Tuesday, May 26, 2015

Cool Gigs with Sinne Eeg


Sinne Eeg
I've had a busy May in terms of playing. I did a Northwest "tour" with my band Theoretical Planets; we did a cool night at Tula's in Seattle, Washington and then rounded back for an evening at Girasole, a venue in North Portland. Then I headed to Europe for a short tour with guitarist extraordinaire Tom Guarna; we did two nights in Rome at Gregory's, one great concert in Muri, Switzerland, and then a nice gig at A-Trane in Berlin. With little time to rest, I went into the studio with my former student and young saxophone phenom Nicole Glover to record her debut CD as a leader; we had a fun two day session at Kung Fu Bakery. In addition to some trio gigs at Jo Bar, I did a house concert and a night at Wine Up on Williams with another saxophone phenom, Rob Scheps. We had a nice trio with Paul Gabrielson on bass; Scheps had me playing piano, drums, pocket trumpet, and on one tune, drums AND pocket trumpet at the same time. (I didn't shy away from the challenge of playing one handed trumpet, riding with my left hand, and transposing a concert chart on Homecoming by Dave Holland, but if you didn't hear it, I'm cool with that. ) On the house concert, we had a special guest named John Moak, an outstanding trombonist who really knocked me out! I also got to play some drums with a nice trio consisting of piano phenom Dan Gaynor, who is one of Portland's most unsung musicians, and Jon Lakey, a great bassist and musician. We had a nice hit down in Eugene at Roaring Rapids Pizza, one of the best places to play in Oregon. Finally, I got to play on a Master's recital at Michelle's Pianos; Melissa Carroll did a great job with her repertoire selection and her performance of some challenging Lennie Tristano and Lee Konitz tunes. It didn't feel like a recital- it felt like a gig! ( Which is what it;s supposed to feel like!)

But perhaps the stand out of the month so far has been two concerts with Danish vocalist Sinne Eeg. I met Eeg in 2008 in a week-long jazz camp in Denmark. We jammed a bit and hit it off musically. We did a tour of Denmark in 2009, and one other hit at the Rochester Jazz Festival in 2011. But I hadn't seen her in a while. She has been staying in Los Angeles recently, so I thought it would be cool to have her come up to Oregon to do some duo playing. We had a really nice concert here at PSU; I think our jazz vocal students were quite impressed.

Sinne Eeg is in some ways a traditional jazz singer; her roots are in Ella Fitzgerald and Carmen McCrae. However, she has been writing a lot of her own music, which not only reflects a more forward looking harmonic sense but is also reflective of her own life, which is what artistry is supposed to be, in my opinion. Furthermore, Eeg has been developing her sense of the blues, which was evident in her " I'm An Evil Girl" performance. There's a maturity in her approach that I'm more impressed with now that we are collaborating again after a few years of hiatus. We also got in our two favorite Bonnie Raitt tunes, " I Can't Make You Love Me, " and " I Ain't Gonna Let You Break My Heart Again."

The day after the PSU concert, Sinne Eeg and I drove to sunny Eugene where we performed at the Broadway House Concert series. Paul and Peggy Bodin open their home to the public for jazz concerts which mostly feature musicians from Eugene but occasionally have some out-of-towners like me and Eeg. These days, the lack of venues and lack of support force people to take matters into their own hands, and I'm always interested in supporting grass roots efforts to keep the music alive and keep musicians working. We sold out the "house" and judging from the attentiveness of the audience, I think we were a hit. Hopefully it won't be another 4 years before I hit with Sinne Eeg again!

http://www.sinnemusic.com/
from the Broadway House Concert


Friday, May 15, 2015

My New Bass Trumpet


Bass Trumpet
Upon arriving back at home in Portland, after a week in Europe, I found a huge box that my wife had put in my office; it turned out to be a bass trumpet which I had ordered from EBAY a few weeks ago. Some of you may remember that I blogged about another ebay purchase, a marching baritone, from a few years ago. The marching baritone was fun, and I did use it a bunch for some home recording; however, it's a heavy instrument, and I didn't end up bringing it out too much for this reason. My bass trumpet is way lighter and just seems more manageable. I'm not really a low brass guy, but I think I could have some fun with this instrument. Bass trumpet is kind of rare, and there are bass trumpets which list for between $2500 to $4000. This Ebay purchase was used for 200 bucks. Some of these bass trumpets are from China. I'm not really sure of the quality; this one seems fine for my purposes. For me it's really about getting used to the embouchure, air, and what we call the "slotting."

