Tuesday, March 21, 2017
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jazz In Ten Easy Lessons
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jazz In Ten Easy Lessons: Jazz is not an art to be conquered; you are not going to simply learn jazz in 10 easy lessons. Young musicians looking to pursue jazz w...
Jazz In Ten Easy Lessons
Jazz is not an art to be conquered; you are not going to simply learn jazz in 10 easy lessons. Young musicians looking to pursue jazz will be better served approaching jazz studies with a realistic prospective. Ones education in jazz studies is step-by-step, and that knowledge can be built upon.
For many, a formal introduction into music comes from K-12 education. Elementary school education is crucial in giving students tools meaningful to develop musical skills. Elementary school gives an introduction into music, not jazz, but music. It is through music we develop skills and technique as instrumentalist, and comradeship with others in making music. In other words, our basic technique and general understanding of music is developed in elementary school.
In middle and high school technique is further developed with traditional music study. Jazz is learned in high school, but students bread and butter comes from learning traditional music. Numerous high school and college jazz programs have replaced the apprenticeship model of learning jazz. Jazz is introduced to greater numbers of citizens, both performers and audiences. If anything is lost to the academic presentation of jazz it is the individuality of jazz. Today you do not recognize the players. However, through jazz education one can hear better technique, and greater facility.
Once upon a time jazz musicians learned to play in jazz clubs at late hours in jam sessions. Today young jazz artist learn in academic environments, which is a safer environment. However, there is one thing that connects both learning jazz in an era that has gone, and today in the classroom, and that is you got to get out there and play.
For many, a formal introduction into music comes from K-12 education. Elementary school education is crucial in giving students tools meaningful to develop musical skills. Elementary school gives an introduction into music, not jazz, but music. It is through music we develop skills and technique as instrumentalist, and comradeship with others in making music. In other words, our basic technique and general understanding of music is developed in elementary school.
In middle and high school technique is further developed with traditional music study. Jazz is learned in high school, but students bread and butter comes from learning traditional music. Numerous high school and college jazz programs have replaced the apprenticeship model of learning jazz. Jazz is introduced to greater numbers of citizens, both performers and audiences. If anything is lost to the academic presentation of jazz it is the individuality of jazz. Today you do not recognize the players. However, through jazz education one can hear better technique, and greater facility.
Once upon a time jazz musicians learned to play in jazz clubs at late hours in jam sessions. Today young jazz artist learn in academic environments, which is a safer environment. However, there is one thing that connects both learning jazz in an era that has gone, and today in the classroom, and that is you got to get out there and play.
Friday, February 10, 2017
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Music Competitions, Contest, and Recitals
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Music Competitions, Contest, and Recitals: As musicians we look forward to being involved in music competitions, contest, and recitals. It makes sense; music is a performing art....
Music Competitions, Contest, and Recitals
As musicians we look forward to being involved in music competitions, contest, and recitals. It makes sense; music is a performing art. In general, a competition is an event to out-do others. Students of Keith Gamble - Woodwind Music Lessons do not compete against one another, but music organizations such as Music Teachers National Association do offer competitions to student performers. Students participate in State Level Performance Competitions. If successful at state that student moves to divisional level competition. If successful at division level, students are invited to perform at the National Competition.
MTNA also offers a Student Composition Contest, as well as a Concerto Competition. Another competition offered by Metropolitan Detroit Musicians League is the Young Artist Competition.
A contest is a competition for a prize. Essentially, a competition and a contest are the same. A recital is different. In a professional format a recital is a musical performance by one artist. However, in an educational setting a recital is a public demonstration of progress by music students. Keith Gamble - Woodwind Music Lessons and other music studios offer both a Christmas or Winter Recital or Festival, and a Spring Recital. These musical performances are standard in the music teaching field.
MTNA also offers a Student Composition Contest, as well as a Concerto Competition. Another competition offered by Metropolitan Detroit Musicians League is the Young Artist Competition.
A contest is a competition for a prize. Essentially, a competition and a contest are the same. A recital is different. In a professional format a recital is a musical performance by one artist. However, in an educational setting a recital is a public demonstration of progress by music students. Keith Gamble - Woodwind Music Lessons and other music studios offer both a Christmas or Winter Recital or Festival, and a Spring Recital. These musical performances are standard in the music teaching field.
Friday, January 20, 2017
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Introducing Saxophonist Benny Rubin Jr.
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Introducing Saxophonist Benny Rubin Jr.: James Carter, Kenny Garrett, and Skip Pruitt are just a few great saxophonist who have come through the Detroit school system to make t...
Introducing Saxophonist Benny Rubin Jr.
