Detroit is the ideal training ground for young and inspiring jazz musicians. For the young jazz musician Detroit, and Michigan offers excellent college and university music programs with degrees and studies in jazz. Detroit and Southeastern Michigan also offer various jam sessions in the region that will give young jazz musicians that authentic environment for learning the art and culture of jazz. In this blog I will share with you some great places for college/university age students, and serious high school music students to go for jam sessions in Detroit, and surrounding area.
My motivation for posting this blog comes from meeting a young saxophonist auditioning for acceptance into Wayne State Universities jazz studies program. Her parents hired me to coach and work with their daughter for a private music lesson. This young lady is good! It comes to no surprise she has been accepted into Wayne States`s program; she has earned her spot. After her lesson her parents and I were discussing safe places for young music students to develop their skills and talents at local jam sessions. I was able to refer one or two places. At this point in my life I just don`t go to jam sessions or jazz clubs. Not that I have anything against jam sessions and jazz clubs, but unless I am playing there, or teaching my students, I am probably at home watching Law & Order-SVU, the local news, checking emails, and off to bed.
I spoke with a long-time buddy of mine; trumpeter Mark Croft, and my adult saxophone student; Mark Brown, Esq, and we came-up with the following list of places that are running jam sessions in Detroit, or those who are great resources for young jazz musicians. I spoke with these gentlemen because they are friends of mine I greatly trust and respect. They know I want to offer-up a list of places to recommend where parents of young musicians can trust that their young ones can learn to play in a jam session setting, and not be exposed to the vices that is apart of an old jazz culture, and history. I am a parent too! I recommend the following:
1. In-Accord
Kids & Jazz
Free workshop for music students 8-18 who live in the Metro Detroit area.
Every Sunday (except holiday weekends), 3:00-5:00 pm
Baker`s Keyboard Lounge
20510 Livernois,
Detroit, MI
www.in-accord.org
(248)809-9886
Al McKenzie, President & CEO
For beginners, intermediate, and advance
2. If you ever hear of any program involving Ernest Rodgers; sign-up! NOW!
3. Cliff Bells
Youth concert/jam sessions for university students
Sundays from 6:00-11:00 pm
2030 Park
Detroit, MI 48226
4. Ed Gooch is another good resource in Detroit. If you hear of a program that involves trombonist Ed Gooch; I recommend your young musician to attend.
5. Pianist Mike Jellick has a jam session at Northern Lights, from 7:30 till Midnight, on Wednesdays. Northern Lights is located at 660 W. Baltimore, Detroit, MI 48202.
6. Harbor House Detroit, on Wednesdays. Harbor House Detroit is located at 440 Clinton Street, Detroit, MI 48226. Call for time at (313)967-9900.
7. Detroit Jazz Cafe, inside the Music Hall in Downtown Detroit, at 350 Madison. Call them at (313)887-8532. Also check-out Caduiex Cafe on the Northeast side of Detroit, at 4300 Cadieux. There phone number is (313)882-8560.
Those are my recommendations. If you check around you should be able to find other jam sessions for your young jazz musician. Good luck to you and your young musicians, and who knows, maybe after Law & Order I`ll stop by and give a listen.
Thursday, March 14, 2013
Sunday, March 3, 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Jazz Training Ground
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: The Jazz Training Ground: Every jazz musician has a list of essential musicians and personal favorites they listen to. For me John Coltrane is both essential, an...
The Jazz Training Ground
Every jazz musician has a list of essential musicians and personal favorites they listen to. For me John Coltrane is both essential, and one of my personal favorites. I remember as a child listening to Coltrane on the radio around the house, and I loved it! I had more joy listening to Coltrane, Miles Davis, and other jazz masters than listening to Motown, soul, R&B, blues, and other genres of black music. Please, don`t misunderstand me, I loved listening to the music I just mentioned, and of course, being from Detroit I listen to quit a bit of Motown. As a child listening to jazz I knew I was listening to something special. Jazz was not entertainment for me as was the other genres of music I listen to during my childhood. I feel that way today, and honored to be a practitioner of the art of jazz.
