad school and eager to make their mark on NYC) to see if I could "make the hang" and keep up.</div>
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<b>Do you have a degree in composition?<span style="mso-spacerun: yes;"> </span>What training have you had in
composition?<span style="mso-spacerun: yes;"> </span>What have you done to
supplement your training?</b><o:p></o:p></div>
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My degrees are in jazz performance. I took one jazz composition class at McGill with <a href="http://www.janjarczyk.com/">Jan Jarczyk</a>. I studied arranging with Christopher Smith at McGill and Michael Mossman at Rutgers. In 2001 I attended Dave Douglas' composition workshop in Banff. I participated in the BMI Workshop in 2003, 2007 and again this year. Books by Gil Goldstein, Ted Pease and Charles Wuorinen have been helpful. I took some private lessons along the way with Jim McNeely, <a href="http://www.michaelabene.com/">Mike Abene</a>, Maria Schneider, Mike Mossman and David McBride. I subscribed to Bob Brookmeyer's online ArtistShare composition project, which was insightful.</div>
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<b>What do you enjoy doing outside of music?<span style="mso-spacerun: yes;"> </span>What non-musical things/topics capture your
interest/imagination?</b></div>
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<li>Much of my time outside of work and music is devoted to my family. This weekend's agenda includes teaching my daughter to ride her bike without training wheels, and going to soccer practice. I skateboard and BMX with my son, read books to/with them, take them to lessons, etc. Every day we all hike in the woods behind our house.</li>
<li>I run. I did two half-marathons last year, and plan to do a full marathon this year.</li>
<li>I blog.</li>
<li>My wife and I started a christian service organization called "Acts of Mansfield", where we engage in regular acts of community service. We're also meeting regularly with a group of christian friends, dreaming, and prayerfully considering planting a new church in our town.</li>
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<b>Music has the power to….</b></div>
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<li>[from the listener's perspective:] counteract tedium, inspire, cause riots, evoke reflection, soothe the disturbed, conjure memories, soften hardened hearts...</li>
<li>[from the composer's perspective, we can:] express joy/elation, sorrow, anger, frustration, pay tribute to someone/something, bring attention to a cause or situation, shape/reinforce/manipulate emotions etc.</li>
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Art Blakey's quote, "Jazz washes away the dust of every day life", is a favorite of mine.<br />
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<b>I compose music because....</b></div>
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<ul style="text-align: left;">
<li>I can. Only a very select, few people have the ability to write music (even among musicians). I want to develop this gift to the best of my abilities. </li>
<li>I find it challenging and mentally stimulating.</li>
<li>there are few greater feelings than hearing your own envisioned work, successfully brought to life.</li>
<li>it might accomplish one of the attributes listed in the previous question.</li>
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com1Storrs, Mansfield, CT, USA41.8084314 -72.24952309999997641.7610869 -72.330204099999975 41.855775900000005 -72.168842099999978tag:blogger.com,1999:blog-3275787030763289108.post-36577190283270500242014-04-10T18:26:00.000-04:002014-04-10T18:26:34.518-04:00Interview With Composer, Alan Chan<div dir="ltr" style="text-align: left;" trbidi="on">
I first met Alan Chan in June 2011, when we were both international finalists at the <a href="http://everupandonward.blogspot.com/2011/06/artez-jazz-composition-competition.html">ArtEZ Jazz Composition Competition</a> in the Netherlands. He won. I lost. <i>And that is all I have to say about that.</i><br />
<br />
It has been fun to reconnect with him this year in the BMI Jazz Composers' Workshop in New York City. I appreciate that Alan and the other workshop participants were willing to complete my survey of questions about their compositional practices. Their responses have been insightful and I hope this blogging series will serve as a resource and source of inspiration for many students of (jazz) composition.<br />
________________________________________________________________________<br />
<br />
<a href="http://www.alanchanmusic.com/">Alan Chan</a>’s music often takes inspiration from his life experiences as a resident in America, East Asia and Europe. His "genre-shaking" works can be heard in an array of venues serving Classical (Taiwan National Concert Hall), experimental (the Stone, NYC) and jazz (Vitello’s in Los Angeles). His works have been performed by Brussels Jazz Orchestra, Taipei Percussion, Hong Kong Chinese Orchestra and La Jolla Symphony, among others. Alan Chan Jazz Orchestra’s EP “Rancho Calaveras” is currently available from <a href="http://www.amazon.com/Rancho-Calaveras-Alan-Chan-Orchestra/dp/B00GFYTWVS/ref=sr_1_2?ie=UTF8&qid=1384380499&sr=8-2&keywords=rancho+calaveras">Amazon</a>, <a href="http://www.cdbaby.com/cd/alanchanjazzorchestra">CD Baby</a> and iTunes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmqXY-9WCpShC_LCcJoAT0TXMVTQsQyBlHCWrnkipngE18yczZ7DMZd9J0Ym23e7h2osT9Gw5MlzRFwsJkHJ3_UjWxpEIPOzsbDK05oLb1ZlncGoU_Rq-SlJjAj8N_aLuqQBMarG3ole9/s1600/Alan_Chan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmqXY-9WCpShC_LCcJoAT0TXMVTQsQyBlHCWrnkipngE18yczZ7DMZd9J0Ym23e7h2osT9Gw5MlzRFwsJkHJ3_UjWxpEIPOzsbDK05oLb1ZlncGoU_Rq-SlJjAj8N_aLuqQBMarG3ole9/s1600/Alan_Chan.jpg" height="277" width="400" /></a></div>
