Monday, April 15, 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: In The Belly Of The Beast
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: In The Belly Of The Beast: Back in 2007, I completed and submitted for copyright my composition titled "At The Hill: For Jazz/Avant-Garde Solo Tenor Saxophon...
In The Belly Of The Beast
Back in 2007, I completed and submitted for copyright my composition titled "At The Hill: For Jazz/Avant-Garde Solo Tenor Saxophone". At The Hill is a four movement avant-garde jazz work that is intended for unaccompanied tenor saxophone, but can also be performed with ensembles. Each of the four movements of At The Hill has been performed in group settings. Movements one, three, and four have been performed on stage with performance poetry ensemble Creative Tradition. Creative Tradition featured urban folk poet Wardell Montgomery Jr., and myself on tenor saxophone. Teachers (the second movement) has been performed and recorded by Continuum Jazz Ensemble (CD not available at this time). I performed At The Hill for the first time as an unaccompanied composition with all four movements at the Phoenix Cafe, in Hazel Park, MI, during my August 11, 2012, Keith Gamble`s Art House Gathering: Poetry Night.
In The Belly Of The Beast is the first movement of At The Hill. In The Belly Of The Beast is an aggressive two phrase a-tonal piece that goes into French style improvisation. My motivation for writing At The Hill was my time spent as a band director and music teacher at the Cherry Hill School of Performing Arts, in Inkster, MI. In The Belly Of The Beast was written to symbolize the chaotic transition of students going from class to class. While on hall duty a colleague teacher and I would joke that "we`re in the belly of the beast". Of course the two of us would chuckle at saying this, and we would continue with our responsibility of keeping order in the hallways, and getting students into their classes for the next period.
In The Belly Of The Beast reflects a broken and dysfunctional Black and urban American educational system. Not all Black and urban American educational systems are broken; not at all! We cannot simply generalized this topic, because there are many Black and urban schools that work and serve students, families, and communities at-large to the fullest. The Cherry Hill School of Performing Arts served many students, and many have gone to further their education, serve our nation, and become contributors to our national economy, and American way of life. The bigger picture are issues of public policies, family structures that do not value the importance of education, and industries that profit off those of us in our communities that are at-risk.
Students, parents, teachers, and the Black community is in the Belly Of The Beast with a culture that promotes drugs, alcohol, sexualization of our girls, and youth violence. People and corporations are exploiting us and profiting off our pain and misery. Unfortunately, many of us will continue to slide further in The Belly Of The Beast by making choices that will place us further into the margins of society, and dimming many of our hopes for a brighter future, economic prosperity, and a better quality of life. Let` get out of The Belly Of The Beast.
In The Belly Of The Beast is the first movement of At The Hill. In The Belly Of The Beast is an aggressive two phrase a-tonal piece that goes into French style improvisation. My motivation for writing At The Hill was my time spent as a band director and music teacher at the Cherry Hill School of Performing Arts, in Inkster, MI. In The Belly Of The Beast was written to symbolize the chaotic transition of students going from class to class. While on hall duty a colleague teacher and I would joke that "we`re in the belly of the beast". Of course the two of us would chuckle at saying this, and we would continue with our responsibility of keeping order in the hallways, and getting students into their classes for the next period.
In The Belly Of The Beast reflects a broken and dysfunctional Black and urban American educational system. Not all Black and urban American educational systems are broken; not at all! We cannot simply generalized this topic, because there are many Black and urban schools that work and serve students, families, and communities at-large to the fullest. The Cherry Hill School of Performing Arts served many students, and many have gone to further their education, serve our nation, and become contributors to our national economy, and American way of life. The bigger picture are issues of public policies, family structures that do not value the importance of education, and industries that profit off those of us in our communities that are at-risk.
Friday, March 29, 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grace Kelly. No! Not That Grace Kelly!
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Grace Kelly. No! Not That Grace Kelly!: Those that know me, knows I am perfectly at home with a nice hot cup of black coffee, and a classic film. I am in my element if I am at...
Grace Kelly. No! Not That Grace Kelly!
