Jazz Arranging

This is my second day of blogging about my current big band arranging project; it's a piece entitled "Dig In Buddy" by Calgary-based drummer, Tyler Hornby.  After completing yesterday's list of observations and ideas, I sat down at the piano to do some experimenting and exploring.

The first item on my list was reinforcing the Art Blakey-esque quality of the piece, if possible.  The question soon became "How?"  I experimented with 3-horn "crunch" voicings (for a lack of a better label), that I have seen in many of the Jazz Messenger charts I have transcribed over the years.  These voicings typically have a major third and a minor second below the melody. Often they are used over a pedal point.  I applied these to Tyler's progression and came up with a little vamp that could be used within the intro, to underpin the melody, and as a background figure behind soloists.

Next, I experimented with the expansion of the hip rhythmic idea in the final measure of the piece.  I reharmonized it a few ways to create an expanded sound-off which will lead into a solo break of sorts.

Both of these ideas are demonstrated in the video above.

Today my main goal was to map out a formal plan.  This may change, but here is what I sketched:

•  Introduction:  8 measures.  Vamp.  Trombones + rhythm. Maybe unison sax lines over top.  End w/ lick from m.16, either in its original form or w/ rhythmic expansion, played by full brass.
•  Melody (1st 8): vamp continues underneath.  Melody presented by trpt and tenor, like original.  M. 8, entire brass section plays punctuation figure.  Spill off on Cmi.
• return of 8 measure vamp.  [I'm not ready to move on yet.]
• Melody (1st 8) again.  Full brass punctuations at measures 4 and 8, using his melodies.
• 2nd 8: swing release (walking).  Big.  Maybe change orchestration on beat 3 of measure 12.
• Full ensemble shout/rhythmic hits encasing a drum solo [it's his tune after all!].  This will serve to extend the intensity generated in m. 16.  I'll keep it big and exciting.  16 measures, ending w/ lick from m. 16.
• Restatement of head, in a different way.  Voice it.  Alter it rhythmically slightly (either melody or phrase ending punctuations)
• "Extended sound-off" (from video): Gb13, Eb13, D7, Db7, G7, break.  Sax section "fills" over extended harmonies.  Sax section takes 4 measure solo break.
• Saxophone soli.  2 choruses.  During the 2nd chorus the brass backgrounds gain prominence, build and gradually take over.  Incorporate last 2 measures of melody.
•  Full ensemble continues well into the first chorus of a trumpet solo, keeping the intensity up initially.  3 chorues.  2nd chorus, minimal backgrounds.  3rd chorus, intro vamp by tbns, on first half.
• Lead into a fire-y tenor sax solo, propelled by quirky low register 5ths, alternating w/ 4ths structures.  Looped vamp?  Perhaps a modulation here would "give it a lift".
• Rhythmically expand the tune's melody, leaving large spaces for drum fills.  Keep it quirky.  Fairly big at points.  Some lines in contrary motion.  End the piece with a different vibe from where it began.  Arrive somewhere new, rather than return home.

Ok... so there we have it.  It will be interesting to see to what degree I end up deviating from this plan.  For now, I am simply pleased to have a plan in place.  Now... to roll up my sleeves, sharpen my pencils and get to work!!!

Digging In

"Dig In Buddy" is one of two tunes by Tyler Hornby, which I will be arranging for 17-piece big band over the next couple of weeks.  The music and a recording from his "Shadows of A Brighter Day" compact disc appear below.  Listen along as you scroll down to read my commentary.

In the early stages of planning an arrangement, I often find it helpful to list ideas which could be further developed.  Here are my thoughts and observations when listening to the quintet version of this piece:

• It has a real Art Blakey "vibe", in the hard bop vein (explosive at times, dynamic contrasts, blues-y yet sophisticated)
• Maybe I will expand upon this, making it even more Blakey-esque, using idiomatic 3 horn voicings.  Perhaps I could go so far as to add a "Blues March" section.
• Strong features:  
• the rhythmic element in the last 3 bars.  This could be expanded (intro, "sound-offs", etc.).  I like how the last measure functions as a "sound off" into the solos.
• The quiet first half of the head builds anticipation.  It foreshadows something big about to happen in the 2nd half.
• The second half of the tune could easily be orchestrated to bounce around between sections or groups of instruments, like a group conversation (1 or 2 measure fragments).  If I go that route, this conversational idea could be continued and expanded.
• Measures 4 and 8, when played up the octave (as written), act as a strong punctuation.  To further enhance this effect, these measures could be orchestrated for full big band.  I also like these measures played down the octave, as the horn players elected to do on the first repeat of the "in head".  In some ways I actually prefer everything played down.
• The tempo would lend itself well to an Afro-Cuban 12/8 feel.  Tyler almost goes there a few times.
• There are lots of chords.  When developing the piece, some form of modal release might be welcome.
• C blues scale ideas are an easy, yet effective way to skate over the expanded C minor progression in the first 8 measures.  Knowing this might come in handy when writing a soulful sounding soli.
• The piano player, Chip Stephens, plays some hip, lower register 5ths, alternating with chords at about 5:15 on the recording.  Something like this could be expanded into a solo vamp, to create an alternate improvisational environment for one of the horn soloists.
• The last measure of the tune is incredibly strong, going into the solos.  Coming out of this, I found myself wishing that the intensity would continue at the top of the form, into the solos.  As the arranger, maybe I can play a hand in dictating how the soloists and rhythm section respond, so that the formal lines are blurred, thereby creating a more cohesive overall shape.  Perhaps I will have the ensemble continue playing (well) into the solo form, extending the intensity created by the figure in measure 16.

Musicians, if you see/hear elements within this tune which I didn't list, but that really captured your interest and sparked your imagination, please let me know.  It would be nice to have some interactive input from folks --- as opposed to just working alone in the black holed vacuum of my studio.

My plan for tomorrow is to come up with a formal outline/plan for the arrangement.  It may change as I "dig in" (pardon the pun), but it should serve as a good entry point.

The Process

The impressive mural in the picture below mysteriously appeared on a wall in the University of Connecticut Art Department one morning.  Apparently a group of students erected it during the night, when no one was around.  I Googled the phrase, but nothing really came up.  It doesn't appear to be a famous quote, but yet it spoke to me on several levels.

THE PROCESS OF FAILURE IS GREATER THAN THE PRODUCT OF SUCCESS.

So, what does it mean?  The following thoughts came to mind:

• The process is what matters.  The process is where we grow, learn and develop as artists, people/spiritual beings.
• We often learn far more from our failures than from our successes.
• As uncomfortable as it may be, stepping out of our comfort zones, stretching ourselves, and trying new things/approaches is of paramount importance if we don't want to stagnate.
• It is better to try and fail than not to try at all. (OK, now I'm starting to sound overtly cliché.)

I think a lot about my process when writing music.  I walk a fine line in trying to be as efficient as possible with my time, while often trying new methods and approaches.  However, I think there are some steps I take consistently at the various stages of composing and arranging pieces.

This mural got me thinking...  Maybe I should take a closer look at my approach to artistic creation. Here's what I plan to do:  I was recently hired to write two big band arrangements of compositions written by Canadian jazz drummer, Tyler Hornby.  I hope to complete them over the next couple of weeks.  On this blog I will share my methodology, as well as my observations from self examination during the process.  Hopefully I will learn something about myself and the systems I employ while providing you with some insight into what goes into writing a big band chart.

Ultimately, failure is not an option for me here, but I do anticipate that there will be a few along the way.  Something would probably be wrong if there weren't.  :)  I hope you will come along for the ride.

Jazz Night at Lu's Cafe

This Thursday, September 6th, marks the return of jazz to Lu’s Café in UConn’s Family Studies building. Each Thursday throughout the Fall 2012 semester, live music will be performed in the form of a jazz jam session. Music begins at 8:00pm; it ends at 11:00pm. Coffee, espresso and pastries will be available.

 

I see this weekly jam session as crucial for the musical development of my students. It will give them the opportunity to apply to the bandstand what they have learned in the classroom. They can try out their skills, as well as challenge and push one another.