A February 8, 2013, online article from All About Jazz, entitled " John Coltrane: There Was No End To The Music", by Rob Armstrong, of course caught my attention. Armstrong goes on to write about Coltrane`s years living in Philadelphia, PA. Philadelphia was Coltrane`s fertile training ground. It is in Philadelphia where John Coltrane seriously learns to saxophone and jazz, while developing his musical friendships with the likes of McCoy Tyner, Jimmy Heath, Philly Joe Jones, and a host of other great musicians on the Philadelphia jazz scene. This article was a joy for me to read because it has played-out the same way in other United States cities. John Coltrane is one of my musical heroes, and the reason the tenor saxophone resonates in my spirit.
Coltrane is also a reminder of how jazz developed as an art form, and was passed from one generation of players to the next.
New York City, NY is the thriving commercial market place for jazz, and no doubt you will hear the best of the best in New York. Just as Philadelphia was Coltrane`s training ground, other jazz musicians share the same story, and many from other US cities, especially those of us who were learning to play before jazz was accepted into academia. It was the jazz scene of various US cities that was the institution for learning to play jazz. Philadelphia is one of many US cities important to the contribution and development of the jazz language.
Again, my experience parallels that of other jazz artist of my age. My early exposure listening to jazz around the house in Detroit was my beginning. I have fond memories listening to John Coltrane; Miles Davis and his historic quintet with Ron Carter, Herbie Hancock, Wayne Shorter, and Tony Williams. Also listening to Yusef Lateef, and Cecil Taylor was eye opening. I also remember seeing and hearing Bennie Maupin with Herbie Hancock, and being so inspired seeing Maupin that I save my paper route money and bought my first tenor saxophone. After I heard Joe Henderson and Dewey Redman, well, what can I say; that sealed the deal for me, and that was just listening to jazz. When I started playing jazz I was in high school. I have to give all thinks to Detroit`s jazz community. Ernest Rodgers was my high school band director, and my doorway to playing saxophone and jazz. Through Mr. Rodgers I was introduced to the jazz community the following ways:
1. Student at Northwestern H.S. in the music curriculum.
2. Mr. Rodgers was owner of the RAPA House (Rodgers Academy of Performing Arts) in Detroit, where I studied saxophone privately. After hour, the RAPA House was a coffee house that housed an after hours jam session. The RAPA House is where all the "cats" would come and play their four course solos per tune. Depending upon the number of players playing the head of the tune, at tune could last upwards to 45 minutes ( maybe longer). Saxophonist Kenny Garrett also attended the jam sessions, and he was simply amazing!
3. Mr. Rodgers introduced us to Detroit`s top musicians, such as Marcus Belgraves, and Harold McKinney. We also met Count Basie in our band room at Northwestern H.S. That day I was playing baritone sax with our jazz/stage band backing vocalist Dennis Roland as he was auditioning for the Basie band. (Dennis Roland passed the audition; he made it into the Basie band.).
4. Mr. Rodgers encouraged me to attend Oakland University as a Music Education major. This is where I met Marvin "Doc" Holiday, and my jazz saxophone teacher Sam Sanders.Under Sam Sanders I developed my overall approach, concept, and identity on tenor saxophone.
The local jazz scene is important to the continued development of jazz. Colleges, music conservatories, and universities with jazz studies programs are important, and I do not diminish there importance; I developed in a jazz studies program. However, jam sessions at the local level gives an authenticity to the artist, and provides a real and true to live training to the jazz musician. I wish the RAPA House was still around today; it gave way to Comerica Park and Ford Field; home of the Detroit Tigers and Lions, respectively. Today other places in Detroit host jam sessions, and are producing great players, but I do miss the RAPA House. If I`m ever in Philadelphia I do plan to visit the John Coltrane House. and I recommend you as a jazz fan do the same. That is truly the house that Trane built.
A February 8, 2013, online article from All About Jazz, entitled " John Coltrane: There Was No End To The Music", by Rob Armstrong, of course caught my attention. Armstrong goes on to write about Coltrane`s years living in Philadelphia, PA. Philadelphia was Coltrane`s fertile training ground. It is in Philadelphia where John Coltrane seriously learns to saxophone and jazz, while developing his musical friendships with the likes of McCoy Tyner, Jimmy Heath, Philly Joe Jones, and a host of other great musicians on the Philadelphia jazz scene. This article was a joy for me to read because it has played-out the same way in other United States cities. John Coltrane is one of my musical heroes, and the reason the tenor saxophone resonates in my spirit.