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<b>Do you write music daily? What is your routine? Do you write in the morning, afternoon or at night? When are your most productive hours of composing? Can you write in small units of time or do you need to set aside larger blocks of multiple hours? How many hours per week do you devote to composing and arranging music?</b><br />
<br />
I am a seasonal writer – due to my occupation as a freelancing musician, I find myself composing mostly when I am working on composing projects for my band, the BMI Workshop or when I receive a commission. When a project comes, I would normally write in the course of from 10 days to three weeks, with a more robust daily routine. Afternoons, night times and late night hours works best for me. I usually don’t stay up until dawn as I usually feel guilty for not going to bed!<br />
<br />
<b>Describe your compositional process. From where do your initial ideas come? What happens next? What’s “step two?” (and three...)</b><br />
<br />
There are always ideas that pop up in my head constantly. What matters the most is if the idea stays in my head and how to choose an idea or ideas to write about. A lot of times I like to draw connections.<br />
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<b>Do you compose at the piano or away from it?</b><br />
<br />
Both.<br />
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<b>Do you use MIDI playback on Finale/Sibelius? How else do you utilize technology in the act of composing?</b><br />
<br />
Not so much. I use Finale solely for notation.<br />
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<b>What do you wish Finale/Sibelius would improve about their music notation programs?</b><br />
<br />
I am pretty happy with that, as long as it doesn’t crash!<br />
<br />
<b>Is transcription/analysis and score study something you do regularly? If so, can you site examples? Do you find nuggets of ideas this way?</b><br />
<br />
I find doing transcriptions myself is the best way to understand the music, rather than reading from a borrowed score.<br />
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<b>What concepts have you explored in your recent work?</b><br />
<br />
I have explored different stylistic and emotion expressions of the big band. And recently, I am looking into writing new pieces for big band and solo instruments.<br />
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<b>On average, how long does it take you to write a piece? </b><br />
<br />
It varies ---- especially when considering the amount of time to conceive a piece. The writing usually takes shorter, however. I’d say from 10 days to 3 weeks.<br />
<br />
<b>Typically, how many big band charts do you write per year? </b><b>How does this compare with music you write for other instrumentations?</b><br />
<b><br /></b>
It varies, because I also spend a lot of time revising my music.<br />
<br />
<b>Do you still practice and perform on an instrument professionally? How do you balance writing and playing?</b><br />
<br />
I play the piano professionally, although usually for gigs of a more classical nature. <br />
<br />
<b>When you think about it, writing big band music makes no sense. It takes hours to write and prepare the music. It’s exorbitantly expensive to assemble a band for performances, let alone recording. The audience for it is miniscule. Very few performance venues have the space or money for a big band. Big band CDs sell poorly. So…. Why are you interested in writing big band music? Why do you do it</b>?<br />
<br />
The musical potential of big band music is great – it is the kind of music where you can explore color, harmony, texture and orchestration that is only comparable to orchestral and wind ensemble music. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HG9mDKuXZ3zRyrtKcIf3AeQ7zMS6MEfCkdpHF9eURatxEc3Ntjn6v4fyDJpHacsc-9Yc2eIk2IGa43WZVVwZNP9tXMgBX7jiffbv1bfT3nOTXCbJiKts5KJzKt9JozvRjiL11U6qnOS9/s1600/AlanChan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HG9mDKuXZ3zRyrtKcIf3AeQ7zMS6MEfCkdpHF9eURatxEc3Ntjn6v4fyDJpHacsc-9Yc2eIk2IGa43WZVVwZNP9tXMgBX7jiffbv1bfT3nOTXCbJiKts5KJzKt9JozvRjiL11U6qnOS9/s1600/AlanChan.jpg" height="213" width="320" /></a><b>Do you have a job outside of being a composer? How do you support your composing and band leading “habit”?</b><br />
<br />
I work as an administrator for several music organizations, copy music for other composers, and do piano gigs and other music-related odd jobs that are not appropriate to discuss here :-p<br />
<br />
<b>Define success from your vantage point.</b><br />
<br />
...to have a happy and healthy life.<br />
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<b>Why did you enroll in the BMI Jazz Composers’ Workshop?</b><br />
<br />
It's a place to create and experiment, to meet and exchange with other like-minded people.<br />
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<b>Do you have a degree in composition? What training have you had in composition? What have you done to supplement your training?</b><br />
<br />
Classical composition degrees from UMiami, UMKC and USC (Southern California)<br />
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<b>What do you enjoy doing outside of music? What non-musical things/topics capture your interest/imagination?</b><br />
<br />
In alphabetical order: Cooking, drinking, food, film, friends, hiking, swimming, traveling, wondering and ZZZ… (sleeping)<br />
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<b>Music has the power to…. </b><br />
<br />
capture memories.<br />
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<b>I compose music with the goal of....</b><br />
<br />
creating a better world…<br />
<br />
<a href="http://www.alanchanmusic.com/">http://www.alanchanmusic.com</a><br />
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Earl MacDonaldhttp://www.blogger.com/profile/01005699518764748768noreply@blogger.com0Storrs, Mansfield, CT, USA41.8084314 -72.24952309999997641.7610869 -72.330204099999975 41.855775900000005 -72.168842099999978