For 2011, this year marks the first year the Metropolitan Detroit Musicians League has hosted a Novice Adult Recital. Why a Novice Adult Recital, and not simply an Adult Recital? The MDML organized the Novice Adult Recital for those adults taking-up music lessons for recreation - recreational music making. The Novice Adult Recital creates an opportunity for adult recreational music learners to perform with others who are playing for the joy of making music, and not performing on stage with someone who is a doctorial canidate for music performance, or someone making a career out of music.
Held at Evola Music in Shelby Township, MI, on Sunday, October 16, 2011, fine performances were given by all who participated. I want to give a special acknowledgement to Mark Brown, Esq. who studies alto saxophone with me. Mr. Brown is a wonderful student who is making fine progress, and his performance today reflects that progress. Mark Brown performed Robert Schumann`s Traumerei, arranged by Sigurd Rascher for alto saxophone. Mark was accompanied by Mr. Walter Pookrum on piano. After the two performed Traumerei, Mr. Brown played When Sunny Gets Blue as an unaccompanied saxophone solo. Both solos received much applause from the audience.
After the Novice Adult Recital many in the audience approached Mark Brown complimenting his playing. One or two also commented that Mark should be performing in the Adult Recital; not the Novice Adult Recital.
I am focusing my blog on Mark Brown, Esq. because he studies saxophone with me, but I do want to say bravo to all those who performed at the Novice Adult Recital. I truly enjoyed all of the performances, and it was wonderful having the chance to hear the works of American folk music, Faber, Burgmuller, Saint-Saen, and Debussy.
See you Tuesday, Mr. Brown.
Sunday, October 16, 2011
Wednesday, October 12, 2011
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: My Film Review: Higher Ground
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: My Film Review: Higher Ground: If you are looking for mindless entertainment with a religious theme, you will not want to see Higher Ground. There is nothing simple a...
My Film Review: Higher Ground
If you are looking for mindless entertainment with a religious theme, you will not want to see Higher Ground. There is nothing simple about this film; no black hats and whites hats, and no winner takes all. Higher Ground is a story told by Corinne ( Vera Farmiga ), and her struggles with belief and faith. Corinne never losses her faith, but she does question it. Corinne is an intelligent multi-dementional character who others view as being "luke-warm" with her belief and faith, everyone with the exception of Annika ( Dagmara Dominczyk ), and her mail carrier.
Higher Ground does however treat many of the films other characters as one dementional; following the religious patriarchs, with Corinne`s husband Ethan ( Josha Leonard ) as a card carrying member of followers. During the film the wedge between Ethan and Corinne widens as Ethan gets stronger in his faith, while Corinne just refuses to drink the kool-ade.
Higher Ground is not making my list of favorites, but this film is worth seeing.
Higher Ground does however treat many of the films other characters as one dementional; following the religious patriarchs, with Corinne`s husband Ethan ( Josha Leonard ) as a card carrying member of followers. During the film the wedge between Ethan and Corinne widens as Ethan gets stronger in his faith, while Corinne just refuses to drink the kool-ade.
Higher Ground is not making my list of favorites, but this film is worth seeing.
Tuesday, October 11, 2011
African American Art and Culture: The art music of Charlie Parker
Bebop started at Minton`s Playhouse by black musicians, and Charlie Parker was the spirit of the bebop movement. Known as the black jazz capital, Minton`s Playhouse in Harlem is where bebop began. The jazz scene was taking place at Minton`s Playhouse in Harlem, and on 52nd Street ( aka The Street ). Minton`s Playhouse was a laboratory for bebop, where great musicians like Eddie "Lockjaw" Davis, Dizzy Gillespie, Thelonious Monk, Miles Davis, and Charlie Parker would play. The Kings of Minton`s never played "ordinary music"; they played bebop to eliminate players who couldn`t play.
Once bebop developed it began moving to other clubs on 52nd Street. Around 1945, black musicians were playing on 52nd Street for the money, and for media exposure at clubs such as the Three Deuces, Kelly`s Stable, and other clubs on 52nd Street. These clubs on 52nd Street were becoming more important to musicians than the clubs in Harlem.
Charlie Parker was a virtuoso, and an important figure to other musicians who were looking to Charlie Parker for direction. With his strong, bright, and individual sound, Bird was also one of the great blues and ballad players. Charlie Parker composed bebop masterpieces including Ko-Ko, Cherokee, My Old Flame, Billie`s Bounce, Embraceable You, Parker`s Mood, Lover Man, Yardbird Suite, and many others.
Jazz is black music, and bebop was about change and evolution. Bebop was not about being safe and standing still. Bebop is one of the most enduring styles of music from the United States, and an American underground art and culture that was played after-hours, fast and aggressively, and aesthetically shocking. Bebop was self-defining black culture, and bebop lines were fractured with passing tones, and was difficult to count and play.
As for Charlie Parker he was on a decline by 1954. According to Miles Davis, Charlie Parker had become fat, tired, not showing for performances, and playing badly. He was even banded from Birdland ( the legendary club named in his honor ) after an argument with the owners. Charlie Parker died March 12, 1955, but his music continues.
Once bebop developed it began moving to other clubs on 52nd Street. Around 1945, black musicians were playing on 52nd Street for the money, and for media exposure at clubs such as the Three Deuces, Kelly`s Stable, and other clubs on 52nd Street. These clubs on 52nd Street were becoming more important to musicians than the clubs in Harlem.
