Self Promotion?

When it comes to self-promotion, I'm probably the worst of all time. When I booked my Senior Recital at Peabody Conservatory, I didn't even put posters up in the halls; the only people who attended were my parents and some vagrants who wandered into the concert hall looking for free soup. ( I think the vagrants really liked the Hummel Trumpet Concerto, but they did not care for the heavy dissonance of the Hindemith Sonata.) I'm a pretty shy guy, although I've developed more confidence over the years; nevertheless, whenever I think about promoting myself as a musician, I always feel like I'm bragging. "Come down to the jazz club, see and hear how great I am and observe how others think I'm great, also..." Whereas some artists are natural born self promoters, and that gift has lead to their success, I've always put promotion low on my list of priorities. I'd rather practice than send out emails; I'd rather compose 10 new songs that no one will ever hear than book gigs and promote myself so that those 10 songs might actually be heard by an audience! (I hope they never ask me to teach a Business Of Music Class. " OK Class: Music Business. First lesson: FIND ANOTHER BUSINESS! See you next

week....)

I'm trying to come up with ways to promote my UPCOMING PERFORMANCE AT JIMMY MAK'S MONDAY DECEMBER 7th AT 8PM CD RELEASE. I've contacted local press, done some radio interviews, bought a Facebook ad (Lord knows who is seeing these ads) and put up posters( well, a grad student put up the posters.....) But I think maybe I need to do more. I'm sort of brainstorming on how to generate some last minute interest .  Some of my ideas include:

1. Buying a Megaphone and driving around Portland saying " HEY COME TO JIMMY MAK's ON MONDAY DECEMBER 7th AND SEE ME PLAY JAZZ MUSIC!" ( Hmm, maybe leave out the fact that it's jazz. Maybe if I say "COME SEE ME PLAY INDIE ROCK" and then maybe they just won't notice...)

2.  Coordinate my gig with Hanukkah celebrations( The 7th is the first day of this popular Jewish holiday. I could have a Menorah on the piano? Free dreidel when you buy a CD? Oy gevalt...)

3. Coordinate my gig with the anniversary of the bombing of Pearl Harbor. ( I wish I was joking, but most of my students did not know what happened on December 7th, 1941. I think some said, " stock market crash?" Oregon, are you teaching these kids ANY history? I guess December 7th is not currently living in infamy.)

4.  Coordinate my gig with basketball Hall Of Famer Larry Bird's birthday. That might not be a slam dunk- pun intended.

5. Tell all of my students that in order to pass their juries, it is a REQUIREMENT that they have to attend my concert ON DECEMBER 7TH AT JIMMY MAKS 8PM. If they ask why they didn't know about this requirement earlier in the term, I'll just yell condescendingly,  " IT'S IN THE SYLLABUS!" And then hope that they don't read the syllabus.

6. Maybe I can become a famous Hollywood actor by next week, and then use my fame to promote my gig! I don't know, that's been done, I think.....

7. Promote the show by touting " special guests": jazz stars like Chick Corea, Herbie Hancock, Keith Jarrett, and McCoy Tyner. Then, when Chick , Herbie, Keith and McCoy aren't there and people complain, just say something like, "Oh, their flight was delayed," or " they locked themselves out of their car," or " their babysitter never showed up." This actually just might work.

8. Maybe tell people that we'll show clips from " Chappelle's Show" between songs. This also might actually work...

Spiro Agnew: One of the worst Vice Presidents,

 but very underrated 

as a composer

9. Bill the concert as " A Tribute To Spiro Agnew." Let me ponder that one...

10. Call Fred Armisen and Carrie Brownstein and tell them to mention my gig on the next Epidsode of "Portlandia." Hopefully it airs before next Monday.....Does anyone have their phone number?(Armisen is a drummer, maybe he will come down and sit in...)
 

At the very least I can post the fact that I'M PLAYING AT JIMMY MAK'S ON DECEMBER 7th AT 8 FOR MY CD RELEASE FOR "WRITE THEM DOWN" as much as annoyingly possible on Facebook. But, as all good advertising people know,  I need a good SLOGAN for my gig. What should it be?

