Hey, Mr. Rodgers; Can I Have A Solo?

     Hey, Mr. Rodgers; can I have a solo? I suppose you could interpret that many different ways, but as a teenager playing in Detroit`s Northwestern High School stage band, it meant I was improving as a saxophonist. No, I can`t say I was the best saxophonist, even at Northwestern H.S., but we had a teacher who cared about us to bring us in the direction of our best.

     I remember being a student who auditioned to play clarinet in the band. I passed the audition, and I was going to Northwestern H.S. to play clarinet. Mr. Rodgers did not come to Drew Jr. High School to audition me; that was Mr. Fane.

     I came to Northwestern H.S. in the summer of 1976, as part of a summer youth program. I played clarinet in that summer program, but wanted to play tenor saxophone. Cornilius (Corn) was playing tenor sax, but graduated in 1976, so he would not be coming back in the fall. I guess Mr. Rodgers and Mr. Fane were discussing the fall outlook for band, and they would not have anyone to play tenor saxophone. Overhearing this, I stepped up and said I play tenor saxophone. Mr. Rodgers and Mr. Fane said to bring my tenor sax the next day, so I did.

     The next day I was sitting in the saxophone section. "Corn" played his tenor sax so strong, forceful, and confidently, well, I did not know the tenor sax could be played with such power. All I could do was play my saxophone hiding behind "Corn". On  the marching field it did not get better. I could hear "Corn" belt-out the tenor saxophone parts. When the band came to a rest in the action, Mr. Fane called me over, and said I would be playing clarinet for now on, so I walked back to formation. Just as I was getting into formation, Mr. Rodgers call me over again, and asked if I would be attending Northwestern H.S. in the fall, and I answered yes, then he replied, stay on tenor saxophone.

     As summer went-on I would continue to make a fool of myself, but completely unaware. A group of students were playing Grover Washington`s "Mr. Magic", and I joined-in. Without any concept of improvisation I soloed. Everyone laughed, but at that time I did not realize my naivete. Andre called-out "Go Super Sax", and that was my nick name in high school.

     Mr. Rodgers helped me turn that name "Super Sax" from being a name of dishonor and disrespect, to the name it was meant to be. Mine is just one of many stories of those helped, influenced, mentored, and taught by Ernest Rodgers. No, he was not like a father; I had my dad who fulfilled that need, but he was that teacher who went the extra mile, and you knew he was going that extra mile because he cared. Not only was Mr. Rodgers my band director, but also my private saxophone teacher. I learned a great deal from Mr. Rodgers. What did I learn from Mr. Rodgers? Of course I learned the finer points of playing saxophone and music, but I also learned perseverance, patience, and fighting for yourself and others when you are right.

     In 2009, Mr. Rodgers received the Wayne County Council of the Arts, History, and Humanities Arts Education Award, which was one of many awards just to say thanks. Thank you, Mr. Rodgers, for your work, and unwavering commitment to your students. Rest in peace, Mr. Rodgers, you will be greatly missed. Hey, Mr. Rodgers; can I have a solo?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Man With The Horn: Marcus Belgrave

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Man With The Horn: Marcus Belgrave:      I have known Marcus Belgrave for more than 35 years, and has appeared in performance with him at least twice as a young musician. I can...

The Man With The Horn: Marcus Belgrave

     I have known Marcus Belgrave for more than 35 years, and has appeared in performance with him at least twice as a young musician. I can`t say I was the young tenor saxophonist that set the world ablaze with the trumpet legion, but it was a personal validation that I have played with such a great master of music; Mr. Marcus Belgrave.

     Appearing at Detroit Public Library`s Java & Jazz concert series, June 17, 6:00 pm, Marcus Belgrave will take center stage with his wife, vocalist Joan Belgrave. Marcus & Joan Belgrave Jazz Ensemble will perform the finest jazz and blues ranging from the 30`s to present day. This just after the theft of the trumpet greats horn.

     Stolen at Burt Market Place from the trunk of his car was the horn of the trumpet great. Thank God for good people. Marcus Belgrave`s trumpet was found at Zeidman`s Pawnshop. Marcus Belgrave`s blessing is a blessing to all of us in the jazz community of Detroit.  

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: My First Instrument, And Old Friend

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: My First Instrument, And Old Friend:      Trivia for you - who knows what instrument I started with? If you said clarinet you`re right. As a child I did not fully appreciate the...

My First Instrument, And Old Friend

     Trivia for you - who knows what instrument I started with? If you said clarinet you`re right. As a child I did not fully appreciate the sound of a clarinet, but I continued through elementary and junior high playing the instrument. I passed my high school audition on clarinet, but thanks to seeing and hearing Bennie Maupin on saxophone, well, the rest is history - Saxophonist Keith Gamble.

     I have never really given-up on clarinet, after all, I played bass clarinet in high school and college, and played clarinet as a professional musician. Currently I am not playing clarinet, but I do teach clarinet. Two of my former clarinet students are graduating as music majors this year (2014), and I have had the honor of being invited to both senior clarinet recitals, although I could only attend one.

     I attended the senior recital of clarinetist Kenseye Fort at Wayne State University, on April 5, 2014 at the Schaver Music Recital Hall, in Detroit. I was beaming with joy as I was seated in the recital hall listening to my former student play the works of Bax, Koechlin, Sutermeister, Finzi, and Sir Malcolm Arnold.

     The timbre of the clarinet just speaks to my soul. Of course, in elementary band I could not understand that. When I listen to the clarinet solo with orchestral accompaniment of Walter Mourant`s "The Pied Piper", and other musical works highlighting the clarinet I cannot help but stand in my tracks and truly listen and enjoy. As an adult, and musician, I now fully appreciate the sound of a clarinet.

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Please Do Not Feed The Sharks

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Please Do Not Feed The Sharks:      Reading through a post I found on Linkedin`s Group called Placement Of Original Music In Film/TV/Commercials, one member wrote a post c...

Please Do Not Feed The Sharks

     Reading through a post I found on Linkedin`s Group called Placement Of Original Music In Film/TV/Commercials, one member wrote a post called "Don`t Feed The Sharks!, written by Dave Yowell. I found Dave Yowell`s post to be very interesting and insightful. As a composer I could not help being drawn to Yowell`s topic. Before reading "Don`t Feed The Sharks!" I was watching the short film "Wrong Girl" on YouTube. Wrong Girl is a short film from 48 Hours Films-Detroit, in which I provided the music.

     So, what are these sharks? Songsharks are dishonest music publishers and services that prey on the naivete of new songwriters to charge for services a legitimate publisher would not charge clients. In an online article from MusicDish e-Journal, March 17, 2014, in an article titled "Fleecing The Indie Community: The Song Shark Controversy - Part I", author John Foxworthy from Garage Radio reported on a band that was charged  a minimum of $597.00 for a music service to shop their music to radio stations and record labels. I think we all know how that went. In the end, the music service did not follow through on its obligations, and were neglectful.

     I have to agree with Dave Yowell. To get placement of songs and compositions requires a focus on personal contacts with real professionals, and establishing relationships. As a composer I am working to develop, establish, and form professional relations with those I know, and work together within those relationships to develop art and music that speaks to our audience, and in the process rewards us with artistic and economic success.