Students are required to memorize the standard jazz repertoire, as I am stipulating that reading of music in this setting is not allowed. To play a song, it must be memorized. For starters we will draw upon the list of 12 required tunes for the sophomore jazz jury:

· All The Things You Are

· Alone Together

· Anthropology

· Billie’s Bounce

· Body and Soul

· Maiden Voyage

· Out of Nowhere

· Recordamé 

· Solar

· Someday My Prince Will Come

· Stella By Starlight

· What Is This Thing Called Love

Each week I will be adding one new tune to the list which will be played regularly thereafter. Here’s the schedule:

Sept 6: Four
Sept. 13: Pent-Up House
Sept. 20: Broadway
Sept. 27: Corcovado (Quiet Nights of Quiet Stars)
Oct. 4: 26-2 and Countdown
Oct. 11: Darn That Dream
Oct. 18: What’s New
Oct. 25: Chelsea Bridge
Nov. 1: Moment’s Notice
Nov. 8: Milestones (bebop head)
Nov. 15: Unit Seven
Nov. 29: UMMG (Upper Manhattan Medical Group)
Dec. 6: Windows

I will lead the sessions from either the piano or drum set. In addition to benefiting my students, this jam session will certainly assist me in keeping my chops sharp. There is a nice Yamaha upright piano and a drum set at the venue, so schlepping will be kept to a minimum. Plus, it will be nice to play on my home turf, rather than having to drive 40 minutes to Hartford.

Another favorable outcome to this weekly jam session is the social aspect. For students and faculty, it will be nice to have a place to hang out on Thursday evenings, where we can all interact on a more casual level. This should help in building a sense of community. I hope you will join us!

Summer Reflections

During this first week of the new school year, I continually hear students and faculty asking one another how their summer was and what they did.  One colleague asked me to list the three highlights of my summer.  I found myself stumbling for an answer --- probably because I’m usually so focused on the present/future.  When I did collect my thoughts, there were some great memories to relate.  Here’s a brief recap:

Kincardine Summer Music Festival:

This was my first summer teaching and performing at the KSMF in Ontario, Canada.  My friend, Toronto-based trombonist Jules Estrin, runs the camp.  Many of the faculty were old school mates from McGill University in Montreal.  It was nice to catch up with them, and they have all become incredible players and effective teachers.  Students came from all over Ontario and there was a nice mix of teens and adults.  The days were well structured with a mix of master classes, small and large ensemble rehearsals, workshops and concerts.  Having the faculty perform each night with a variety of special guests was one of many things that distinguish this camp from many of the others at which I have worked over the years.  There is no substitute for hearing the music played at a high level, and I think it really inspired the students.  Hearing the impressive Jazz.FM91Youth Big Band with trombonist Al Kay (of Rob McConnell/Boss Brass fame) was a highlight for me, as well as accompanying my old friend Denzal Sinclaire.  What a voice!

Bushnell Park Monday Night Jazz Performance:

Two days after getting home from Kincardine I performed with my 10tet, the Hartford Jazz Society’s New Directions Ensemble.  It is always a kick to play in front of an audience of 5,000 or so.  I hired my favorite recording engineer, Peter Kontrimas to document the evening and am looking forward to hearing how the recording turned out.  Here is some concert footage of my new composition, “Mirror of the Mind”.  It is my tribute to “Prof”, the late William Fielder (1938-2009), who was the professor of trumpet at Rutgers University back when I did my graduate studies there. 

Josh Evans is the trumpet soloist.  The piece also featured Kris Allen on alto saxophone.

I am currently writing an extensive plan of ensemble activities to submit to the Hartford Jazz Society’s grant writer.  We look forward to working hand-in-hand with the jazz society, in their efforts to promote, preserve and pioneer jazz performance in the Greater Hartford area.

Camp of the Woods:

Although music is a very important part of my life, these days it takes a back seat to my family.  I deliberately planned to spend a significant amount of time with my wife and kids this summer and we had some great times together.  One of the absolute high points was our week at the Camp of the Woods, a Christian resort and conference center in the Adirondack Mountains of upstate New York.  We slept in a tiny cottage, but most of our time was spent outdoors doing activities like canoeing, hiking, playing on the beach, swimming, mini-golfing, foosball, basketball, and rock climbing.  Every morning they had a reputable Christian speaker for the adults (Tony Evans, from Dallas), with children’s programming for our kids.  It was nice to be able to spend some quality time just with my wife.  We ran a 5K race together, and Jana won her age division! The camp even had an extensive music staff, which included a full studio orchestra (wind ensemble plus rhythm section, strings and vocalists).  Most of the instrumentalists were grad students from conservatories across the US.  Church music is often nothing short of torture for me, so this was a great surprise and very refreshing.  We left spiritually uplifted, inspired and well rested.  I highly recommend this vacation spot and hope to return there for years to come.

So there you have it… three high points, of many, in my summer.

