Monday, December 9, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Breath Of God On The Devil`s Horn

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Breath Of God On The Devil`s Horn:      The history of the saxophone, with its sultry sound has been labeled by some as the devil`s horn. If the saxophone is the devil`s horn,...

Breath Of God On The Devil`s Horn

     The history of the saxophone, with its sultry sound has been labeled by some as the devil`s horn. If the saxophone is the devil`s horn, saxophonist Darron McKinney has rehabilitated and transformed the saxophone into the "Breath Of God".  Breath Of God is saxophonist Darron McKinney`s latest project and recording.

     Saxophonist Darron McKinney is a retired Wayne County Deputy Sheriff from Detroit, MI. Darron "The Sheriff" McKinney studied saxophone and music with the legendary Alvin Batiste at Southern University, in Baton Rouge, LA. Darron McKinney has shared the stage with Dizzy Gillespie, Roy Ayers, Waymen Tisdale, and many others, just to name a few.

     As a musician I have had the joy and opportunity of hearing Darron McKinney in performance on stage, and on the alter, and he does not disappoint. On his latest recording, again, McKinney does not disappoint. Breath Of God is spirit filled with gospel recordings you are sure to enjoy. Marvin Sapp`s "The Best In Me" features Darron McKinney playing soprano saxophone, with wonderful vocals you will adore. "Blessed" is an instrumental that displays McKinney`s adroit artistry on soprano. I must say my favorite is "The Breath Of God" with Darron playing tenor sax. Of course, McKinney`s playing is skillful, but the singing is also beautifully done. At the end of "The Breath Of God" Darron McKinney switches to soprano, and gives a hint to the title at the end.

     I greatly recommend this CD. Breath Of God is a gospel CD, but if you are a jazz lover you will be impress with Darron McKinney`s artistic saxophone playing; he`s the real deal! Besides, listening to Darron McKinney play the devil`s horn could motivate you to seek Heaven.  

Monday, November 18, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Take The "A" Train To Detroit

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Take The "A" Train To Detroit:      There is a lot of music going-on in Detroit. It is always great to see friends and musical colleagues busy doing what we love, and that...

Take The "A" Train To Detroit

     There is a lot of music going-on in Detroit. It is always great to see friends and musical colleagues busy doing what we love, and that`s playing music.

     One of my friends; RJ Spangler announced on Jazz Fans of Greater Detroit`s message board a concert I urge all to see. RJ Spangler and his group Planet D Nonet, with vocalist Camille Price will be appearing at Cliff Bell`s in Downtown Detroit, on November 27, 2013, for a Tribute to Billy Strayhorn. Cliff Bells is located at 2030 Park Ave, Detroit, MI 48226. Planet D Nonet has also featured music from Sun Ra, and it will really be exciting to hear them performing Strayhorn.

     Billy Strayhorn was Duke Ellingtion`s right hand man in composition; as Forest Gump would say - "they were like two peas in a pot". Billy Strayhorn`s compositions and arrangements were similar to Duke Ellington. Strayhorn composed music with chordal extensions that produced the finest tone colors that attracted fans such as Gil Evans, and helped influence the "Birth of the Cool".

     So, jazz fans, if you are in Detroit on the 27th of November, get to Cliff Bells and check out Planet D Nonet. Also, there are other jazz ensembles in Detroit you want to check-out. And please, don`t forget about me!


Saturday, October 26, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Mr. Kenyatta

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Mr. Kenyatta:      Just the other day I came across a Facebook posting of a friend who had a couple of pictures of pianist and soprano saxophonist Kamau K...

Mr. Kenyatta

     Just the other day I came across a Facebook posting of a friend who had a couple of pictures of pianist and soprano saxophonist Kamau Kenyatta. Kamau Kenyatta currently resides in San Diego, CA, but was once a major player on the Detroit jazz scene.

     I first met Kamau Kenyatta at his Wednesday night sets at Dummy George`s jazz club in Detroit in the 1980`s. He and his band hosted a Wednesday night jam session. His first set was closed to allow the audience to enjoy the music of Kamau Kenyatta, who was joined on stage with Rayse Biggs - trumpet, Vincent Bowens - tenor saxophone, Jaribu Shahid - bass, and Tanni Tabal - drums. Marion Hayden replaced Jaribu Shahid on bass.

     My good friend, and trumpeter Mark Croft and I would always attend those jam sessions at Dummy George`s. Those jam sessions were like a home coming; it was great to see all the musicians who attended the jam sessions, and to also hear them play. I really enjoyed that first set though, especially with Marion Hayden on bass (don`t get this wrong, I also enjoyed Jaribu Shahid). Kamau Kenyatta and his band treated the audience with a first set of energized post-bop and straight-a-head jazz that rivaled anything out of New York, or the most prestigious jazz festivals.

     Currently, Kamau Kenyatta lives in San Diego, CA, where he lectures at University of California`s Jazz Studies Department. Kamau Kenyatta has performed with Hubert Laws, Earl Klugh, and Patti Austin, just to name a few. Kenyatta has also written scores and supervised music for documentary and film. Detroit`s loss is San Diego`s gain. Thanks for those excellent first sets and jam sessions.

Monday, October 7, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Not An Island Onto Our Selves

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Not An Island Onto Our Selves:      Two things have occurred in the last couple of days that have influenced me to write this blog; my aunts 101st birthday, and a Facebook...

Not An Island Onto Our Selves

     Two things have occurred in the last couple of days that have influenced me to write this blog; my aunts 101st birthday, and a Facebook posting from friend. Both bringing me to metaphysical reflection.

     Just yesterday my wife and I attended my Aunt Ruth`s 101st Birthday at the nursing home where she resides. Celebrating my aunts birthday were my other aunts, cousins and their spouses, my mom, brother and his wife, and others. My Cousin Dorothy gave special and meaningful words honoring our aunt, and then called upon my aunt`s sister, cousins, each of her nieces and nephews to come and say a few words. This was a happy and joyous time, and I look forward to the holidays for more of the same.