" No Taxation Without George Colligan's CD Release at Jimmy Mak's"
"Proletariat Of The World, Go To Jimmy Mak's on December 7th and Unite!"
" Tippycanoe and George Colligan's CD Release, Too!"
"Ma? Ma? Where's My Pa? Gone To Hear George Colligan, Ha Ha Ha!"
" The Best Part Of Waking Up Is George Colligan's CD Release"
"54-40 or Go To George Colligan's CD Release at Jimmy Mak's!"
"George Colligan: The Pause That Refreshes..."
"George Colligan: Good To The Last Sixteenth Note..."
"Ask not what George Colligan's CD Release at Jimmy Mak's on December 7th can do for you.....Ask what YOU can do for George Colligan's CD Release at Jimmy Mak's on December 7th"
"Sic Semper Colligan...."
" Genius is 10% inspiration, and 90% GOING TO GEORGE COLLIGAN'S CD RELEASE AT JIMMY MAK's"
" We have nothing to fear but fear itself. ALSO, PLEASE GO TO GEORGE COLLIGAN'S CD RELEASE AT JIMMY MAK's ON DECEMBER 7th"

I think some of these are stronger than others. I'll tinker with these and let you know which one works the best. Maybe I should have been in advertising.......

How Loco for a Jam Session? Loco Loco for a Jam Session!

Back in the 90's, I led the Sunday night jam session at Twins Lounge in Washington D.C. I was a sub for bebop pianist Peter Edelman. I was right out of college, and I had never been in that sort of position before. This was a serious East Coast type of jam session: where cats came out to seriously play difficult tunes, fast tempos, and basically wail on as many choruses as possible. It was not rare to have 25 horn players on one song. I used to BEG cats;" OK, this is the last tune, everyone take ONE CHORUS!" No one listened to this 22 year old punk! Everyone played as long as they could, and the tune would stretch into the wee hours. That happened every week for a few months. It was a great learning experience for me.

I haven't led a regular jam session since then. However, beginning this evening, I and vocalist Jeff Baker are hosting what we hope will be a regular jam session in Portland. It's at a place called Loco Loco (1728 SW Broadway, very close to Portland State University), which has (you guessed it) great Mexican food and drinks of many nationalities. It is ALL AGES. The jam will be 7-9:30. We shall see how it goes.

I have to hand it to Professor Baker, who basically walked in and asked the owner if we could host a jam. I actually believe that there are many venues in Portland that would be great for music, but no one has taken the initiative to ask about it. I think we need to be proactive in terms of making gigs happen, and not just wait for someone else to do it. That's of course easier said than done. I've never

Jeff Baker

actually done anything like that. However, Baker's efforts have inspired me. (By the way, there is a cool article on Baker in the PSU Vanguard that came out yesterday.)

When I first arrived in Portland and began teaching at Portland State University, what we refer to as the Area Recital was essentially a not-so-well organized jam session. We have gradually shifted the Area Recital into a weekly performance and masterclass series. It's been really wonderful, however, I do believe that a weekly jam session is important as well. I have much respect for Portland's own, drummer Ron Steen, who has been running jam sessions probably since I was in middle school. I think a jam session has to be organized and has to have a balance of exclusivity and inclusiveness. It should NOT be everyone jumping up at once plowing through a blues, and it should NOT be totally elitist, where only the favorites get to play. This will be a challenge, especially with such a short time frame to work with. Having a Sign Up Sheet will probably help.

We hope to see you tonight and let's hope this will be the start of something good!

TONIGHT! My New Steady Wednesday Gig at Jo Bar And Rotisserie 5-8

When I began my piano career in Baltimore and Washington D.C. back in 1988ish, there was a plethora of what we refer to as the "Steady Gig." Indeed, I basically learned how to play jazz piano because I lucked into a Friday and Saturday gig at the Hyatt Regency in downtown Baltimore. Even when that gig ended (because another group came in and undercut us), I still managed to have a bunch of regularly occurring gigs in the area. (I even had a 6 night a week gig at the Watergate Hotel with the late vocalist Pam Bricker.) Although freelancing in any field has it's severe financial ups and downs, having the steady gig makes looking at the upcoming calendar a whole lot easier. Alas, when I moved to New York, I was never able to secure any sort of weekly gig in the Tri-State area; I was only able to make a living by touring Europe and Japan with bands such as Cassandra Wilson, Gary Bartz, Buster Williams, and Don Byron. ( Yes, what a drag!) Ok, I jest; it can be great to go on the road, but there's nothing like a steady gig to call home.

