Wednesday, December 17, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: They Just Don`t Understand Me!

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: They Just Don`t Understand Me!:      They Just Don`t Understand Me! Words from a deep musician? Or maybe words from an unskilled musician trying to justify why know one sup...

They Just Don`t Understand Me!

     They Just Don`t Understand Me! Words from a deep musician? Or maybe words from an unskilled musician trying to justify why know one supports him/her.

     There is logic to music, no matter how angular (or at least it should be). There are rules, laws, and principles that govern music making. Music is a series of tension and releases, with consonance and dissonance married together in a song or composition to make that music enjoyable and exciting. The genre of music will determine the level and extent of consonant and dissonant sounds to be used. Popular music, for example, will use a majority of consonant sounds; music having a nice, safe, pleasant, and happy quality of sound.

     Popular music as a general rule produce sounds pleasing to the ear and sensibilities of the general public. Dance music, and other popular forms of music is composed or written in major keys, and step-wise intervals as not to offend the listening sensibilities of general audiences. Is there something wrong with that? No, not at all. What I am describing meets the entertainment needs and values of a general audience tapping their feet, and on the dance floor.

     Music as art serves a different purpose. That purpose may be to connect with a select audience, spiritual awareness, or any number of reasons music serves as art. For example, the music of John Coltrane produces an emotional impact and reaction to those listening. To create in the art of music you must know the rules and laws of music so you can break them, and know why you choose to do so. Just as popular genres use consonant sounds to achieve there goals, jazz and creative artist use dissonant sound qualities to create disturbing, harsh, unpleasant, or even ugly sounds to achieve artistic goals and vision. This combination of consonant and dissonant sounds come together to produce music that is interesting and exciting. As an artist you choose to break the rules because You Understand!

Thursday, November 27, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Tis The Season

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Tis The Season:      Happy Thanksgiving to those of you reading my blog. It is Thanksgiving that we celebrate today. As we begin looking forward to Christma...

Tis The Season

     Happy Thanksgiving to those of you reading my blog. It is Thanksgiving that we celebrate today. As we begin looking forward to Christmas, and begin thinking of Christmas songs we enjoy, and love, I share some of my favorites.

     Many of us have memories of sitting in front of TV watching cartoon Christmas specials. Christmas specials such as Frosty The Snowman, Rudolph The Red Nosed Reindeer, A Charlie Brown Christmas, and many more. Those TV specials represented the joy of the season, and anticipation of Christmas day.

     As we aged songs like Frosty The Snowman probably began finding its way out of our top 10 list of favorite songs. Still, this is the time of year when Christmas songs will be heard; you can`t escape them, but do you really want too? We grow in faith. Christmas songs such as Frosty The Snowman and Rudolph The Red Nosed Reindeer are replaced by Christmas songs taking-on greater reason why we celebrate Christmas: The birth of Jesus Christ - Our Lord and Savior. In time, Frosty and Rudolph are replaced by traditional songs that celebrate Jesus, such as What Child Is This; Oh Come, Oh Come Emmanuel, and many other traditional Christmas songs.

     Traditional songs such as Silent Night and We Three Kings are songs we sing during Christmas season, and represent in our faith the celebration, joy, and reverence we have for Jesus, and the holy birth. There are also non-traditional and secular songs that are also a joy to hear. Songs from A Charlie Brown Christmas are secular songs from the Peanuts series.

     Vince Guaraldi`s songs for Christmas are not only for children to enjoy, but also adults. Christmas Time Is Here has to be one of my favorites; sacred or secular. Christmas season would not be complete without hearing Nat King Cole`s - The Christmas Song.

     As a society we are blessed to have both sacred and secular Christmas Songs to sing and enjoy. Again, Happy Thanksgiving to all, and Merry Christmas.

Wednesday, November 12, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Bennie Maupin - From A Fan

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Bennie Maupin - From A Fan:      Before I began playing saxophone I was (and still am) a fan of Bennie Maupin. In elementary school I was playing clarinet. I continued ...

Bennie Maupin - From A Fan

     Before I began playing saxophone I was (and still am) a fan of Bennie Maupin. In elementary school I was playing clarinet. I continued playing clarinet in junior high school; bouncing around at different times playing first or second chair clarinet, and bass clarinet.