Those that know me, knows I am perfectly at home with a nice hot cup of black coffee, and a classic film. I am in my element if I am at home, or at Detroit`s Redford Theater watching Grace Kelly in High Noon, Dial M For Murder, or Rear Window. However, this blog is not about the classic film icon Grace Kelly, but about jazz saxophonist Grace Kelly.
It is truly a joy listening to Grace Kelly. When she plays, you can hear tradition; she knows how to swing. I am impressed with her beautiful tone, which is full and energetic.
Born Grace Chung in 1992, in Wellesley, MA, Grace had a name change due to her mother going through divorce and remarrying, and being adopted by her mother`s husband. Grace began playing saxophone in fourth grade taking private lessons. After receiving her GED, Grace received a full scholarship to attend, and graduate from the Berklee College of Music in 2011, with her degree in music. Grace Kelly has also studied with George Garzone, Lee Konitz, Greg Osby, Jerry Bergonzi, and Allan Chase.
At the young age of 20, Grace Kelly has an impressive resume'. Kelly was winner of the 2008 and 2010 Boston Music "Jazz Artist of the Year"; debuted on NPR Jazz Set with Geri Allen, Esperanza Spalding, Terri Lyne Carrington and Dee Dee Bridgewater; In 2011, Grace performed with the great Phil Woods at Newport Jazz 2011, live in concert; Phoenix "2012 Best Music Poll Winner"; featured in CNN.com "Making of a Prodigy"; named "Alto Saxophonist Rising Star" four years in a row in Downbeat Magazine Critics Poll, in August, 2012. In 2009, trumpet great Wynton Marsalis invited Grace to join the Jazz at Lincoln Center Orchestra at the Kennedy Center`s Eisenhower Theater in Washington, for a Dr. Martin Luther King Jr. Day/Inauguration eve concert. Marsalis says "Grace Kelly plays with intelligence, wit and feeling. She has a great amount of natural ability and the ability to adapt that is the hallmark of a first-class jazz musician".
If I am at home with a cup of coffee with Irish cream mixed-in, and sitting on the couch watching Hitchcock`s To Catch A Thief, starring Grace Kelly, and at the same time listening to Grace Kelly playing Bill Whither`s Ain`t No Sunshine, and other pieces, I guess you could say I would be in the best of both worlds.
It is truly a joy listening to Grace Kelly. When she plays, you can hear tradition; she knows how to swing. I am impressed with her beautiful tone, which is full and energetic.
Born Grace Chung in 1992, in Wellesley, MA, Grace had a name change due to her mother going through divorce and remarrying, and being adopted by her mother`s husband. Grace began playing saxophone in fourth grade taking private lessons. After receiving her GED, Grace received a full scholarship to attend, and graduate from the Berklee College of Music in 2011, with her degree in music. Grace Kelly has also studied with George Garzone, Lee Konitz, Greg Osby, Jerry Bergonzi, and Allan Chase.
At the young age of 20, Grace Kelly has an impressive resume'. Kelly was winner of the 2008 and 2010 Boston Music "Jazz Artist of the Year"; debuted on NPR Jazz Set with Geri Allen, Esperanza Spalding, Terri Lyne Carrington and Dee Dee Bridgewater; In 2011, Grace performed with the great Phil Woods at Newport Jazz 2011, live in concert; Phoenix "2012 Best Music Poll Winner"; featured in CNN.com "Making of a Prodigy"; named "Alto Saxophonist Rising Star" four years in a row in Downbeat Magazine Critics Poll, in August, 2012. In 2009, trumpet great Wynton Marsalis invited Grace to join the Jazz at Lincoln Center Orchestra at the Kennedy Center`s Eisenhower Theater in Washington, for a Dr. Martin Luther King Jr. Day/Inauguration eve concert. Marsalis says "Grace Kelly plays with intelligence, wit and feeling. She has a great amount of natural ability and the ability to adapt that is the hallmark of a first-class jazz musician".
If I am at home with a cup of coffee with Irish cream mixed-in, and sitting on the couch watching Hitchcock`s To Catch A Thief, starring Grace Kelly, and at the same time listening to Grace Kelly playing Bill Whither`s Ain`t No Sunshine, and other pieces, I guess you could say I would be in the best of both worlds.