     Drummer and my Facebook friend RJ Spangler posted on Facebook what I consider one of the best post I have read on Facebook. RJ posted - "I was reminded today that I don`t do this all by myself. We musicians depend on those that care about the music and about us. Friends, family, music lovers, all that I can say is thank you so much". I was almost brought to tears when I read this, because he is right.

     I think the point I am trying to make is that people are supporting us. Of course, I as a saxophonist have spent countless hours studying and practicing, going to school and taking lessons, attending jam sessions, making musical and professional connections, and in general "paying my dues" as a musician, and this can be said to at least the majority of us as musicians. Spangler is absolutely correct, we don`t do this by ourselves. We are joined by other musicians on stage with a shared experience of making and creating music, and while doing so we are joined by people like my Wife Patricia who helps me sell CDs, and assist in other capacities to handle the business of music when I am on stage. When I look into the audience I see my Cousin Dorothy, my Aunt Jeannie, my Mother Sarah, and my Sister-in-law Zandra, and that`s only to mention some of my family, because many more of my relatives have been in that audience while I`m on stage playing saxophone and flute. It is also a blessing to have friends such as Lesley and Vance, and students such as Ms. Clifton and Attorney Brown supporting by attending my performances. Also present in my audience are fans from the Detroit area, and sponsors such as J.D. Knox, Inc. That`s just my support and networking system, because other musicians have their support system and network too.

     We are supported and cared by those who love us enough to come-out and be apart of what we love; our music. I was reminded of that in the presence of my relatives at my aunt`s 101 birthday with the joyful discussions and meal we shared. RJ Spangler`s words have given me something to really reflect upon. Thank you to all who have come-out to support me and my art, and be able to make a living doing what I love.

Wednesday, August 28, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Edible Hut

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Edible Hut:      An artist-in-residence program allows an opportunity for visiting artists to stay and work in a community with a singular for-arts-sake...

The Edible Hut

     An artist-in-residence program allows an opportunity for visiting artists to stay and work in a community with a singular for-arts-sake purpose. Artist in an artist in residency if done well can provide working facilities ready for use by local artist for public art. Such a facility now exist in the Osborn Community of Detroit, MI, where I live, and it`s called The Edible Hut.

     Good communities have spaces where people can participate in arts activities. Located on the play field of Calimera Park, on Pinewood and Joanne, The Edible Hut is an artistic commitment to Northeast Detroit that is strengthening the Osborn Community by creating a cultural space that promotes the creativity of everyone involved. The Edible Hut is also contributing to the economics of Detroit`s Osborn Community by supporting artist, a healthy food vendor, sound engineers, photographers, and other support personal.

     So, what is The Edible Hut? The creators of The Edible Hut are artist Mira Burack and Kate Daughdrill, and they say "The Edible Hut is a community gathering space in Calimera Park on the eastside of Detroit with a living, edible roof and oculus to the sky. The Edible Hut combines elements of a traditional hut, an outdoor sculpture, a neighborhood garage and an edible garden". (The Edible Hut Website, at www.ediblehutdetroit.com)

     I have had the pleasure of being apart of The Edible Hut in its planning, and as a performing artist. I am not an artist-in-residence in Detroit`s Osborn Community, but a resident of the Osborn Community who just happens to be an artist trying to raise a family. I want to say thank you to Mira and Kate for their vision of a spectacular art project that is bringing people together in my community. I also want to express my joy of meeting and getting to know my neighbors on the planning committee of The Edible Hut, and neighbors I have met at our performances and Edible Hut events. I plan to hold other concerts and events at The Edible Hut in the future, and I hope to see you there. Just don`t forget, when you come to The Edible Hut in Detroit`s Osborn Community; STAY OFF MY LAWN!

   

   

Wednesday, August 7, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Your Advice To Young Musicians?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Your Advice To Young Musicians?:      Pretty much anytime you see or hear an interview with a star musician or singer the interviewer will ask - "what advice do you hav...

Your Advice To Young Musicians?

     Pretty much anytime you see or hear an interview with a star musician or singer the interviewer will ask - "what advice do you have for young musicians/singers going into music?" Bassist Buster Williams says "choose another field!" Of course Buster Williams laughs after giving that answer, and goes on to give some very sound advice (which I will share later in this blog), but this does bring to light what we tell our music students.

     I have students and former students established in the music profession, entering the music profession, and will be soon entering into the music profession. So, what advice do I give? If you are a musician/music teacher what advice do you give? I guest the advice I give is to practice, put forth your best, and protect your reputation. Depending upon the student I probably have much more to say.

     In an All About Jazz online article from George Colligan, published August 6, 2013, interview with bassist Buster Williams, he said more than "choose another field!, but gave advice and reasons why someone should pursue music as a career. Williams advises playing music as a career choice for the following reasons:
1. Because you love it.
2. Because you have to.
3. Because it`s the one thing that makes you happy.
4. Because it`s your decision.

     In the 2013 documentary, 20 Feet From Stardom, it was mentioned in the doc film that "you have this gift (of music), and you are cursed". We are not cursed, but we have a responsibility to understand our music profession, and genre we participate in as artist. We are participants in the creative economy, and must deal with that reality and work to create opportunities to keep us engage. As jazz musicians (and musicians in general) we are in a feast or famine industry. If you are a jazz musician because of the money, well, good luck. However, if you have chosen music and jazz for the reasons Buster Williams has out-lined, then I welcome you into our profession. That is also my advice.

Thursday, June 27, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Classical Music Recital

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Classical Music Recital:      Those of you who read my blogs can safely assume I am a lover of jazz. Needless to say your assumption is correct, but I am also passio...

Classical Music Recital

     Those of you who read my blogs can safely assume I am a lover of jazz. Needless to say your assumption is correct, but I am also passionate about western art music. That joy I have for classical music encouraged me to produce Keith Gamble`s Art House Gathering: Classical Music Recital, on June 2, 2013, at the historic First Congregational Church of Detroit, in Detroit, MI.