Bass trumpets have been used in Wagner's music, but I would say you are way more likely to see a valve trombone than a bass trumpet in jazz. (Still, maybe I can get in the Downbeat poll for miscellaneous instrument.) I decided to post a short clip. Keep in mind, this is really my first attempt. The first valve is a bit slow, and I'm not sure about the intonation, but in general it seems like an ok horn. Maybe I'll become known as " Portland's Best Bass Trumpet Player." Or maybe " The Paul Robeson Of The Trumpet." Maybe I'll do a recording with all bass instruments: bass trumpet, bass clarinet, bass saxophone, bass flute, and .....bass. Oh, and bass drum. Maybe add bass trombone, which is otherwise known as Bass Slide Trumpet......

Tuesday, May 5, 2015

High School Jazz Combos

I just returned to Portland from my third consecutive experience at the Reno Jazz Festival. It's a pretty amazing event; 8,000 students compete over 3 days in various categories of Middle School, High School and College Big Bands and Jazz Combos. It's been held for 53 years at the University of Nevada, Reno. They have a beautiful campus within a short walk of beautiful downtown Reno.
( Ahem.....) Well, I'd be lying if I said downtown Reno was picturesque, although there is a nice park near the Truckee River. Still, it's a great event and I always have fun. (This year, I had fun without alcohol! Yay!) It's cool to talk with other musicians and educators and of course hear some great students. They also have some great guest performers; this year, I got to hear the incredible Vertical Voices, and the amazing SF Jazz Collective. I got to play a jam session with saxophone greats Donny McCaslin and Jacam Manricks. There are a lot of clinics and performances throughout the day; as a judge, it can be just enough to get through the solid two days of judging, so I don't get to hear a lot of what I wish I could have heard.

 I've been one of the feedback clinicians the past three years, the past two for High School Jazz Combos.
( I still hate the word combo, but I reluctantly use it just so jazzers west of the Mississippi know what I'm talking about. It's like saying "Small Coffee" instead of "Tall Coffee" at Starbucks; I just don't have the energy to rebel against their system.) I've heard a wide range of levels coming from these high schools; some of the groups would rival a college group, maybe even a professional group, and others are more at a beginner level. I found this year hat I was able to be positive and constructive with even the most rudimentary groups, and I also was able to find way to improve with the most advanced groups. The "feedback" component of each groups performance is in some ways odd because I believe that the stress of preparing for Reno, traveling by bus or car all the way to Reno, warming up and playing for 20 minutes and being nervous is probably enough for some of these kids; at that point, their energy is spent, and they are ready for some R and R. That's when they head for the "feedback room," and I get to tell them what I liked and didn't like. I find it rewarding, because my goal is never to make people feel bad. ( This year and last, I had a student stand up in the middle of my critique and say, " Excuse me, but I think I'm going to be sick." Both times, it was when I was commenting on something they did. I asked of course, " Was it something I said?" Their fellow students, on both occasions,  said something like," No, they have a stomach bug or something....")

I always try to be positive, but I wouldn't be doing my job if I didn't call it as I see it. Overall, the fact that we still have music in any high school is probably a miracle, and the fact that young people are playing jazz is extremely hopeful. So right off the bat, just coming to an event like the Reno Jazz Festival is cause for celebration. However, I have noticed a few things that it seems like are common issues in high school jazz combos. I say this because I found myself saying the same things over and over during the feedback sessions. Here's a few things:

1. You cannot play small group jazz if you don't listen to jazz. Perhaps that sounds negative. Let's say it a different way; students should have a listening regimen in addition to a practice or playing regimen. In classical music, or playing in an orchestra or wind ensemble, or even a big band,  students are given 90 to 95 percent of the "material," which is that which is on the page; notes, dynamics, articulation, tempo, and so on. Small group jazz is totally different; the written material ends quickly, and at that point, the students are on their own.  In big band, the solo sections are in some ways an afterthought, but in small group, they are everything. Some of the groups were pretty good at playing the melodies of the tunes they had selected, but between the head in and the head out, it was more of a "go for it" approach rather than deliberate jazz phrasing and vocabulary. Believe me, I understand that some of the developing groups I heard are probably satisfied with "getting though the concert." However, if a small group is going to exist, the "material" between the melodic portions has to be addressed in some way. This might sound crazy but I would almost rather that students write out a solo, with the guidance of their instructor, than to just "go for it." The "going for it" approach would be comparable to a stand up comedian going up on stage with no material. Most comedians spend months if not years honing their material. It might take a very long time even to come up with 10 minutes of material. Young musicians need time to "develop their material," so to speak. In some ways, this lack of material it's almost like a classical musician showing up to a concerto competition without any sheet music.

Where does the material come from? Well, as the late great Clark Terry said, " Imitate, Assimilate, Innovate."The jazz language is what the students are learning to speak, and they have to hear it being spoken, as well as learn the theoretical knowledge of chord scales. Will all due respect to how hard band directors in the U.S.A. have to work, I think it's possible to spend a bit of time with chord scale theory appropriate to the selected repertoire. I also think it wouldn't be hard to have some kind of listening time or listening assignments. In this era, no one has to buy records or even go to the library; students can hear s many jazz recording for free on youtube or spotify. Students need to hear the
Clark Terry: " Imitate, Assimilate, Innovate."
language spoken in order to have any sort chance.

One frequent question I asked the students was "Who are your top five musicians on your instrument?" Some had a list, some had less than five, and some couldn't name any. I think having a top five is important in a jazz musicians' development. We have to have heroes. I ALSO recommended that students have a top five on an instrument other than their main axe; jazz musicians need to understand what the other instruments are doing in order to communicate properly on the bandstand. I don't assume that everyone will become a multi-instrumentalist. I would recommend to a young jazz muscian that he take one of his favorite jazz tracks and listen to it all the way through and focus on just the drums. Then do the same thing with the bass, and so on and so forth. I think it heightens the understanding of what the other improvising members of the band are doing. ( I also suspected that when I asked for "your top 5 in your instrument," some of the young musicians in Reno were telling me what they thought I wanted to hear. The top 5 list is actually for YOU, not ME! If you love Oscar Peterson, Bill Evans, Brad Mehldau, Keith Jarrett, and Robert Glasper, that's wonderful. If you said Liberace, Joe Sample, Hampton Hawes, Andre Previn, and Yanni, I'm cool with that, too! I was listening to trumpeters Maynard Ferguson, Harry James, Bunny Berigan,  and Jonah Jones as a kid; they aren't my favorites now, but at least I was listening to something.....

2. The ride cymbal is the most important part of a jazz beat. I would say that almost every other
group I listened to in Reno had the same issue; one a swing beat, the ride cymbal was being accented on 1 and 3, rather than 2 and 4, and the hi hat was being used as a crutch to keep the 2 and 4 prominent. Now, I'm not saying that 2 and 4 have to be super loudly accented on the cymbal, and that you should never play the hi hat on 2 and 4. It's more subtle. To my ears, a strong accent on 1 and 3 on the cymbal sounds less than optimal( i.e. not swinging). Every jazz drummer from Max Roach to Jimmy Cobb to Billy Higgins to Ralph Peterson to  Bill Stewart has a different way of riding on the cymbal. But I believe in all of the great jazz drummers, the ride cymbal beat is what makes them distinctive, and what makes the music flow the best. We can identify jazz drummers by their solo vocabulary around the kit also, but the great jazz drummers were and are in demand because of the feeling they gave the groove of the music, not because of their solos! ( I was on the road recently with
Bill Stewart, and I think we were talking about rudiments, and Stewart said something like, " You might know all the rudiments but if you don't get the ride cymbal together, nobody is going to call you!) So the point is, the ride cymbal has to feel good. Don't worry so much about the rest of the kit; I would rather have the ride cymbal be good than having someone play all around the kit without good time.