     It was 1973 when Herbie Hancock recorded Chameleon. On a New Years TV special bringing-in 1974, Herbie Hancock and Headhunters were featured on his hit - Chameleon. I was captivated. When the camera zoomed-in on Bennie Maupin,  well, that was it! I had to play Saxophone!

     That year I saved $400.00 from a news paper route I worked as a boy and purchase my first tenor saxophone. My first saxophone was an old York. I over paid for my first saxophone, but that $400.00 brought me closer to my hero, Bennie Maupin, and my joy and love of playing saxophone.

     I continued following Bennie Maupin`s career, and being greatly influenced by Bennie Maupin throughout junior high, high school, and college. Of course, I had mentors overseeing my progress becoming a musician, as well as a fine human being. Mentors such as Ernest Rodgers, and Sam Sanders. It was through Sam Sanders I met Bennie Maupin.

     In the early 1980`s, Sam Sanders was affiliated with the Detroit Jazz Center on Park and Elizabeth. Sam Sanders and Bennie Maupin were childhood friends, and Sam would speak of Bennie Maupin knowing I was his fan. Sam Sanders brought Bennie Maupin to the Detroit Jazz Center to play a weekend in Detroit, and you know I was there! I was captivated by Bennie Maupin.

     After his performance, and as you would expect, I went to introduce myself to my musical hero of the saxophone. I presented myself to Bennie Maupin with an Afrocentric handshake, but he responded with a traditional handshake. I do not remember what I said, but whatever it was he was unimpressed. It was clear my musical hero did not feel about me as I felt about him. Was I disappointed; yes!

     As time moved on I began establishing my musical career. Bennie Maupin has remain a major influence to my musical voice on saxophone, along with other influences such as Joe Henderson, Wayne Shorter, and John Coltrane, but my true heroes for my musical development are Ernest Rodgers and Sam Sanders; my teachers.

Saturday, October 25, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Dave Liebman And Expansions

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Dave Liebman And Expansions:      Dave Liebman has been on the jazz scene since the 1970`s, and he has been a very productive member. I`ve been watching a video of Dave ...

Dave Liebman And Expansions

     Dave Liebman has been on the jazz scene since the 1970`s, and he has been a very productive member. I`ve been watching a video of Dave Liebman, and his group Expansions, which consist of Matt Vashlishan (alto saxophone and clarinet), Bobby Avey (piano), Tony Marino (bass), and Alex Ritz (drums). This ensemble is running on all cylinders. This video recording of Liebman`s performance takes place at Cornelia Street Cafe in New York, NY.

     Liebman plays with the fire and urgency that one expects from him, and he does not disappoint. Liebman`s performance is intense.

     Alto saxophonist Matt Vashlishan plays with great control, but can, and does open up. Vashlishan offers a nice contrast to Liebman`s high energy, but this in not to say Matt Vashlishan can`t burn; he does!

     Dave Liebman played with Elvin Jones and Miles Davis back in the 1970`s. His music is free jazz and re-arrangements of jazz standards. Liebman`s career stretches over 40 years, playing with Chick Corea, John McLaughlin, McCoy Tyner, and of course Elvin Jones, Miles Davis, and others.

     Dave Liebman has received many awards, including the NEA Jazz Masters, and Jazz Educators Network Legends Of Jazz.

     Expansions represents Liebman`s expanded horizons, as well as honoring the jazz tradition of mentoring younger generations.

     Dave Liebman`s influences have been John Coltrane and Miles Davis, and you hear it in his playing. Not only his playing, but also his philosophy of growing and evolving.

     Samsara is Dave Liebman and Expansions recording of on-edge rhythms, highly complex harmonies, and group improv. Samsara is focused on free collective improvisation. This recording represents Dave Liebman`s honoring the jazz heritage and tradition of master musician mentoring, leading, and directing his younger artist.

Friday, October 10, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Coltrane At The Maple?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Coltrane At The Maple?:     No; you won`t hear John Coltrane at the Maple Theater on Friday, October 10, 2014, at 6:15 pm, but you will hear his music. Friday will ...

Coltrane At The Maple?