     First Congregational Church of Detroit was established in 1844, near the Detroit River. First Congregational Church of Detroit has a rich history of being part of an Anti-slavery movement and the Underground Railroad. In 1891, First Congregational Church of Detroit moved to its current location in Detroit at 33 E. Forest at Woodward. Every second Sunday of each month during church service I play religious and sacred pieces on saxophone, and I play piano during Children`s ministry. Having Keith Gamble`s Art House Gathering: Classical Music Recital at First Congregational Church of Detroit, especially with its excellent acoustics was the perfect place to hold our music recital.

     Keith Gamble`s Art House Gathering: Classical Music Recital took place in the church sanctuary, after Keith Gamble-Woodwind Music Lessons student recital, which was held in the chapel. Our classical music recital began with student alto saxophonist C.C. playing the four movements of Gordon Young`s Contempora Suite. C.C. was accompanied by Hans Barbe on piano. After C.C`s performance, our featured soloist of the evening came to the alter. Clarinetist Kenseye Fort, and his accompanist Gail Gebhart performed works of Arnold Bax and Francis Poulenc. Fort was joined by clarinetist Joshua Pittman on a piece Kenseye Fort arranged by Paul Hindemith - Fugue No. 5 in E. Pittman also performed Beethoven`s Three Duos, WoO27, No.3 with Fort. After Joshua Pittman`s duet performances with Kenseye Fort, Kenseye performed an interesting unaccompanied Capriccio For Solo Clarinet, by Heinrich Sutermeister. After Sutermeister, Kenseye Fort was joined again with his accompanist, Gebhart. Fort and Gail Gebhart performed Gerald Finzi`s Five Bagatelles, Op.23. Keith Gamble`s Art House Gathering: Classical Music Recital ended with Kenseye Fort being joined with his good friend Brandon Woods on tuba. The two friends performed a comical piece by Peter Schickele titled Little Suite For Winter, mvt,4-Rondo.

     Clarinetist Kenseye Fort is a former clarinet student of mine, and lacking a better way of saying this, I am so proud of him! First Congregational Church of Detroit was the perfect place for Keith Gamble`s Art House Gathering: Classical Music Recital. Those in attendance were treated to the beautiful sound of Kenseye Fort playing the clarinet. Also, Kenseye and his performance sung to the heavens.

Friday, June 7, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Milestones

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Milestones:      How many of you are Milestones fans? I am, and I know Marcus Miller is. I was reading the on-line jazz magazine All About Jazz, and I c...

Milestones

     How many of you are Milestones fans? I am, and I know Marcus Miller is. I was reading the on-line jazz magazine All About Jazz, and I caught an article from William Ellis in All About Jazz One LP section, and in the article titled "Marcus Miller: Miles Davis, Milestones", Marcus Miller holds Milestones in high regard. Marcus Miller loves Milestones "combination of soulfulness and intelligence", and I love Milestones swing and groove.

     Two recordings from the 1958 LP were directly vital for me learning the jazz language, but all the recordings on the LP are gems. I remember those jam sessions at the RAPA House in Detroit, and how all of us with our horns would step to the stage and play "Milestones", and "Straight, No Chaser". These two pieces, and many other jazz standards provided us a foundation to learn, understand, and play jazz. "Milestones", and "Straight, No Chaser" are both out-growth of jazz that preceded these pieces, and these two pieces, or in other words that album Milestones would influence jazz recordings to follow.

     Milestones is an important album. Recorded in 1958, Miles Davis gave us a glimpse into the future. Milestones, the title track is where Miles first introduces us to modal jazz. One year later, in 1959, Miles records Kind Of Blue, and the floodgate opens for modal jazz, but Miles Davis was telling us in 1958 with Milestones.

     Joining Miles Davis on Milestones was Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Philly Joe Jones (drums), Paul Chambers (bass), and Red Garland (piano). If you get a chance today, check-out Milestones (the whole album), and enjoy.

Wednesday, May 22, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Voices From The Past

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Voices From The Past:      When I was a music student at Oakland University during my early undergrad years, I took an American History course. If I am not mistak...

Voices From The Past

     When I was a music student at Oakland University during my early undergrad years, I took an American History course. If I am not mistaken, this was a required course. At that time I was not very interested in the class, and I was not doing well, but I had a great professor. One day Professor Dykes pulled me to the side after class and spoke with me regarding my lack of attentiveness. That talk got me to see how important history is in our daily lives. I was able to rebound and salvage my history grade for that semester. That discussion with Professor DeWitt Dykes also encouraged me to change and declare my minor to history.

     We are faced with history everyday. As a Black American I voted for President Obama, mostly because I agree with his domestic and foreign policies, and President Obama being African-American is a plus for me. So yes, I am angry when I see opposition against the President which appears to be on racial lines, but I understand our history as a nation. I also come to face with history on a daily basis as a jazz musician.

     Every musician has a connection to the past. Just this morning I was reading a JazzTimes article from March 2013, titled "In Memory Of". Reading the words of present day artist honoring those musical artist who left us in 2012, I could not help but to appreciate how as musicians we are connected to our art, and the importance of those who come and go before us, and the print they leave on our lives. As musicians we are effected both directly and indirectly by those who have gone before us. Indirectly, I have never met Charlie Parker or John Coltrane, but their music lives with me daily. Hell, Charlie Parker died before I was born! Just as Coltrane permeates my soul daily, the same is true of Joe Henderson and Dewey Redman. Even when nothing is playing in the background, my soul gives me a concert of their music; just as though I were listening to them in concert again. I also miss my teacher Sam Sanders, but God, thank you for putting him in my life, because the sound of his saxophone resonates clearly in my being.