3. Please Don't Be Nervous!  I understand that it's normal, especially for young players to get the jitters before and during a performance: especially for a "competition" like Reno. However, I believe that the sooner in your career you can get over the "nervousness" factor ( not nervous as in " excited to play" but a more debilitating nervousness as in " I'm so afraid to go onstage!" ), the more you are going to enjoy making music. My belief is if you are prepared, there is no reason at all to be nervous. This is especially true in jazz, because in jazz, there are no mistakes. ( Philosophically, this is a very subtle area. I don't mean, as one of my Peabody classmates told me after our jazz performance,
" Wow, in jazz you can just play wrong notes and it doesn't matter!" That's different.) " Mistakes" are really just notes that are not the most optimal. It's a state of mind. The less than optimal notes are part of the process. Young musicians at a competition have a hard time slowing down their minds and actually listen to each other, let alone enjoy the performance. The less nervous you can be, the more you will enjoy every time you perform, which will make you want to keep playing and practicing, because you will be practicing so that you can have FUN!

4. Listen to your band mates, not yourself! We tell people to listen, and in small group jazz, listening to each other is imperative. But one of the things that makes people not listen to their bandmates enough is they are too caught up in listening to themselves! If students can focus less on themselves, they can really tune in to the rest of the band, and really get into the groove, rather than tapping their foot and following the chart and hoping that everyone stays together. Also, focusing on others makes you less self conscious, and therefore, less nervous. Sometimes when I'm playing, I just pretend I'm in the audience. That way, I pay more attention to the other musicians. This sort of thing cleans up all kinds of problems- keeping the form, keeping the time, musical interaction, overplaying, etc...

5. Bass players need to have a pro show them how to hold the upright bass. There were so many
Christian McBride has pretty flawless technique
upright bass players that seemed like they had never had any solid instruction from a serious bassist. This might be an issue because many band directors tend to be from the Wind Ensemble side of things. I think it's important because upright bass is one of those things that if it's played incorrectly, one can develop serious tendon problems and it can ruin careers before they have started. If you have a young upright player who seems serious, please refer them to your local professional for at least a lesson or two. I also would add that, while some people really don't like the sound of a bass with a pickup through an amp, having amplification makes for less strain on a bass player. These are just common sense things to me; you wouldn't take a high school student who can bench press 200 pounds and make him try to lift 400 pounds off the bat.

6. There's really no reason why high school students couldn't write and play their own music! I'm always surprised when young jazz musicians tell me that they never write their own tunes. I think if you can improvise on chord changes, you can write at the very least a blues head or a rhythm changes head, or some kind of contrafact( melody over existing changes). Encourage your students to be composers! Composing and improvisation are really the same thing, if you think about it. Don't worry about whether or not your tunes are good. You'll get better as a composer if you keep doing it. If you don't write music, you won't develop your skills and creativity.

"Weren't you guys in the last jazz combo?"
7. It's important to look your best; however, I really don't like the "black shirt with matching ties" look. To me, 10 people with black shirts and matching ties don't look like a band, they look like a team of waiters at a 3 star restaurant in midtown Manhattan. I don't want to listen, I want to order the lunch special. In all seriousness, I'm not super picky on the dress code thing; I think every musician needs to put some thought into their look. If you think ripped jeans and a hoodie is your look, then feel free to rock ripped jeans and a hoodie. However, it might not work for a jazz group that plays Ellington and Basie. Tuxedos is a bit extreme for me; I feel like I'm at a wedding. At the very least, nice casual works, or suits with DIFFERENT ties and color schemes. Maybe big band is different. I personally don't like the idea of band uniforms. (Maybe it's because I worked at McDonald's...)

8. Keep some perspective. I love being a feedback judge because I believe that giving a young group
feedback is essential to their growth. If students are open to constructive criticism in addition to positive accolades, they can hopefully learn something; indeed, why would they submit to a feedback session if they didn't want to learn how to sound better next time? This is our lot as musicians; the learning and growing is never over. The more we can be honest with ourselves, the more rewarding our musical life can be.