    No; you won`t hear John Coltrane at the Maple Theater on Friday, October 10, 2014, at 6:15 pm, but you will hear his music. Friday will feature The Legacy Jazz Group playing compositions of John Coltrane. The Legacy Jazz Group will feature such Coltrane pieces such as Impressions, Naima, and many more.

     You can come free to hear The Legacy Jazz Group`s tribute to John Coltrane at Maple Theater Cafe, at 4135 West Maple Rd., on the corner of Maple and Telegraph, in Bloomfield Hills, MI, from 6:15 - 8:30 pm.

     Join pianist, organizer and host Dave Lundin as he presents the music of John Coltrane, with guitarist Marc Levine, bassist Keith Malinowski, and drummer Karen Tomalis. This will be time well spent. Oh! and don`t forget to take-in a movie at the Maple Theater.

Thursday, September 25, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Paul Hindemith: Concert Piece For Two Alto Saxopho...

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Paul Hindemith: Concert Piece For Two Alto Saxopho...:      Every composition has a story, whether it is as simple as - oh, I think I will write a song today, or maybe deeper reasons for writing ...

Paul Hindemith: Concert Piece For Two Alto Saxophones

     Every composition has a story, whether it is as simple as - oh, I think I will write a song today, or maybe deeper reasons for writing a composition. Here is a story for Paul Hindemith`s Konzertuck Fur Zwei Altsaxophone, or in English - Concert Piece For Two Alto Saxophones.

     Composer Paul Hindemith (1895 - 1963) is one of my favorite composers in the western art music genre. I fell in love with Paul Hindemith`s music when I was introduced to his composition Ludus Tonalis, which goes through the cycle of all 24 major and minor keys.

     Concert Piece For Two Alto Saxophones was composed in 1933, for Sigurd Rascher. Sigurd  Rascher discussed many details of the piece with Paul Hindemith directly. Hindemith was a composer of late Romantic and Modern style periods.

     Paul Hindemith was from Germany, and during the takeover by the Nazis and right-wing cultural organizations, Hindemith`s works were prohibited. There was an official performance ban on all his works by October, 1936. In 1938, Paul Hindemith emigrated to Switzerland, and later to the United States. Saxophonist Sigurd Rascher left Germany in 1933.

      For years,  Concert Piece For Two Alto Saxophones could not be performed in public due to a lack of suitable alto saxophonist. Concert Piece For Two Alto Saxophones premiered in New York State with Sigurd Rascher`s daughter playing second alto, in 1960. Rascher programmed the piece for his 1964 concert in Zurich, Switzerland. Scheduled for March 6, 1964, Sigurd Rascher invited Paul Hindemith to his concert. Hindemith was so delighted, and accepted the invitation to hear Concert Piece For Two Alto Saxophones for the first time. Paul Hindemith died in December, 1963, just three months before Sigurd Rascher`s performance of Concert Piece For Two Alto Saxophones.

Thursday, September 4, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Music Degree Programs Online?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Music Degree Programs Online?:      As a music education graduate at Oakland University, in Rochester Hills, MI, I value that experience. Long nights of practicing, early ...

Music Degree Programs Online?

     As a music education graduate at Oakland University, in Rochester Hills, MI, I value that experience. Long nights of practicing, early morning classes, and ensemble classes and rehearsals made it all the more special. An on-line music degree program just sounds wrong.

     Berklee College of Music, in Boston, MA, offers such a program. My first impression is NO! When an institution with the reputation as the Berklee College of Music offers such a degree program, then I must take a second look. I am sure many of you understand my reservation, especially being a music education graduate myself.

     Coming from a traditional university music program I have questions about studying music online, even if that program is Berklee College of Music. What about relationships? Music is not made in a vacuum, but with student musicians with shared experiences. Yes, you may be able to get a degree in music online, but in the long-run, I think you loss.

     Today I share the band stand with friends I attended college with as a music major. Those friendships are life long relationships with other musicians. For this reason, I cannot recommend an online music degree program.

Thursday, August 21, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Bence Peter`s Fibonacci Sequence In Music

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Bence Peter`s Fibonacci Sequence In Music:      I came upon a very interesting composition that one could guess the music of Claude Debussy or Keith Jarrett, at least in my opinion. P...