Wednesday, March 20, 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: To Teach, Or To Mentor; That Is The Question
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: To Teach, Or To Mentor; That Is The Question: The American Century Dictionary defines teaching as giving systematic information, instruction or training to a person about a subject ...
To Teach, Or To Mentor; That Is The Question
The American Century Dictionary defines teaching as giving systematic information, instruction or training to a person about a subject or skill. That same dictionary refers to mentoring as the act of being mentored by an experienced or trusted adviser or teacher. Are they one in the same, or different? Teaching and mentoring are different, but both are vital, especially now when music students may be choosing music as a career choice, or forced to enter music due to lack of opportunities in other fields and industries.
Music teachers are concerned with the pedagogy of teaching. This makes perfect sense. Teachers, including music teachers provide classes, instructions, and lessons with the use of curriculum guides, method books, and other teaching guides and resources. Music teachers provide a systematic and formal process for seriously learning music that can equip and prepare students with technique and skills to enter the work force as professional musicians. No one can argue the importance and value of music teachers in the music business and profession.
Mentors provide a model, and important information for younger musicians. This is important because information is coming from experienced and trusted practitioners of music. Is mentoring in music overlooked and undervalued? No, I cannot say it is. However, the importance of mentoring must not be understated. I think it is save to say every musician performing professionally (or almost every musician) has been mentored by caring artist who were concerned about the growth and well being of younger players. Ernest Rodgers and Sam Sanders taught me more than eighth notes, phrasing, tone quality, and ii-V7-I changes, they introduced me to other great musicians. Along with my Mother and Father, these men were people I could look to in my journey to growth as a musician, man and human being.
Now it`s my turn, along with those musicians I grew up with in Detroit that are my peers. We are making a difference. Many of us now have former students who are contributing as citizens to our nation. We even have students who have chosen music as their career choice and path. I currently have students I am so proud of, and have bright futures ahead of them. I invite my current and former students to seek me as a mentor.
Although teaching and mentoring are different, they both have important things in common. Both teaching and mentoring is a calling to serve. They both call upon us to pass-on from one generation to the next the music and art that has come before us from previous generations, and to create new art and music to be treasured. We are the culture bearers today, and our students are the culture bearers of tomorrow.
Music teachers are concerned with the pedagogy of teaching. This makes perfect sense. Teachers, including music teachers provide classes, instructions, and lessons with the use of curriculum guides, method books, and other teaching guides and resources. Music teachers provide a systematic and formal process for seriously learning music that can equip and prepare students with technique and skills to enter the work force as professional musicians. No one can argue the importance and value of music teachers in the music business and profession.
Mentors provide a model, and important information for younger musicians. This is important because information is coming from experienced and trusted practitioners of music. Is mentoring in music overlooked and undervalued? No, I cannot say it is. However, the importance of mentoring must not be understated. I think it is save to say every musician performing professionally (or almost every musician) has been mentored by caring artist who were concerned about the growth and well being of younger players. Ernest Rodgers and Sam Sanders taught me more than eighth notes, phrasing, tone quality, and ii-V7-I changes, they introduced me to other great musicians. Along with my Mother and Father, these men were people I could look to in my journey to growth as a musician, man and human being.
Now it`s my turn, along with those musicians I grew up with in Detroit that are my peers. We are making a difference. Many of us now have former students who are contributing as citizens to our nation. We even have students who have chosen music as their career choice and path. I currently have students I am so proud of, and have bright futures ahead of them. I invite my current and former students to seek me as a mentor.
Although teaching and mentoring are different, they both have important things in common. Both teaching and mentoring is a calling to serve. They both call upon us to pass-on from one generation to the next the music and art that has come before us from previous generations, and to create new art and music to be treasured. We are the culture bearers today, and our students are the culture bearers of tomorrow.
Thursday, March 14, 2013
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jam Sessions For The Young
Post-Bop and Avant-Garde Jazz Saxophonist Keith Gamble: Jam Sessions For The Young: Detroit is the ideal training ground for young and inspiring jazz musicians. For the young jazz musician Detroit, and Michigan offers e...
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