I thought that some of the high school groups, especially the ones that brought all of their parents, extended family, friends, and essentially an entourage worthy of a major Rock group, seemed to view the competition almost like it was a football game. I understand the need to celebrate the success of the students, especially after a long drive to Reno, but even so, it's just one twenty minute performance. Music isn't like sports; it's art, it's subjective, and listening to jazz music isn't necessarily going to have a fist pumping moment like when the Junior Varsity running back scores the winning touchdown.

I couldn't help but feel as though some of the groups didn't really want a "critique" so much as a twenty minute celebration of their "greatness." While I like to talk about the good, I wouldn't be doing them any service at all if I just massaged their egos. ( I guess I probably thought I was hot stuff in high school as well, what with my three years of winning the "Louis Armstrong Jazz Award." If you heard me play trumpet in high school, you would probably want to run for the hills!) I couldn't help but wonder what sort of "feedback session" some of the groups and their respective entourages were expecting :

You guys sound great. I mean really great. I mean you guys are the best high school musicians I have ever heard. All of the other groups I've heard today were terrible next to you guys. Most college groups are crap compared to you guys. I wish I could study with you cats, if I'm being quite honest.

I usually suggest that you guys listen to the great jazz players of history, but you guys have clearly already mastered the history and are taking jazz into the 21st....well, maybe even the 22nd century! You guys have broken new ground in jazz. I wish Trane was alive to witness this miracle of musical genius. 

I would offer you guys scholarships, but I think what I should really be offering you is a Full Professor position with tenure and a six figure salary. Everyone in the band gets a University job! Also, I would offer you a recording contract but I don't run a label. But I do have Bruce Lundvall's home number. I know it's late on the east coast, but I'll wake him up; he needs to hear you guys and I'm fairly certain he will offer you a multi-album deal with Blue Note, plus unlimited tour support  and merchandising profits on top of a huge advance which you will never have to pay back.

Oh, wait, sorry, I'm getting a phone call. Hello. President Obama? Yes, they are here.....Guys, Barack Obama has heard about your triumphant performance at the Reno Festival and he is going to award you the Medal Of Honor. You are flying to the White House tomorrow on Air Force Two for a special ceremony. You'll also be given tax-exempt status for the rest of your lives. 

Again, you guys are essentially the greatest jazz musicians who have ever lived. Your performance was essentially flawless. It was the epitome of perfection. You all play like GODS! I'm just speechless. I'm probably going to quit playing music after this and go back to working at McDonald's.

Oh, one last thing.  I did take off a  few points for the black shirts and matching ties.........



Sunday, May 3, 2015

Crescent The Chromatic Bear: Joyce Kwon's Weird Children's Audio Book




Saxophonist Joe Manis turned me on to this video. Vocalist Joyce Kwon has done more than simply learn John Coltrane's solo on his classic "Crescent" recording; she put lyrics to almost every note. It's already impressive that she is making all of the notes and rhythms and phrasing. Her lyrics tell a very odd story, one which I would be more accustomed to seeing in one of my son's bedtime books than embedded within a Coltrane solo. The "Crescent" solo becomes " Crescent The Chromatic Bear:" it's kind of like the famous "Twisted," which is Annie Ross' lyrical treatment of Wardell Gray's tune and improvised solo.


Joyce Kwon's creation on "Crescent" is vocalese on steriods. Or perhaps crack cocaine. There's a lot of technical and creative brilliance in her arrangement, but I wondered as I listened if Kwon was a madwoman. There are a lot of great artists out there and it's always refreshing to find somebody who has the chops but also has that extra artistic gear, when they can tap into that deep place in their psyche and bring their music to that next "insane" level.

Kwon has some other cool arrangements on youtube; she did a "cover" of the Danish-Norwegian pop group Aqua's 1997 mega -hit " Barbie Girl." If you don't know the song, look it up on youtube. Check out Kwon's descent into madness at the end of the tune....