     For you jazz history buffs, I recommend you check-out the 1959 movie "The Cry Of Jazz", directed by the late Edward Bland. This is a 35 minute black and white low budget film that is worth seeing. In this film you will hear the music from late Sun Ra, and this music does not disappoint. Some of the content may be offensive to some viewers, but this film gives a good historical account of jazz, and deals with the social issues and thoughts of that time, and may touch on relevant issues today. You will have to be the judge of that.The Cry Of Jazz  

Monday, April 15, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: In The Belly Of The Beast

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: In The Belly Of The Beast:      Back in 2007, I completed and submitted for copyright my composition titled "At The Hill: For Jazz/Avant-Garde Solo Tenor Saxophon...

In The Belly Of The Beast

     Back in 2007, I completed and submitted for copyright my composition titled "At The Hill: For Jazz/Avant-Garde Solo Tenor Saxophone". At The Hill is a four movement avant-garde jazz work that is intended for unaccompanied tenor saxophone, but can also be performed with ensembles. Each of the four movements of At The Hill has been performed in group settings. Movements one, three, and four have been performed on stage with performance poetry ensemble Creative Tradition. Creative Tradition featured urban folk poet Wardell Montgomery Jr., and myself on tenor saxophone. Teachers (the second movement) has been performed and recorded by Continuum Jazz Ensemble (CD not available at this time). I performed At The Hill for the first time as an unaccompanied composition with all four movements at the Phoenix Cafe, in Hazel Park, MI, during my August 11, 2012, Keith Gamble`s Art House Gathering: Poetry Night.

     In The Belly Of The Beast is the first movement of At The Hill. In The Belly Of The Beast is an aggressive two phrase a-tonal piece that goes into French style improvisation. My motivation for writing At The Hill was my time spent as a band director and music teacher at the Cherry Hill School of Performing Arts, in Inkster, MI. In The Belly Of The Beast was written to symbolize the chaotic transition of students going from class to class. While on hall duty a colleague teacher and I would joke that "we`re in the belly of the beast". Of course the two of us would chuckle at saying this, and we would continue with our responsibility of keeping order in the hallways, and getting students into their classes for the next period.

     In The Belly Of The Beast reflects a broken and dysfunctional Black and urban American educational system. Not all Black and urban American educational systems are broken; not at all! We cannot simply generalized this topic, because there are many Black and urban schools that work and serve students, families, and communities at-large to the fullest. The Cherry Hill School of Performing Arts served many students, and many have gone to further their education, serve our nation, and become contributors to our national economy, and American way of life. The bigger picture are issues of public policies, family structures that do not value the importance of education, and industries that profit off those of us in our communities that are at-risk.

     Students, parents, teachers, and the Black community is in the Belly Of The Beast with a culture that promotes drugs, alcohol, sexualization of our girls, and youth violence. People and corporations are exploiting us and profiting off our pain and misery. Unfortunately, many of us will continue to slide further in The Belly Of The Beast by making choices that will place us further into the margins of society, and dimming many of our hopes for a brighter future, economic prosperity, and a better quality of life. Let` get out of The Belly Of The Beast.  

Friday, March 29, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grace Kelly. No! Not That Grace Kelly!

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grace Kelly. No! Not That Grace Kelly!:      Those that know me, knows I am perfectly at home with a nice hot cup of black coffee, and a classic film. I am in my element if I am at...

Grace Kelly. No! Not That Grace Kelly!

     Those that know me, knows I am perfectly at home with a nice hot cup of black coffee, and a classic film. I am in my element if I am at home, or at Detroit`s Redford Theater watching Grace Kelly in High Noon, Dial M For Murder, or Rear Window. However, this blog is not about the classic film icon Grace Kelly, but about jazz saxophonist Grace Kelly.

     It is truly a joy listening to Grace Kelly. When she plays, you can hear tradition; she knows how to swing. I am impressed with her beautiful tone, which is full and energetic.

     Born Grace Chung in 1992, in Wellesley, MA, Grace had a name change due to her mother going through divorce and remarrying, and being adopted by her mother`s husband. Grace began playing saxophone in fourth grade taking private lessons. After receiving her GED, Grace received a full scholarship to attend, and graduate from the Berklee College of Music in 2011, with her degree in music. Grace Kelly has also studied with George Garzone, Lee Konitz, Greg Osby, Jerry Bergonzi, and Allan Chase.

     At the young age of 20, Grace Kelly has an impressive resume'. Kelly was winner of the 2008 and 2010 Boston Music "Jazz Artist of the Year"; debuted on NPR Jazz Set with Geri Allen, Esperanza Spalding, Terri Lyne Carrington and Dee Dee Bridgewater; In 2011, Grace performed with the great Phil Woods at Newport Jazz 2011, live in concert; Phoenix "2012 Best Music Poll Winner"; featured in CNN.com "Making of a Prodigy"; named "Alto Saxophonist Rising Star" four years in a row in Downbeat Magazine Critics Poll, in August, 2012. In 2009, trumpet great Wynton Marsalis invited Grace to join the Jazz at Lincoln Center Orchestra at the Kennedy Center`s Eisenhower Theater in Washington, for a Dr. Martin Luther King Jr. Day/Inauguration eve concert. Marsalis says "Grace Kelly plays with intelligence, wit and feeling. She has a great amount of natural ability and the ability to adapt that is the hallmark of a first-class jazz musician".

     If I am at home with a cup of coffee with Irish cream mixed-in, and sitting on the couch watching Hitchcock`s To Catch A Thief, starring Grace Kelly, and at the same time listening to Grace Kelly playing Bill Whither`s Ain`t No Sunshine, and other pieces, I guess you could say I would be in the best of both worlds.

Wednesday, March 20, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: To Teach, Or To Mentor; That Is The Question

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: To Teach, Or To Mentor; That Is The Question:      The American Century Dictionary defines teaching as giving systematic information, instruction or training to a person about a subject ...

To Teach, Or To Mentor; That Is The Question

     The American Century Dictionary defines teaching as giving systematic information, instruction or training to a person about a subject or skill. That same dictionary refers to mentoring as the act of being mentored by an experienced or trusted adviser or teacher. Are they one in the same, or different? Teaching and mentoring are different, but both are vital, especially now when music students may be choosing music as a career choice, or forced to enter music due to lack of opportunities in other fields and industries.