Coltrane is also a reminder of how jazz developed as an art form, and was passed from one generation of players to the next.
New York City, NY is the thriving commercial market place for jazz, and no doubt you will hear the best of the best in New York. Just as Philadelphia was Coltrane`s training ground, other jazz musicians share the same story, and many from other US cities, especially those of us who were learning to play before jazz was accepted into academia. It was the jazz scene of various US cities that was the institution for learning to play jazz. Philadelphia is one of many US cities important to the contribution and development of the jazz language.
Again, my experience parallels that of other jazz artist of my age. My early exposure listening to jazz around the house in Detroit was my beginning. I have fond memories listening to John Coltrane; Miles Davis and his historic quintet with Ron Carter, Herbie Hancock, Wayne Shorter, and Tony Williams. Also listening to Yusef Lateef, and Cecil Taylor was eye opening. I also remember seeing and hearing Bennie Maupin with Herbie Hancock, and being so inspired seeing Maupin that I save my paper route money and bought my first tenor saxophone. After I heard Joe Henderson and Dewey Redman, well, what can I say; that sealed the deal for me, and that was just listening to jazz. When I started playing jazz I was in high school. I have to give all thinks to Detroit`s jazz community. Ernest Rodgers was my high school band director, and my doorway to playing saxophone and jazz. Through Mr. Rodgers I was introduced to the jazz community the following ways:
1. Student at Northwestern H.S. in the music curriculum.
2. Mr. Rodgers was owner of the RAPA House (Rodgers Academy of Performing Arts) in Detroit, where I studied saxophone privately. After hour, the RAPA House was a coffee house that housed an after hours jam session. The RAPA House is where all the "cats" would come and play their four course solos per tune. Depending upon the number of players playing the head of the tune, at tune could last upwards to 45 minutes ( maybe longer). Saxophonist Kenny Garrett also attended the jam sessions, and he was simply amazing!
3. Mr. Rodgers introduced us to Detroit`s top musicians, such as Marcus Belgraves, and Harold McKinney. We also met Count Basie in our band room at Northwestern H.S. That day I was playing baritone sax with our jazz/stage band backing vocalist Dennis Roland as he was auditioning for the Basie band. (Dennis Roland passed the audition; he made it into the Basie band.).
4. Mr. Rodgers encouraged me to attend Oakland University as a Music Education major. This is where I met Marvin "Doc" Holiday, and my jazz saxophone teacher Sam Sanders.Under Sam Sanders I developed my overall approach, concept, and identity on tenor saxophone.
The local jazz scene is important to the continued development of jazz. Colleges, music conservatories, and universities with jazz studies programs are important, and I do not diminish there importance; I developed in a jazz studies program. However, jam sessions at the local level gives an authenticity to the artist, and provides a real and true to live training to the jazz musician. I wish the RAPA House was still around today; it gave way to Comerica Park and Ford Field; home of the Detroit Tigers and Lions, respectively. Today other places in Detroit host jam sessions, and are producing great players, but I do miss the RAPA House. If I`m ever in Philadelphia I do plan to visit the John Coltrane House. and I recommend you as a jazz fan do the same. That is truly the house that Trane built.
Saturday, February 16, 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grammy Winners Of Jazz For 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grammy Winners Of Jazz For 2013: Unless I`m watching the Oscars, I typically do not plant myself in front of the TV to see award shows. The 2013 Grammy Awards were no e...
Grammy Winners Of Jazz For 2013
Unless I`m watching the Oscars, I typically do not plant myself in front of the TV to see award shows. The 2013 Grammy Awards were no exception. However, my wife and I have different taste in our television viewing habits. As I was up-stairs in our home allowing the TV to watch me, my wife was down-stairs watching the Grammy`s. I would hear my wife`s voice calling my name during my slumber to "wake-up and turn to the Grammy`s". I am so happy I did, as I had the chance to see the Tribute to Dave Brubeck, with Chick Corea on piano, Stanley Clark - bass, and Kenny Garrett on alto saxophone. It was pure joy hearing "Take 5" performed by such jazz greats. I just wish Clark, Corea, and Garrett had more playing time during the Grammy tribute to Dave Brubeck.