If you ever talk to older jazz cats, you might hear more about gigs that went on for years, or even 7 sets a night! 7 sets! That's a lot of music. (I wonder if some of my students, given the tunes they know, could get through ONE set, let alone 7!) I keep saying that the best place to learn jazz is on the bandstand; unfortunately there are very few "bandstands" left in the world, especially ones where you can meet once a week, let alone 6 nights a week for 6 months.

tours where they would play one club for 6 months at a time. This is why these bands sounded so amazing; they were playing ALL THE TIME! How can you not get better? Many of these gigs were longer than today's gigs; there's some poster someone showed me where it said something like "Joe Henderson/Woody Show 7-2AM." Can you imagine? Pianist and Philadelphia native Billy Colucci told me when he played in Atlantic City in the 60's, they played 7 nights a week 

Well, good NEWS, everyone; out of the blue, a young man named Michael Gibbons emailed me and asked me if I would be interested in a regular Wednesday gig. Gibbons is the owner of Jo Bar and Rotisserie, one of the best restaurants in Portland and a successful business for 20 years. I was flattered , and I decided to meet with Gibbons. After enticing me with green tea and sorbet, I had to agree to an engagement. We decided that Wednesdays 5-8 would be a great time to give it a try.

So there you have it. Our first gig is this evening. I want to feature different rhythm sections every week for a while; this week bassist Miranda Williams and drummer Jon Huteson will be joining me on the "bandstand." Come down and listen; if you are a musician, and you have your axe, I might let you sit in, if you bring me a Valentine's Day gift! See you at 715 NW 23rd Avenue (503 222-0048).

https://www.facebook.com/jobarpdx

TONIGHT! Darrell Grant presents "The Territory" at The Jazz Standard

If you live in New York City, and you love music, and good food, you have probably been to the Jazz Standard(116 E 27th St between South Park Ave & Lexington Ave). If you can make it, TONIGHT at the Jazz Standard is a special performance by a great pianist and one of my colleagues at Portland State University. His name is Darrell Grant and he is presenting "The Territory," a large scale jazz work for which we won a Chamber Music America grant.

Not only is the music amazing, but the all star line-up, a mix of famous New Yorkers and top level cats from Portland and elsewhere, guarantees an exciting night. No doubt you know Joe Locke on vibes, Steve Wilson on alto, and Brian Blade on drums, and of course Terrell Stafford on trumpet. Bassist Clark Sommers is one of Chicago's top musicians.  Vocalist Marylin Keller, a Portland resident, will mesmerize you with her deep contralto. Charles Pillow on bass clarinet(on the faculty of Eastman) and cellist Dorothy Lawson (an incredible virtuoso) round out this stellar ensemble.

Not only did Grant win a competitive and prestigious CMA grant, but he successfully funded his campaign for extra travel funds(which are obviously extensive with all these people in the group). It's wonderful that this performance is going to happen, and you can see it for only 20 dollars! That's bargain basement, considering the musicians involved. My colleague Darrell Grant lived in New York for years before he made his way west to teach at PSU; this night is his first performance in New York in 13 years. You should not miss this! I don't care how cold it is, or how much a taxi costs; go see this gig. I mean, you could stay home and watch American Idol, but that would make you a terrible person! GO SEE THIS GIG!

Kickstarter

Here is a link to a video of some of "The Territory."

A Christmas Miracle: My Review in the New York Times

I'm still in shock; I recently found out that my CD, "The Endless Mysteries"(Origin Records) was reviewed by Nate Chinen in the New York Times. Furthermore, it turns out it's a really positive review. It seems like most of the reviews have been positive far, but this is a little bit different. The review in the Times is potentially important for a number of reasons. First of all, it's very hard to get the attention of the Times, and with all of the jazz musicians in New York, there is certainly no shortage of material that deserves to be written about. Secondly, I have noticed that certain artists seem to get a little bump of legitimacy after a Times article.( Now, if I were to get a feature article by either Chinen or Ben Ratliff, I would be planning a world tour.)Thirdly, it's THE NEW YORK FREAKING TIMES. (Even my accountant saw the review!)

Whether or not this review is a game changer for my career is unknown; as I said, a weighty piece in the paper of record has helped many artists to get more recognition. I'm hoping that this, as well as a forthcoming feature in Downbeat, will give me a boost with promoters and bookers. However, it might just mean bragging rights and not much more. The jazz business is still tough. I am still very pleased, and hopefully, all of this will at least be promotion for my New York CD release at the Jazz Standard on April 30; at this writing, the band on the recording (DeJohnette and Grenadier) has agreed to make the date.