     Music teachers are concerned with the pedagogy of teaching. This makes perfect sense. Teachers, including music teachers provide classes, instructions, and lessons with the use of curriculum guides, method books, and other teaching guides and resources. Music teachers provide a systematic and formal process for seriously learning music that can equip and prepare students with technique and skills to enter the work force as professional musicians. No one can argue the importance and value of music teachers in the music business and profession.

     Mentors provide a model, and important information for younger musicians. This is important because  information is coming from experienced and trusted practitioners of music. Is mentoring in music overlooked and undervalued? No, I cannot say it is. However, the importance of mentoring must not be understated. I think it is save to say every musician performing professionally (or almost every musician) has been mentored by caring artist who were concerned about the growth and well being of younger players. Ernest Rodgers and Sam Sanders taught me more than eighth notes, phrasing, tone quality, and ii-V7-I changes, they introduced me to other great musicians. Along with my Mother and Father, these men were people I could look to in my journey to growth as a musician, man and human being.

     Now it`s my turn, along with those musicians I grew up with in Detroit that are my peers. We are making a difference. Many of us now have former students who are contributing as citizens to our nation. We even have students who have chosen music as their career choice and path. I currently have students I am so proud of, and have bright futures ahead of them. I invite my current and former students to seek me as a mentor.

     Although teaching and mentoring are different, they both have important things in common. Both teaching and mentoring is a calling to serve. They both call upon us to pass-on from one generation to the next the music and art that has come before us from previous generations, and to create new art and music to be treasured. We are the culture bearers today, and our students are the culture bearers of tomorrow.

Thursday, March 14, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jam Sessions For The Young

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jam Sessions For The Young:      Detroit is the ideal training ground for young and inspiring jazz musicians. For the young jazz musician Detroit, and Michigan offers e...

Jam Sessions For The Young

     Detroit is the ideal training ground for young and inspiring jazz musicians. For the young jazz musician Detroit, and Michigan offers excellent college and university music programs with degrees and studies in jazz. Detroit and Southeastern Michigan also offer various jam sessions in the region that will give young jazz musicians that authentic environment for learning the art and culture of jazz. In this blog I will share with you some great places for college/university age students, and serious high school music students to go for jam sessions in Detroit, and surrounding area.

     My motivation for posting this blog comes from meeting a young saxophonist auditioning for acceptance into Wayne State Universities jazz studies program. Her parents hired me to coach and work with their daughter for a private music lesson. This young lady is good! It comes to no surprise she has been accepted into Wayne States`s program; she has earned her spot. After her lesson her parents and I were discussing safe places for young music students to develop their skills and talents at local jam sessions. I was able to refer one or two places. At this point in my life I just don`t go to jam sessions or jazz clubs. Not that I have anything against jam sessions and jazz clubs, but unless I am playing there, or teaching my students, I am probably at home watching Law & Order-SVU, the local news, checking emails, and off to bed.

     I spoke with a long-time buddy of mine; trumpeter Mark Croft, and my adult saxophone student; Mark Brown, Esq, and we came-up with the following list of places that are running jam sessions in Detroit, or those who are great resources for young jazz musicians. I spoke with these gentlemen because they are friends of mine I greatly trust and respect. They know I want to offer-up a list of places to recommend where parents of young musicians can trust that their young ones can learn to play in a jam session setting, and not be exposed to the vices that is apart of an old jazz culture, and history. I am a parent too! I recommend the following:
1. In-Accord
    Kids & Jazz
    Free workshop for music students 8-18 who live in the Metro Detroit area.
    Every Sunday (except holiday weekends), 3:00-5:00 pm
    Baker`s Keyboard Lounge
    20510 Livernois,
    Detroit, MI
    www.in-accord.org
    (248)809-9886
    Al McKenzie, President & CEO
    For beginners, intermediate, and advance

2. If you ever hear of any program involving Ernest Rodgers; sign-up! NOW!

3. Cliff Bells
    Youth concert/jam sessions for university students
     Sundays from 6:00-11:00 pm
     2030 Park
    Detroit, MI 48226

4. Ed Gooch is another good resource in Detroit. If you hear of a program that involves trombonist Ed Gooch; I recommend your young musician to attend.

5. Pianist Mike Jellick has a jam session at Northern Lights, from 7:30 till Midnight, on Wednesdays. Northern Lights is located at 660 W. Baltimore, Detroit, MI 48202.

6. Harbor House Detroit, on Wednesdays. Harbor House Detroit is located at 440 Clinton Street, Detroit, MI 48226. Call for time at (313)967-9900.

7. Detroit Jazz Cafe, inside the Music Hall in Downtown Detroit, at 350 Madison. Call them at (313)887-8532. Also check-out Caduiex Cafe on the Northeast side of Detroit, at 4300 Cadieux. There phone number is (313)882-8560.

     Those are my recommendations. If you check around you should be able to find other jam sessions for your young jazz musician. Good luck to you and your young musicians, and who knows, maybe after Law & Order I`ll stop by and give a listen.
   
   

Sunday, March 3, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Jazz Training Ground

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Jazz Training Ground:      Every jazz musician has a list of essential musicians and personal favorites they listen to. For me John Coltrane is both essential, an...

The Jazz Training Ground

     Every jazz musician has a list of essential musicians and personal favorites they listen to. For me John Coltrane is both essential, and one of my personal favorites. I remember as a child listening to Coltrane on the radio around the house, and I loved it! I had more joy listening to Coltrane, Miles Davis, and other jazz masters than listening to Motown, soul, R&B, blues, and other genres of black music. Please, don`t misunderstand me, I loved listening to the music I just mentioned, and of course, being from Detroit I listen to quit a bit of Motown. As a child listening to jazz I knew I was listening to something special. Jazz was not entertainment for me as was the other genres of music I listen to during my childhood.  I feel that way today, and honored to be a practitioner of the art of jazz.