Grammy winners in the jazz genres for 2013 are listed as follows:
*Best Improvised Jazz Solo
Hot House
Gary Burton & Chick Corea, soloist
Track from: Hot House
Label: Concord Jazz
*Best Jazz Vocal Album
Radio Music Society
Esperanza Spalding
Label: Heads Up International
*Best Jazz Instrumental Album
Unity Band
Pat Metheny Unity Band
Label: Nonesuch
*Best Large Jazz Ensemble Album
Dear Diz (Every Day I Think of You)
Arturo Sandoval
Label: Concord Jazz
*Best Latin Jazz Album
iRitmo!
The Clare Fischer Latin Jazz Big Band
Label: Clare Fischer Productions/Clavo Records
*Best Instrumental Composition
Mozart Goes Danccing
Chick Corea, composer (Chick Corea & Gary Burton)
Track from: Hot House
Label: Concord Jazz
*Best Instrumental Arrangement
How About You
Gil Evans, arranger (Gil Evans Project)
Track from: Centennial - Newly Discovered Works
Label: ArtistShare
*Best Instrumental Arrangement Accompanying Vocalist(s)
City of Roses
Thara Memory & Esperanza Spalding, arrangers
(Esperanza Spalding)
Track from: Radio Music Society
Label: Heads Up International
You can find all of the 2013 Grammy winners by going to www.forbes.com/sites/zackomallerygreenburg/2013/02/11/grammy-winner-2013-the-ful-list/.
Thank you ladies and gentlemen, and the Grammy`s, I would like to thank Stanley Clark, Chick Corea, Kenny Garrett, and my wife for waking me up. I accept this award for enjoying the Dave Brubeck Tribute.
Grammy winners in the jazz genres for 2013 are listed as follows:
*Best Improvised Jazz Solo
Hot House
Gary Burton & Chick Corea, soloist
Track from: Hot House
Label: Concord Jazz
*Best Jazz Vocal Album
Radio Music Society
Esperanza Spalding
Label: Heads Up International
*Best Jazz Instrumental Album
Unity Band
Pat Metheny Unity Band
Label: Nonesuch
*Best Large Jazz Ensemble Album
Dear Diz (Every Day I Think of You)
Arturo Sandoval
Label: Concord Jazz
*Best Latin Jazz Album
iRitmo!
The Clare Fischer Latin Jazz Big Band
Label: Clare Fischer Productions/Clavo Records
*Best Instrumental Composition
Mozart Goes Danccing
Chick Corea, composer (Chick Corea & Gary Burton)
Track from: Hot House
Label: Concord Jazz
*Best Instrumental Arrangement
How About You
Gil Evans, arranger (Gil Evans Project)
Track from: Centennial - Newly Discovered Works
Label: ArtistShare
*Best Instrumental Arrangement Accompanying Vocalist(s)
City of Roses
Thara Memory & Esperanza Spalding, arrangers
(Esperanza Spalding)
Track from: Radio Music Society
Label: Heads Up International
You can find all of the 2013 Grammy winners by going to www.forbes.com/sites/zackomallerygreenburg/2013/02/11/grammy-winner-2013-the-ful-list/.
Thank you ladies and gentlemen, and the Grammy`s, I would like to thank Stanley Clark, Chick Corea, Kenny Garrett, and my wife for waking me up. I accept this award for enjoying the Dave Brubeck Tribute.
Friday, February 8, 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Keith Gamble`s Art House Gathering: WOW!
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Keith Gamble`s Art House Gathering: WOW!: Despite the cold and snow of a February Michigan winter, my Keith Gamble`s Art House Gathering was a success. No, we did not have a sta...
Keith Gamble`s Art House Gathering: WOW!
Despite the cold and snow of a February Michigan winter, my Keith Gamble`s Art House Gathering was a success. No, we did not have a standing room only turn-out at Detroit`s International Institute, but I am noticing a growth in my audience after each gathering. Unlike my previous Art House Gatherings (Bird, and Poetry Night), my February 2 event did not have a theme, but featured me performing my post-bop compositions. I was also accompanied by some to Detroit`s finest musicians. Joining me on-stage were Craig Tyner on bass, Bill Meyer- piano, and Karen Tomalis on drums (pianist Mike Evans and drummer Michael Brown were unavailable for this performance).