In case you missed it, here is the review:

GEORGE COLLIGAN“The Endless Mysteries”(Origin)

One of the finer piano trio albums of 2013 —  released too late in the year, or on too small a label, to make a dent in the critics’ polls —  is George Colligan’s “The Endless Mysteries.” It’s a program of original compositions, most of them sensible and sturdy. And because it was recorded in a few hours with no rehearsal, it’s the product of rough-and-ready postbop expertise, rather than the lived experience of a steady band.

At least, not any band led by Mr. Colligan. A pianist of deep harmonic and rhythmic assurance, and sideman credits all over the map, he works here with the bassist Larry Grenadier and the drummer Jack DeJohnette. Each is a long-running member of another piano trio: Mr. Grenadier has been in both editions of the Brad Mehldau Trio, going back nearly 20 years; Mr. DeJohnette has spent the last 30 with Keith Jarrett.

Whatever the sum of all that experience is, Mr. Colligan made it work for him. Some of his pieces on “The Endless Mysteries” seem designed for these specific partners, especially Mr. DeJohnette, in whose band he has played. “Song for the Tarahumera,” a scrappy modal tune, becomes a roiling drum incantation. “Liam’s Lament,” a beautifully restrained ballad, features empathic rubato work by Mr. Grenadier. (It also features a theme played on melodica, an instrument that Mr. DeJohnette has favored on his own albums; I had to check to be sure that it was Mr. Colligan doing the playing.)

Mr. Colligan, who turns 44 next week, favors an earthy, assertive style, putting him in a lineage that includes McCoy Tyner, John Hicks and Mulgrew Miller. But he has other affinities, as he shows in a pair of spontaneous inventions provoked by the school shooting in Newtown, Conn., which claimed the daughter of a friend and sometime band mate. “Thoughts of Ana” is a softly chiming solo reflection, with a touch that brings Mr. Jarrett to mind; it leads into “Outrage,” which borrows a page from the Cecil Taylor playbook.

None of these moves feel calculated or rigid, because Mr. Colligan and his partners work so fluently. And while some titles sound like the sort of exhortations that Mr. Colligan might use with his students at Portland State University in Oregan —  see “It’s Hard Work!” and “If the Mountain Was Smooth, You Couldn’t Climb It” —  he doesn’t seem to be straining in the slightest. He’s past that point by now. NATE CHINEN

 

Mike Clark at Jimmy Mak's in Portland!

If you live in Portland, Oregon, or live anywhere near Portland, tomorrow night is a great opportunity to hear a legend: drummer Mike Clark is coming to PSU and Jimmy Mak's! From 2pm to 4pm, Clark will do a clinic in Lincoln Hall 47 for PSU jazz students, and then at 8pm, he will be performing at Jimmy Mak's in the Pearl district. The group will include your truly on piano, Nicole Glover on tenor saxophone, and Jon Lakey on upright bass. Although Clark is known as an Oakland School of Funk drumming extraordinaire, we are going to play mostly straight-ahead jazz and maybe throw in a few funkier tunes as we see fit.

This gig is important for a number of reasons. The first is that I am somewhat of a beginner at planning events like this. Bringing in a guest artist, regardless of whether they are well known or unknown, is a lot of work and organization, which of course takes me away from all of my principal responsibilities. This is kind of a test to see if this sort of thing can be a positive experience, because I'd like to do more in the future. Secondly, it's important because it gives two of my best students, Nicole Glover and Jon Lakey, a chance to grow through playing with one of the masters. This is the best way to learn as a jazz musician, and history proves this. Sure, an academic program can teach a lot of skills, but there is no substitute for the experience of being on the bandstand trying to hang with more experienced musicians. In my opinion, Portland and many other scenes need more integrated bands; young musicians can learn from the older cats, and the older cats can be inspired by the younger cats.

I hope to see you tomorrow! Please come and not only hear great music but support live musicians, both legendary and up-and-coming. If you aren't familiar with Mike Clark, here are some you tube clips which might pique your interest:

California Here I Come

Now that the spring term is over at Portland State University, I get a little break. My break is in the form of a tour of California! Well, it's three performances. Does that count as a tour?