    A February 8, 2013, online article from All About Jazz, entitled " John Coltrane: There Was No End To The Music", by Rob Armstrong, of course caught my attention. Armstrong goes on to write about Coltrane`s years living in Philadelphia, PA. Philadelphia was Coltrane`s fertile training ground. It is in Philadelphia where John Coltrane seriously learns to saxophone and jazz, while developing his musical friendships with the likes of McCoy Tyner, Jimmy Heath, Philly Joe Jones, and a host of other great musicians on the Philadelphia jazz scene. This article was a joy for me to read because it has played-out the same way in other United States cities. John Coltrane is one of my musical heroes, and the reason the tenor saxophone resonates in my spirit.
Coltrane is also a reminder of how jazz developed as an art form, and was passed from one generation of players to the next.

     New York City, NY is the thriving commercial market place for jazz, and no doubt you will hear the best of the best in New York. Just as Philadelphia was Coltrane`s training ground, other jazz musicians share the same story, and many from other US cities, especially those of us who were learning to play before jazz was accepted into academia. It was the jazz scene of various US cities that was the institution for learning to play jazz. Philadelphia is one of many US cities important to the contribution and development of the jazz language.

     Again, my experience parallels that of other jazz artist of my age. My early exposure listening to jazz around the house in Detroit was my beginning. I have fond memories listening to John Coltrane; Miles Davis and his historic quintet with Ron Carter, Herbie Hancock, Wayne Shorter, and Tony Williams. Also listening to Yusef Lateef, and Cecil Taylor was eye opening. I also remember seeing and hearing Bennie Maupin with Herbie Hancock, and being so inspired seeing Maupin that I save my paper route money and bought my first tenor saxophone. After I heard Joe Henderson and Dewey Redman, well, what can I say; that sealed the deal for me, and that was just listening to jazz. When I started playing jazz I was in high school. I have to give all thinks to Detroit`s jazz community. Ernest Rodgers was my high school band director, and my doorway to playing saxophone and jazz. Through Mr. Rodgers I was introduced to the jazz community the following ways:
1. Student at Northwestern H.S. in the music curriculum.
2. Mr. Rodgers was owner of the RAPA House (Rodgers Academy of Performing Arts) in Detroit, where I studied saxophone privately. After hour, the RAPA House was a coffee house that housed an after hours jam session. The RAPA House is where all the "cats" would come and play their four course solos per tune. Depending upon the number of players playing the head of the tune, at tune could last upwards to 45 minutes ( maybe longer). Saxophonist Kenny Garrett also attended the jam sessions, and he was simply amazing!
3. Mr. Rodgers introduced us to Detroit`s top musicians, such as Marcus Belgraves, and Harold McKinney. We also met Count Basie in our band room at Northwestern H.S. That day I was playing baritone sax with our jazz/stage band backing vocalist Dennis Roland as he was auditioning for the Basie band. (Dennis Roland passed the audition; he made it into the Basie band.).
4. Mr. Rodgers encouraged me to attend Oakland University as a Music Education major. This is where I met Marvin "Doc" Holiday, and my jazz saxophone teacher Sam Sanders.Under Sam Sanders I developed my overall approach, concept, and identity on tenor saxophone.

     The local jazz scene is important to the continued development of jazz. Colleges, music conservatories, and universities with jazz studies programs are important, and I do not diminish there importance; I developed in a jazz studies program. However, jam sessions at the local level gives an authenticity to the artist, and provides a real and true to live training to the jazz musician. I wish the RAPA House was still around today; it gave way to Comerica Park and Ford Field; home of the Detroit Tigers and Lions, respectively. Today other places in Detroit host jam sessions, and are producing great players, but I do miss the RAPA House. If I`m ever in Philadelphia I do plan to visit the John Coltrane House. and I recommend you as a jazz fan do the same. That is truly the house that Trane built.


       

Saturday, February 16, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grammy Winners Of Jazz For 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grammy Winners Of Jazz For 2013:      Unless I`m watching the Oscars, I typically do not plant myself in front of the TV to see award shows. The 2013 Grammy Awards were no e...

Grammy Winners Of Jazz For 2013

     Unless I`m watching the Oscars, I typically do not plant myself in front of the TV to see award shows. The 2013 Grammy Awards were no exception. However, my wife and I have different taste in our television viewing habits. As I was up-stairs in our home allowing the TV to watch me, my wife was down-stairs watching the Grammy`s. I would hear my wife`s voice calling my name during my slumber to "wake-up and turn to the Grammy`s". I am so happy I did, as I had the chance to see the Tribute to Dave Brubeck, with Chick Corea on piano, Stanley Clark - bass, and Kenny Garrett on alto saxophone. It was pure joy hearing "Take 5" performed by such jazz greats. I just wish Clark, Corea, and Garrett had more playing time during the Grammy tribute to Dave Brubeck.

     Grammy winners in the jazz genres for 2013 are listed as follows:
*Best Improvised Jazz Solo
          Hot House
          Gary Burton & Chick Corea, soloist
          Track from: Hot House
          Label: Concord Jazz

*Best Jazz Vocal Album
          Radio Music Society
          Esperanza Spalding
          Label: Heads Up International

*Best Jazz Instrumental Album
          Unity Band
          Pat Metheny Unity Band
          Label: Nonesuch

*Best Large Jazz Ensemble Album
          Dear Diz (Every Day I Think of You)
          Arturo Sandoval
          Label: Concord Jazz

*Best Latin Jazz Album
          iRitmo!
          The Clare Fischer Latin Jazz Big Band
          Label: Clare Fischer Productions/Clavo Records

*Best Instrumental Composition
          Mozart Goes Danccing
          Chick Corea, composer (Chick Corea & Gary Burton)
          Track from: Hot House
          Label: Concord Jazz

*Best Instrumental Arrangement
          How About You
          Gil Evans, arranger (Gil Evans Project)
          Track from: Centennial - Newly Discovered Works
          Label: ArtistShare

*Best Instrumental Arrangement Accompanying Vocalist(s)
          City of Roses
          Thara Memory & Esperanza Spalding, arrangers
          (Esperanza Spalding)
          Track from: Radio Music Society
          Label: Heads Up International

You can find all of the 2013 Grammy winners by going to www.forbes.com/sites/zackomallerygreenburg/2013/02/11/grammy-winner-2013-the-ful-list/.