Bence Peter`s Fibonacci Sequence In Music

     I came upon a very interesting composition that one could guess the music of Claude Debussy or Keith Jarrett, at least in my opinion. Pianist and composer Bence Peter, and his work "Fibonacci Sequence In Music" reminds me of both Debussy and Jarrett, but faster! Fibonacci Sequence In Music is an imaginative piece that require the performer to display piano technique and sensitivity that reminds the listener of an upper level concert pianist.

     Pianist Bence Peter is also a film composer and producer who attended Boston`s Berklee College of Music. Known for breaking the Guiness World Record in 2012, for most piano key hits in one minute (765), Peter is said to be the world`s fastest piano player.

     Bence Peter can play very rapidly, while keeping the character of his music. As mentioned earlier, Bence Peter`s playing is reminiscent of Debussy; just much faster. You will also hear an influence of Keith Jarrett.

     "Fibonacci Sequence In Music" is a skillful display of dexterity and imagination. Bence Peter is on my radar, and should be on yours.

Thursday, July 31, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Power Of Music! Therapy?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Power Of Music! Therapy?:      Music therapy is defined as "the clinical and evidence-based use of music interventions to accomplish individualized goals within ...

The Power Of Music! Therapy?

     Music therapy is defined as "the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program (Home page of the American Music Therapy Association, 2014). This blog is not about music therapy as it is dealing with therapeutic power of music with patients suffering from alzheimer`s and dementia. Shown during the Sundance Film Festival, "Alive Inside" is a film that takes a position advocating for ipods to be given to patients.

     Highlighting three patients in a nursing home facility, therapist Dan Cohen (who inspired "Alive Inside", and founder of Music & Memory) hands ipods to nursing home residence.When head phones are given to patients, a transformation occur with mood, and depth of emotions experienced by patients. These patients become social, and receive other brain stimulating benefits. One patient said music gives him the feeling of love, as he listens to Cab Calloway.

     Interviewing a second patient who uses both a wheel chair and walker, this patient gathers strength to put her walker aside, and dance to Afro-Cuban music in her head phones. This patient`s physical benefits of music was obvious, but how music transformed her spirit was something to behold. Another lady bedridden appeared to be in a coma, but was able to move her legs and head while music played though her head phones.

     I am not trained as a music therapist, but seeing the results of ipods were impressive. If technology exist for adding quality of life to nursing home patients, it should be a legitimate option. A licensed music therapist should be available to facilitate use of music and equipment, such as ipods.

     We are judged by how we treat (or mistreat) our seniors and sick, and our responsibility as a society is to assure those in our care the right to a quality end-of-life care and service.

     Thank you, Dan Cohen, and those affiliated with the documentary "Alive Inside" for taking-on a noble film project.

Wednesday, June 25, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Hey, Mr. Rodgers; Can I Have A Solo?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: 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 Nor...

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?

Monday, June 2, 2014

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.  

Wednesday, April 23, 2014

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.

Monday, March 17, 2014

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.

   

Friday, February 14, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jazz And The Grammy`s

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jazz And The Grammy`s:      Are you "sick of seeing musical performances that are sex-based"? Jackson, J. (2014), Bring Jazz Music Back to the Grammy`s, ...

Jazz And The Grammy`s

     Are you "sick of seeing musical performances that are sex-based"? Jackson, J. (2014), Bring Jazz Music Back to the Grammy`s, The Jazz Network Worldwide. According to the numbers from the music industry, most of America and the world loves the sexually-based performances. After-all, we`re talking about popular music - Pop Culture. So, I ask you, in this pop culture should jazz be included at the Grammy`s? Of course, we adherents of jazz want to see jazz included at the Grammy`s, but should jazz be included? Maybe it should, but the exclusion of jazz also furthers the argument of jazz being an art, and not simply popular entertainment.

     There is a move by some to petition the Grammy`s to include jazz. Sure, as a jazz artist I would like to see jazz a part of the Grammy Awards, but I would not sign a petition. Jazz is not a pop culture fad, but an art form that has devoted listeners and fans. Let`s face it, a Joshua Redman concert will not attract the same numbers as a Justin Bieber concert, but I am sure Joshua Redman is okay with that. Here`s my point, jazz artist are passionate about the art of jazz, and will make life style sacrifices to pursue what we love. Jazz is not a popular art form, nor is it intended for everybody. Jazz is a music you have to study and come too.