James Carter, Kenny Garrett, and Skip Pruitt are just a few great saxophonist who have come through the Detroit school system to make their mark in jazz, or in music in general. This legacy of outstanding saxophonist continues today with Benny Rubin Jr. Benny Rubin Jr. carries on a Detroit historical jazz legacy following in the foot steps of Charlie Parker, Lester Young, and John Coltrane.
As a student of Detroit School Of Arts, Benny Rubin has received attention from Detroit`s jazz community. Benny Rubin Jr. has been taught by Wendell Harrison, and the late Marcus Belgrave. He has performed with Sean Dobbins Organ Quartet at Kerrytown Concert House for their Rising Stars Series, and Pamela Wise Harrison at the Shrine Of The Black Madonna Church for Jazz Vespers Christmas Eve service.
On February 5, 2017, Benny Rubin Jr. performs at Detroit Institute Of Arts from 12:45 - 4:00 pm, in Kresge Court.
At 17, Benny Rubin Jr. has been apart of some enviable musical experiences. Congratulations to you, Benny Rubin Jr. on your success in music, and your continued success in music and saxophone for a life time. Just remember Benny Rubin Jr., stay focus, and practice. We are all rooting for you.
As a student of Detroit School Of Arts, Benny Rubin has received attention from Detroit`s jazz community. Benny Rubin Jr. has been taught by Wendell Harrison, and the late Marcus Belgrave. He has performed with Sean Dobbins Organ Quartet at Kerrytown Concert House for their Rising Stars Series, and Pamela Wise Harrison at the Shrine Of The Black Madonna Church for Jazz Vespers Christmas Eve service.
On February 5, 2017, Benny Rubin Jr. performs at Detroit Institute Of Arts from 12:45 - 4:00 pm, in Kresge Court.
At 17, Benny Rubin Jr. has been apart of some enviable musical experiences. Congratulations to you, Benny Rubin Jr. on your success in music, and your continued success in music and saxophone for a life time. Just remember Benny Rubin Jr., stay focus, and practice. We are all rooting for you.
Saturday, December 17, 2016
Christmas Performance - 44th Noel Night
One passes by Hannan House a million times on the bus, in a car, or by whatever means of transportation. It is one of those places you see, but never pay attention too. Inside Hannan House is the Hannan House Cafe. A small space filled with tables in an open space was one of many venues to host Detroit`s 44th Noel Night.
Keith Gamble Quartet took to the stage for one set of Christmas music for a full house. One could feel passion for Christmas music performed in a pure jazz style. Keith Gamble Quartet began its set with The First Noel. After The First Noel was a solo performance of O Come, O Come Emmanuel by saxophonist Keith Gamble. Keith Gamble`s performance of O Come, O Come Emmanuel was soulful and spell-bounding. Following O Come, O Come Emmanuel was a quartet performance of What Child Is This. Keyboardist Mike Evans played a spectacular solo on What Child Is This that was rewarded with rave applause. After What Child Is This was The Little Drummer Boy, and drummer Marcus Hunter did not disappoint. Marcus Hunter established the tenor for The Little Drummer Boy, which included a drum solo by Hunter. Bassist Craig Tyner anchored the band with his strong and cohesive performance.
As always, Keith Gamble Quartet closed-out their set with The Flintstones. The Flintstones theme is always a crowd favorite with audiences. Hard to believe it was only one hour. It had to be one of Keith Gamble Quartet`s finest gigs. Every Christmas piece performed was like hearing it for the first time. Bravo!
Keith Gamble Quartet took to the stage for one set of Christmas music for a full house. One could feel passion for Christmas music performed in a pure jazz style. Keith Gamble Quartet began its set with The First Noel. After The First Noel was a solo performance of O Come, O Come Emmanuel by saxophonist Keith Gamble. Keith Gamble`s performance of O Come, O Come Emmanuel was soulful and spell-bounding. Following O Come, O Come Emmanuel was a quartet performance of What Child Is This. Keyboardist Mike Evans played a spectacular solo on What Child Is This that was rewarded with rave applause. After What Child Is This was The Little Drummer Boy, and drummer Marcus Hunter did not disappoint. Marcus Hunter established the tenor for The Little Drummer Boy, which included a drum solo by Hunter. Bassist Craig Tyner anchored the band with his strong and cohesive performance.
As always, Keith Gamble Quartet closed-out their set with The Flintstones. The Flintstones theme is always a crowd favorite with audiences. Hard to believe it was only one hour. It had to be one of Keith Gamble Quartet`s finest gigs. Every Christmas piece performed was like hearing it for the first time. Bravo!
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