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.
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.
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.
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