Downbeat Critics Poll

Did anyone else throw up in their mouth upon hearing that Vijay Iyer won five categories in this year's DownBeat Magazine Critics Poll?  Top Pianist, top jazz group, top jazz artist, top jazz album and rising star composer.  Wow.  Maybe someone can explain this to me.

To my ears Billy Joel has a more refined, subtle touch than this guy at the piano.  Frankly, I despise the sound he gets from the instrument.  He's a great talker and writer, but his playing sounds like self indulgent banging to me.

When I first heard him play a decade ago, I had a mild, disengaged appreciation for his fusing Indian music with jazz, and was able to overlook his piano playing. I wonder... was it this fusion that endeared him to the critics?  If so, maybe my recording a duo record with my bagpipe playing father is long overdue.  Who would have thought that tapping into the roots of my Scottish-Canadian ethnicity might be the key to attaining worldwide critical acclaim?

Perhaps I'm sounding jealous.  Trust me, I'm not.  I just question if the critics (and their followers) actually listen to music, or if they formulate opinions based on social trends (fusion = cool.)  I really tried to listen to Vijay and find something to like about his music.  In his playing, and the conceptual approach to his trio, I simply don't hear much that appeals to me.  It doesn't capture my imagination or interest.  I can't even listen to an entire CD of his music without reaching for the remote.




You tell me.  What am I missing?  Certainly there is a musical reason he has won so many awards and was selected as Dave Douglas' successor at the Banff International Workshop in Jazz and Creative Music.  I just don't see hear it in the music outside of his Indian collaborations (of which his current album is not).   Do the DownBeat critics really think Vijay is a better pianist/musician/artist than Fred Hersch, Geoff Keezer, Uri Caine, Luis Perdomo, etc.?  I don't.

New Discoveries

In social settings I am often asked "What are you listening to lately?"  I'll admit that sometimes I wish I could rattle off a list of musicians and recordings that wouldn't be met with a blank stare, requiring an explanation of who they are and what they do.  My current listening is no exception.

I recently read Lloyd Peterson's book, "Music and the Creative Spirit.  Innovators in Jazz, Improvisation, and the Avant Garde."  It is a collection of interviews with many established creative improvisors.  Many of the same questions were posed to the various artists, and it was fascinating to read about their creative processes, sources of inspiration, artistic visions, views on the future of jazz, observations regarding societal trends, etc.

In the instances where I especially enjoyed the interviewee's responses but wasn't familiar with their work, I went to the library and ordered some discs via inter-library loan.  For the past couple of weeks I have immersed myself in recordings by pianist Marilyn Crispell.  I found the following discs to represent a variety of musical contexts:

• Vignettes, a solo piano disc (2008).
• Amaryllis, a trio disc with bassist Gary Peacock and drummer Paul Motion (2001).
• One Dark Night I Left My Silent House, a duo recording with clarinetist David Rothenberg (2010).
• In Winds, In Light, a disc by bassist Anders Jormin on which Crispell appears with vocalist, Lena Willemark, church organist, Karin Nelson and percussionist, Raymond Strid (2004).

I also watched an instructional DVD by Crispell, entitled "A Pianist's Guide to Free Improvisation: Keys to Unlocking Your Creativity".

I had assumed that Crispell's music would be challenging, atonal listening.  Most of it wasn't.  It is music that demands one's full attention and "leaves your ears tired" after listening to an entire disc.  In her playing and writing, I think she achieves a nice balance between the cerebral and spiritual.  [Isn't this the goal of all great musicians?]  From disc to disc, it is apparent that she has a cohesive, mature artistic vision/style.  At times I wished she could coerce a warmer, more beautiful tone from the piano, but overall I think she is a fine pianist.  She isn't a flashy, dominating player, and perhaps for this reason my focus tended to zoom in on Peacock and Motion when listening to the trio disc.

By far, my favorite disc of the bunch was Anders Jormin's "In Winds, In Light".  Crispell plays with impeccable taste which beautifully complements the other players.  The instrumentation is unusual, but it works!  The church organ textures are gorgeous. The percussion is sparse, creative and refined.  The vocals give it a vulnerable, human quality.  This is a disc I will be adding to my personal collection.  Here is a link to thorough review of the disc by John Kelman, on the All About Jazz website.

Next on my list of "Musicians to Check Out":  guitarist Fred Frith.