Charlie Parker was a virtuoso, and an important figure to other musicians who were looking to Charlie Parker for direction. With his strong, bright, and individual sound, Bird was also one of the great blues and ballad players. Charlie Parker composed bebop masterpieces including Ko-Ko, Cherokee, My Old Flame, Billie`s Bounce, Embraceable You, Parker`s Mood, Lover Man, Yardbird Suite, and many others.
Jazz is black music, and bebop was about change and evolution. Bebop was not about being safe and standing still. Bebop is one of the most enduring styles of music from the United States, and an American underground art and culture that was played after-hours, fast and aggressively, and aesthetically shocking. Bebop was self-defining black culture, and bebop lines were fractured with passing tones, and was difficult to count and play.
As for Charlie Parker he was on a decline by 1954. According to Miles Davis, Charlie Parker had become fat, tired, not showing for performances, and playing badly. He was even banded from Birdland ( the legendary club named in his honor ) after an argument with the owners. Charlie Parker died March 12, 1955, but his music continues.
Sunday, September 25, 2011
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Who could ask for more... Keith Gamble performance...
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Who could ask for more... Keith Gamble performance...: It was a beautiful sunny day in September. The River-Walk way in Downtown Detroit looked pristine and peaceful. A testiment to a first ...
Who could ask for more... Keith Gamble performance for the Wayne County Public Library
It was a beautiful sunny day in September. The River-Walk way in Downtown Detroit looked pristine and peaceful. A testiment to a first step in a city truly intent on making a comeback. This event was a celebration of the Wayne County Public Library. In attendance was a large group of visually impaired individuals and their caretakers. Individuals who understood and appreciated true jazz music. So enthusiatic and spirt filled was the group that others who just happened to be in the area stopped and stood and listened to the creative sounds.
Never have I heard my husband and his group perform better. They played jazz standards and original tunes. During intermission during the two set performance, there was a Jazz interpretation of the "Flintstones Theme". Jazz, a wonderful audience, and a beautiful September Day; who could ask for more...
Never have I heard my husband and his group perform better. They played jazz standards and original tunes. During intermission during the two set performance, there was a Jazz interpretation of the "Flintstones Theme". Jazz, a wonderful audience, and a beautiful September Day; who could ask for more...
Saturday, September 10, 2011
Too change, or not too change; that is the question: Saxophone ligatures.
Hey clarinet and saxophone players, does your mouth piece and ligature make that much of a difference? Yes it does; what you choose as your set-up does make a difference in over-all sound and amplitude. Many of us (if not all of us) has started on a nickel or metal ligature. On my Selmer Mark VII tenor saxophone I play using a metal two screw inverted gold lacquared ligature that works just fine. We do have choices though, and exercising that choice may be a wise decision.
What choices do we have? You can always stick with the nickel or metal two screw ligature, which is the standard ligature that comes with your clarinet or saxophone. Other choices include the Selmer single screw inverted metal ligature, the Harrison or "H" ligature made by Rico, a fabric or leather ligature, or ligature types from other ligature and mouth piece makers. You just have to do your homework when choosing.
If a single reed woodwind player is having intonation and tone quality problems, a new ligature is not going to make a difference, but if intonation, quality and production is not an issue, a new ligature could assist you in producing the sound you are looking for. I have an eight grade saxophone student who has recently been promoted to Level III of the Music Teachers National Association/Metropolitan Detroit Musicians League standards. My student is developing into a fine player; he has a good sound, and plays well in-tune, but I am recommending my student move to a fabric ligature. A fabric ligature produces a subdued sound quality due to producing little or no vibration. My goal for this student is to produce a warmer quality of sound, and the fabric ligature should achieve this without having to go into a new mouth piece.
Sam Sanders, who was an excellent saxophonist, and my jazz/improvisation teacher at Oakland University shared with me in a conversation or lesson, not to get hung-up in purchasing a drawer full of mouth pieces that you will never use (except for the first day you make the purchase). Mouth pieces can be vary expensive, and a waist if you have mouth pieces collecting dust in a drawer. When investing in a mouth piece (or mouth pieces) consider your options, and that option my be not purchasing a new mouth piece, but getting a new ligature.
What choices do we have? You can always stick with the nickel or metal two screw ligature, which is the standard ligature that comes with your clarinet or saxophone. Other choices include the Selmer single screw inverted metal ligature, the Harrison or "H" ligature made by Rico, a fabric or leather ligature, or ligature types from other ligature and mouth piece makers. You just have to do your homework when choosing.
If a single reed woodwind player is having intonation and tone quality problems, a new ligature is not going to make a difference, but if intonation, quality and production is not an issue, a new ligature could assist you in producing the sound you are looking for. I have an eight grade saxophone student who has recently been promoted to Level III of the Music Teachers National Association/Metropolitan Detroit Musicians League standards. My student is developing into a fine player; he has a good sound, and plays well in-tune, but I am recommending my student move to a fabric ligature. A fabric ligature produces a subdued sound quality due to producing little or no vibration. My goal for this student is to produce a warmer quality of sound, and the fabric ligature should achieve this without having to go into a new mouth piece.
Sam Sanders, who was an excellent saxophonist, and my jazz/improvisation teacher at Oakland University shared with me in a conversation or lesson, not to get hung-up in purchasing a drawer full of mouth pieces that you will never use (except for the first day you make the purchase). Mouth pieces can be vary expensive, and a waist if you have mouth pieces collecting dust in a drawer. When investing in a mouth piece (or mouth pieces) consider your options, and that option my be not purchasing a new mouth piece, but getting a new ligature.
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