     Thank you ladies and gentlemen, and the Grammy`s, I would like to thank Stanley Clark, Chick Corea, Kenny Garrett, and my wife for waking me up. I accept this award for enjoying the Dave Brubeck Tribute.

         

Friday, February 8, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Keith Gamble`s Art House Gathering: WOW!

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Keith Gamble`s Art House Gathering: WOW!:      Despite the cold and snow of a February Michigan winter, my Keith Gamble`s Art House Gathering was a success. No, we did not have a sta...

Keith Gamble`s Art House Gathering: WOW!

     Despite the cold and snow of a February Michigan winter, my Keith Gamble`s Art House Gathering was a success. No, we did not have a standing room only turn-out at Detroit`s International Institute, but I am noticing a growth in my audience after each gathering. Unlike my previous Art House Gatherings (Bird, and Poetry Night), my February 2  event did not have a theme, but featured me performing my post-bop compositions. I was also accompanied by some to Detroit`s finest musicians. Joining me on-stage were Craig Tyner on bass, Bill Meyer- piano, and Karen Tomalis on drums (pianist Mike Evans and drummer Michael Brown were unavailable for this performance).

     As a jazz musician you develop a certain connection, sensitivity to nuance, understanding, and trust that develops over time with musicians you work with on a consistent basis. That trust extends well beyond the stage. Trumpeter and long time friend Mark Croft recommended Karen Tomalis to play drums in place of Michael Brown. Karen referred me to Bill Meyer for piano, and along with Craig Tyner they made it work!
 
     We played two sets of my compositions. "Caught and Busted" is a driving three quarter time piece that created intensity and excitement. After solos from myself and Bill, Caught and Busted went straight into Richard Rodgers`s "My Favorite Things" with extemporaneous improvisation leading us into Allan Sherman`s "Chim Chim Cher-ee". "Absence Makes the Heart Grow Fonder" is a medium slow composition with a modal "B" section that is generally a fairly peaceful piece. As we were cadencing "Absence Makes the Heat Grow Fonder", I think we added an extra five minutes of pure creativity of music never to be heard again. Our second set began with me playing tenor sax making an unaccompanied statement. I would eventually be joined by Karen Tomalis as she provided beautiful colors accompanying me as a duet. As Karen and I were completing our musical journey, Bill Meyer and Craig Tyner would join-in as we began playing "Talking". We ended my Keith Gamble`s Art House Gathering with Wayne Shorter`s "Foot Print" and our outro piece (you have to come to a Keith Gamble concert and discover what I play as an outro selection).

     A great time was had by all who were in attendance at Keith Gamble`s Art House Gathering. Many in attendance were my music students who remained at the International Institute after the Keith Gamble - Woodwind Music Lessons Recital. It`s always great when playing at home to see friends and relatives in the audience. It was also a pleasure to see my Meet-up friends from the Jazz Fans of Greater Detroit in the audience, and all other jazz fans who were in attendance.

     I want to give a special thanks to musicians Bill Meyer, Karen Tomalis, and Craig Tyner. Thanks also to Detroit`s Finest Soulfood, and International Institute of Metro Detroit. I also want to give a very special thanks to my daughter Victoria Gamble, and my wife of almost 29 years Patricia Gamble.

     See you at the next Keith Gamble`s Art House Gathering, and tell a friend.

Wednesday, January 30, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: What Are Your 10 Essential Albums For Starting A J...

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: What Are Your 10 Essential Albums For Starting A J...:      Just the other day I came across an online article from Pop Dose (an online arts and culture e-magazine), and it gave its list of 10 ja...

What Are Your 10 Essential Albums For Starting A Jazz Collection?

     Just the other day I came across an online article from Pop Dose (an online arts and culture e-magazine), and it gave its list of 10 jazz albums in its article titled "10 Essential Albums For Starting A Jazz Collection". I think they gave a pretty good list of albums that covers the historical aspect of jazz to our present day. It is really great to see this article, because there are important jazz recordings that have a significant impact on jazz and cultural around the world. Pop Dose picked the following as there 10 essential albums:

10. Louis Armstrong - The Complete Hot Five & Hot Seven Recordings, vol. 1
9. Dizzy Gillespie - Groovin` High
8. Miles Davis - Kind of Blue
7. Bill Evans - The Complete Live At the Village Vanguard 1961
6. The Dave Brubeck Quartet - Time Out
5. Thelonious Monk - Brilliant Corners
4. Wes Montgomery - The Incredible Jazz Guitar of Wes Montgomery
3. The Mahavishnu Orchestra - The Inner Mounting Flame
2. Charles Mingus - Mingus Ah Um
1. Robert Glasper - Double Booked

Not a bad list; some I agree with, and some I do not. You are probably saying the same. You can see and read Pop Dose`s 10 Essentials list for yourself by going to www.stumbleupon.com/su/1zj6wI/popdose.com/10-essential-albums-for-starting-a-jazz-collection/. After reading this on-line article I began asking myself about my 10 essential recordings.

     My list of 10 essential albums for starting a jazz collection was very difficult to decide upon, because that number is much greater then 10. In making my selection of 10 I left-off some jewels. The list I am giving of my choice of 10 albums are not necessarily in a most to least order, but these are significant recordings in my development as a jazz artist and saxophonist, and music I enjoy personally:

* Ascension - John Coltrane
* Inner Urge - Joe Henderson
* Maiden Voyage - Herbie Hancock
* Giant Steps - John Coltrane
* Impressions - John Coltrane
* The Prisoner - Herbie Hancock
* E.S.P - Miles Davis
* A Love Supreme - John Coltrane
* Sorcerer - Miles Davis
* Nefertiti - Miles Davis

Missing from both list above are recordings from Charlie Parker. Make no mistake about it, the music of Charlie Parker is very essential to the development of jazz, and anyone starting a collection should add recordings of Charlie Parker to your collection.