     Does jazz need to have its own jazz awards ceremony? We do, just ask Downbeat, Jazz Times, and other jazz media outlets. In other words, the critics and readers polls.

     I congratulate all the Grammy nominees and winners of the January 26, 2014 Grammy awards, because they have worked hard and achieved in their respective genres, and are true stand-outs in the music entertainment and recording industry. The Grammy Awards and music industry are serving the needs, taste, and wants of the people; giving the people what they want, because that`s how capitalism, choice, democracy, and free enterprise works. So, we as jazz artist have to understand that, and we also enjoy the same freedoms to create our art, know matter how unpopular it may be.


Thursday, January 9, 2014

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: What Exactly Is A Jazz Suite?

Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: What Exactly Is A Jazz Suite?:      If you get a chance, I urge you to check-out Lalo Schifrin & BBC Bigband Jazzwoche Burghausen 2006 performance on video. I discover...

What Exactly Is A Jazz Suite?

     If you get a chance, I urge you to check-out Lalo Schifrin & BBC Bigband Jazzwoche Burghausen 2006 performance on video. I discovered this concert on YouTube. Joining Lalo Schifrin and his big band are Jon Faddis on trumpet, David Sanchez on tenor saxophone, Ignacio Berroa on drums, and Martin Verdonk on percussion.

     The concert begins with Street Lights, but the video does not give credit to the composer, so I assume Lalo Schifrin composed this piece. This is a fine opening number which features exciting solos from almost every member of the band. Schifrin and his band ends with Mission Impossible from the 1960`s television series from which Lalo Schifrin composed. In between Street Lights and Mission Impossible is a massive six movement work called Latin Jazz Suite. The music is great; what else would you expect from Lalo Schifrin! But, what is a Suite? Especially a Jazz Suite?

     A Suite is defined as any work consisting of several movements of varying character drawn from a large work such as an opera, ballet, or incidental music to a play. It is a musical form consisting of a series of pieces all in the same key, mostly of various dance styles. Suites go back to the Baroque era, and was an important instrumental form consisting of movements to characterize dances in the same key. J.S. Bach used a scheme that follow an A-C-S-O-G structure:
A = Allemande
C = Courante
S = Saraband
O = Optional dance or optional group
G = Gigue

     Do we really have jazz suites? Duke Ellington composed four titled suites, and they are 1) The Queen`s Suite, 2) The Goutelas Suite, 3) The Uwis Suite, and 4) The Kiss. Michigan bassist Paul Keller composed The Michigan Jazz Suite, which has 15 pieces inspired by the people of Michigan, events in Michigan, and places visited in Michigan. I composed a work titled At The Hill, which is a four movement piece. Again, are these Jazz Suites? The definition of a suite has expanded from its original baroque meaning; not changed, but expanded. A jazz suite seems based upon central themes, than on dance inspired movements established by western art music during the baroque era. Duke Ellington`s The Queen`s Suite was dedicated and presented to Queen Elizabeth II with six episodes. Paul Keller`s The Michigan Jazz Suite has a Michigan theme. My composition At The Hill has its theme rooted in my teaching experience at a public charter school. Although I cannot fully explain Lalo Schifrin`s Latin Jazz Suite, there is an obvious Latin theme to his work.

     I really enjoyed listening to Lalo Schifrin`s Latin Jazz Suite, especially the tasteful percussion performances throughout the piece. Other great performances include Jon Faddis playing those clean high notes reminiscent of Cat Anderson and Maynard Ferguson. Lalo Schifrin beautifully laying-back on his piano solos without going over the top, and some exciting and spiritual playing from David Sanchez.

     With such great performances during the Latin Jazz Suite the audience kept bursting into applause between movements. I found this to be irritating, but understandable. Western art music audiences have-it correct; no applause between movements. We as jazz artist, composers, and producers need to educate our audience to what a jazz suite is, and when it is appropriate to applaud, and not to applaud. Think about it; if audiences are applauding between movements, then what is the purpose of presenting a jazz suite? Our musical colleagues in western art music symphonies and orchestras have it right, and we need to follow there lead. We want audiences to applaud between separate compositions, and not applaud between movements. We have to safeguard the integrity of composition and public performance.