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.
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.
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.
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.
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.
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