If you still aren't intrigued, check out this microtonal serenade to a poor sense of food combining:




http://www.joycekwon.com/ 

Friday, April 17, 2015

RIP Brent Black

Some of you might remember back in 2011, I posted something about Nicholas Payton's album "Bitches." Part of the article referred to what I believed what was a rather unfair review of Payton's album. The writer of the review was a guy named Brent Black. This blogpost and the extended comments which followed started a huge firestorm between Black and Payton, Black and myself, Black and Dwayne Burno, and had many jazz musicians and fans wondering, "Who the heck is Brent Black?" The controversy died down for a while, and then a few months later , Black randomly posted something derogatory about me. I ended up writing him an open letter as a kind of peace offering. It didn't quite work. I figured that maybe some people weren't worth the trouble.

Then I found out what was really bothering Mr. Black. Turns out that he was dying of cancer. At that point, I figured this man was more to be pitied than to be hated. I know he said some terrible things. Clearly, he was suffering, and knew he didn't have long to live, so he didn't hold back. I donated some money to his fund for his medical bills. All of a sudden he was my biggest fan! He gave me some of the best reviews I've ever gotten.

It's not really about whether Brent Black was a nice guy, or whether he was right or wrong in his opinions, or whether other musicians were justified in being mad at him. I think he was just a human being who was having problems, and that manifested itself in some of his odd behavior. I didn't agree with a lot of Black's opinions, but I just couldn't hate him anymore. There's already enough hate in the world.

I'm glad Black has relief from the physical pain of his mortal existence. Although I have a feeling, wherever he is, he's stirring things up.....

RIP Brent Black


Tuesday, March 24, 2015

Alto Madness: Bob Mover And Steve Wilson

Alto Madness: Bob Mover And Steve Wilson

the great Bob Mover

I consider myself very lucky that I still get calls to play with some of the living greats in jazz. I haven't lived in New York full time for give or take 5 years and a half years, but it appears I haven't been totally forgotten. This month I have had the pleasure of working with two amazing alto saxophonists, both of whom are perhaps underrated and definitely at the top of my list of musicians. If you haven't heard of them, you need to go check them out!

First, I played two gigs with the fabulous alto saxophonist and vocalist Bob Mover. I had met Mover a few times in New York but we had never really played together. We performed with a big band at Lower Columbia College in Longview, Washington ( under the direction of yet another great altoist and Portland State faculty David Valdez), but the real magic was a duo concert at Michelle's Piano in Portland later in the week. Mover is definitely old school; in his youth he spent time with masters Phil Woods, Charles Mingus, and Chet Baker. He knows a PILE of tunes; indeed, as much as I harp on my students to learn tunes, I was definitely out of my league. Mover the saxophonist was on fire, at times resembling Charlie Parker on steroids. But Mover the vocalist had a more sensitive side; he performed a beautiful rendition of " Estate" with the original italian lyrics, as well as a heart wrenching take on "Some Other Time." I, Valdez, and everyone in attendance of the concert agreed that Mover, despite some heath issues, never sounded better. ( It's kind of a shame that there wasn't any spot for Bob Mover at the PDX Jazz Festival. It's also a shame that more people weren't at the concert at Michelle's Piano. But I digress….) It was a great learning experience for me and I'm hoping Mover and I can find more opportunities to work together.








My fortune has continued into Spring Break with a tour of the midwest with alto and soprano master Steve Wilson. Mr. Wilson is one of the preeminent saxophonists in jazz, having worked with everyone from George Duke to Chick Corea. I've known Wilson for over two decades; we worked extensively with bassist Buster Williams for years. This quartet features bassist Ugonna Okegwo and the incredible Bill Stewart on drums. It's a high energy group that can swing hard but also journey to esoteric stratospheres. So far, we've played
Kalamazoo, Cleveland( my former employer, vocalist Vaness Rubin, surprised us by sitting in on Sunday night at NIghttown), and a clinic at Community High School in Ann Arbor, Michigan( we are doing an educational residency here). Our next stops are The Green Mill in Chicago, and Columbia, Missouri. Wilson, Okegwo, and Stewart are at the top of their game. I know I'm technically on stage with them, but I feel more like I have the best seat on the house. It's very inspirational. Maybe we'll see you in Chicago, or Columbia, MO?