As a jazz musician you develop a certain connection, sensitivity to nuance, understanding, and trust that develops over time with musicians you work with on a consistent basis. That trust extends well beyond the stage. Trumpeter and long time friend Mark Croft recommended Karen Tomalis to play drums in place of Michael Brown. Karen referred me to Bill Meyer for piano, and along with Craig Tyner they made it work!
We played two sets of my compositions. "Caught and Busted" is a driving three quarter time piece that created intensity and excitement. After solos from myself and Bill, Caught and Busted went straight into Richard Rodgers`s "My Favorite Things" with extemporaneous improvisation leading us into Allan Sherman`s "Chim Chim Cher-ee". "Absence Makes the Heart Grow Fonder" is a medium slow composition with a modal "B" section that is generally a fairly peaceful piece. As we were cadencing "Absence Makes the Heat Grow Fonder", I think we added an extra five minutes of pure creativity of music never to be heard again. Our second set began with me playing tenor sax making an unaccompanied statement. I would eventually be joined by Karen Tomalis as she provided beautiful colors accompanying me as a duet. As Karen and I were completing our musical journey, Bill Meyer and Craig Tyner would join-in as we began playing "Talking". We ended my Keith Gamble`s Art House Gathering with Wayne Shorter`s "Foot Print" and our outro piece (you have to come to a Keith Gamble concert and discover what I play as an outro selection).
A great time was had by all who were in attendance at Keith Gamble`s Art House Gathering. Many in attendance were my music students who remained at the International Institute after the Keith Gamble - Woodwind Music Lessons Recital. It`s always great when playing at home to see friends and relatives in the audience. It was also a pleasure to see my Meet-up friends from the Jazz Fans of Greater Detroit in the audience, and all other jazz fans who were in attendance.
I want to give a special thanks to musicians Bill Meyer, Karen Tomalis, and Craig Tyner. Thanks also to Detroit`s Finest Soulfood, and International Institute of Metro Detroit. I also want to give a very special thanks to my daughter Victoria Gamble, and my wife of almost 29 years Patricia Gamble.
See you at the next Keith Gamble`s Art House Gathering, and tell a friend.
As a jazz musician you develop a certain connection, sensitivity to nuance, understanding, and trust that develops over time with musicians you work with on a consistent basis. That trust extends well beyond the stage. Trumpeter and long time friend Mark Croft recommended Karen Tomalis to play drums in place of Michael Brown. Karen referred me to Bill Meyer for piano, and along with Craig Tyner they made it work!
We played two sets of my compositions. "Caught and Busted" is a driving three quarter time piece that created intensity and excitement. After solos from myself and Bill, Caught and Busted went straight into Richard Rodgers`s "My Favorite Things" with extemporaneous improvisation leading us into Allan Sherman`s "Chim Chim Cher-ee". "Absence Makes the Heart Grow Fonder" is a medium slow composition with a modal "B" section that is generally a fairly peaceful piece. As we were cadencing "Absence Makes the Heat Grow Fonder", I think we added an extra five minutes of pure creativity of music never to be heard again. Our second set began with me playing tenor sax making an unaccompanied statement. I would eventually be joined by Karen Tomalis as she provided beautiful colors accompanying me as a duet. As Karen and I were completing our musical journey, Bill Meyer and Craig Tyner would join-in as we began playing "Talking". We ended my Keith Gamble`s Art House Gathering with Wayne Shorter`s "Foot Print" and our outro piece (you have to come to a Keith Gamble concert and discover what I play as an outro selection).
A great time was had by all who were in attendance at Keith Gamble`s Art House Gathering. Many in attendance were my music students who remained at the International Institute after the Keith Gamble - Woodwind Music Lessons Recital. It`s always great when playing at home to see friends and relatives in the audience. It was also a pleasure to see my Meet-up friends from the Jazz Fans of Greater Detroit in the audience, and all other jazz fans who were in attendance.
I want to give a special thanks to musicians Bill Meyer, Karen Tomalis, and Craig Tyner. Thanks also to Detroit`s Finest Soulfood, and International Institute of Metro Detroit. I also want to give a very special thanks to my daughter Victoria Gamble, and my wife of almost 29 years Patricia Gamble.
See you at the next Keith Gamble`s Art House Gathering, and tell a friend.
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