     What are your 10 essential albums for starting a jazz collection? Please let me know by sharing in the comment section of this blog. Who knows, maybe I will share your favorites to our readers.

Saturday, January 19, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: How Do I Get My Kid A Saxophone For Cheap?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: How Do I Get My Kid A Saxophone For Cheap?:      Hey, wait a minute; I don`t want to spend a lot of money for a saxophone my nine year old fourth grade child may not be playing in a ye...

How Do I Get My Kid A Saxophone For Cheap?

     Hey, wait a minute; I don`t want to spend a lot of money for a saxophone my nine year old fourth grade child may not be playing in a year! That sentiment is understandable for families struggling economically, or working to stay within a house hold budget. Some of you may decide to pick-up a saxophone from a pawnshop, go online for something cheap, or go to a discount store, such as Walmart or Costco. If your child plays for a year or two I suppose you may have cut your losses, and kept your expenses low, but what happens if your child chooses to continue playing saxophone?

     A cheap saxophone will cost you more in repairs, and cause other issues that can be an impediment to the joy and musical growth of your child playing music. There are appropriate options that can save you money, and allow your child to experience the fun, and develop a passion for playing saxophone. When shopping for a saxophone for your child, I recommend going to an established music store in your area. Your local music store is a great resource, and is staffed by people knowledgeable in musical instruments, equipment, and musical materials and supplies. Though more expensive, music stores offer rental and rent-to-own programs that can get a saxophone into the hands of your child, and provide service expertise to keep your child`s saxophone in excellent playing condition.

     Parents, also consider the brand of saxophone you are purchasing. In your desire to go as cheap as possible, you may in the process purchase a saxophone from an unrecognized saxophone name or maker. Many instrument repair technicians will simply refuse to service a cheap, or unrecognized brand name instrument. In other words, you could find yourself spending more money having to purchase another saxophone to replace the cheap saxophone that cannot be service.

     Look, if your child wants to play saxophone, unless you have a relative giving you a saxophone, you are going to spend some money. Do it the right way! Go to an established music store in your area, and ask about the various programs the store has to offer that can get your child playing. Look for a recognized brand name such as Yamaha. Other student line saxophone brand names to look for are Vito, Beuscher, and Jupiter.

     Do your homework, and have a general idea of what you are looking for. So, what are you looking for? You are looking for a student model saxophone. This is important, parents. In the saxophone community we have student line saxophones, intermediate line saxophones, and professional line saxophones. If your child is in elementary school you want a student model saxophone. You are also looking for a student line saxophone from an establish saxophone maker, such as Yamaha. Finally, you want to get your child`s instrument from a reputable music store in your community. A reputable music store can offer you a purchase or finance program that works with your family budget, and will be there for you to provide the services you and your child will need.

   

Wednesday, January 2, 2013

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: CNN Ideas Series: What Is Jazz?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: CNN Ideas Series: What Is Jazz?:      I came upon a tweet by All About Jazz entitled What Is Jazz?, by Jonathan Batiste, Special to CNN (12/28/12). In the on-line article on...

CNN Ideas Series: What Is Jazz?

     I came upon a tweet by All About Jazz entitled What Is Jazz?, by Jonathan Batiste, Special to CNN (12/28/12). In the on-line article on CNN Opinion, Jonathan Batiste says "jazz is the musical language used to state our deepest, truest feelings". Batiste says "jazz is subtle, emotional and accommodating. It is intellectual and sometimes even scientific. Most genres of music are not nearly as multidimensional, which in part is why the art form has such a small audience." Batiste goes on to say the challenge for jazz artist is to make the subtle and complex art of jazz more palatable to the general public.

     As you read further Batiste has a reason for his words. I think Batiste is on target with his affective view of jazz audiences, but I cannot fully agree with Batiste on jazz artist needing to make jazz more palatable to the general public.  Jazz musicians need to continue being an artist. There are many genres under the jazz umbrella, and yes, I think Batiste is correct that Soft Jazz musicians are performing in a genre where they can be palatable, and attract a large general public into their tent, and they should. Jazz artist performing Bebop, Post-Bop,  Avant Garde Jazz, and other jazz forms are typically focused on maintaining the artistry and integrity of that music.

     Jazz is complex. Batiste says "it`s complex and traditional but also contemporary". Batiste says jazz is traditional and contemporary, is that a contradiction? No. Jazz is traditional, and it has to be. Jazz is an established art form with a history and tradition that begins with 19th Century African-American musicians from New Orleans. Practitioners today perform music of those early pioneers, while others specialize in jazz styles such as, swing, bop, and other jazz styles. In other words, jazz musicians are culture bearers that keep alive our jazz history. Jazz is also contemporary, with young and innovative musicians creating new and popular forms of jazz, and introducing new audiences to jazz. However, those young and innovative jazz musicians learn the artistic language from those historical pioneers of jazz.

     What is the Jazz Tradition? Batiste goes on to point-out that being in the jazz tradition, you are apart of a lineage of musicians who contribute to world history by transforming people with the sounds of our instruments. Batiste also says we are challenged to swing, and contribute to a body of work already established by great jazz artist.

     Does the CNN article answer the question - What Is Jazz? No. Kind of what Louis Armstrong said - "If you have to ask, you`ll never know." The question is not answered for that reason, and Jonathan Batiste gives no definitive answers either, but instead he goes on to promote his "Stay Human Movement". Batiste`s Stay Human Movement is about experiencing music. Batiste says music you can feel on the "subway and streets". Expanding and shifting the jazz experience to uplift humanity. What is the jazz experience? The jazz experience is about the moment. As Batiste firmly believes, we as jazz artist have to create that unforgettable experience for our audience.

     Check-out the article for yourself by going to www.cnn.com/2012/12/26/opinion/batiste-what-is-jazz/index.html.