It's in two different cities: San Diego and Los Angeles. My first stop is at a venue called the Athenaeum in La Jolla. They have an ongoing jazz piano series which I am honored to be a part of. (By the way, San Diego is home to one of the greatest jazz pianists alive, Mr. Geoffrey Keezer.) I will be playing trio with bassist Hamilton Price and drummer Steve Hass. I have never met or played with Mr. Price, but he comes highly recommended( he had a lot of positive ratings on Yelp.com.....). Steve

Hamilton Price

Hass and I worked together a bunch many years ago; we played together with tenor saxophonist Ravi Coltrane, and also did a short tour with vocalist Janis Siegel. He also recorded with me on a CD called Live at Blues Alley which is still available! We have planned to play some original music of mine, but we might throw in some standards as well. I'm also bringing my pocket trumpet for some comic relief. (I'm amazed at how much attention I get when I play the pocket trumpet. People are always coming up to me after the show and saying, " What kind of trumpet is that?" No ever says I

Steve Hass

sounded good, but I think that the oddity of a tiny trumpet really distracts from how bad I sound on it. Wait until I buy a RED pocket trumpet! That will really distract them....)

After two days off in San Diego, I'll drive up to Los Angeles for more music. On June 19th, I will perform a short late set at ArtShare with drummer Tina Raymond. Miss Raymond is a former student of the great Joe LaBarbara has been highly active on the LA scene for a number of years. We are going to play duo(piano and drums) and the set will be mostly improvised. I've never played with Raymond, but I've been checking out her playing on her website, and I think it's going to be a momentous musical meeting.

Tina Raymond

On Thursday, June 20th, at 8pm in Studio City, I will be performing at Vitello's with a fabulous quartet. Hamilton Price and Steve Hass will be joining me again; we will be adding the great Bob Sheppard on tenor saxophone. I've enjoyed listening to Sheppard as a member of pianist Billy Child's band; I'm looking forward to hearing him play my music. I think this is a seriously heavyweight band and I hope that jazz fans in LA will come out

Bob Sheppard

and check it out! Hope to see you there!

(P.S. Here are some youtube clips of Steve Hass and I playing together. One is from my recording "Live At Blues Alley" featuring bassist David Ephross. The second is from a recording with Ravi Coltrane. Enjoy!)

Theoretical Planets This Friday at Shaker And Vine

Before I got serious about playing jazz piano, I was more than curious about the drums. I played with some bands in high school; even during my first year at Peabody Conservatory as a trumpet major, I considered switching to drums and transferring to the New School. Who knows what would have happened in such an alternate universe! Although most folks know me as a pianist, I've kept my interest in the drums and every once in a while, I get a chance to play drums in public. I don't get to practice as much as I would like, but I just try to be musical. Over the years, I've had the fortune of playing with many great drummers(Jack DeJohnette, Lenny White, Cindy Blackman, Terri Lynne Carrington, Ralph Peterson, Rodney Holmes, Bill Stewart, Billy Hart, Al Foster, Dave Weckl, Ari Honeig, E.J. Strickland, Donald Edwards, Quincy Davis, Rudy Royston, Billy Drummond, Billy Kilson, Jimmy Cobb, Carl Allen, Louis Hayes, Jeff Hirschfield, Tyshawn Sorey, Gene Jackson, Jeff Watts, Dennis Chambers.....just a few off the top of my head...), so I've gotten opportunities to absorb a lot of great ideas from drummers.

This Friday in Portland, at a venue called Shaker and Vine, I will be presenting a new band of mine called Theoretical Planets. This group features my drumming and compositions, but also a number of talented young musicians from the Portland area. On tenor saxophone is Nicole Glover, who is really developing fast as a soloist. I predict great things from her in the future. Another phenom is Jon Lakey on bass. He's also a multi-talented multi-instrumentalist. The youngest member of the band, Aaron Riehs, still in high school, is a great alto saxophonist and composer. An alum of the Thara Memory American Music Program, he's already on his way to great things.

We had our first performance recently at the Camellia Lounge. Below are two youtube clips. The first clip features a tune called "Moment To Spare," which is a heavily mixed meter challenge. The tune is inspired by some of Ralph Peterson's music, and the drumming is obviously indebted to my love of Peterson's drumming aesthetic. The second piece is from Ornette Colman's record "New York Is Now": the tune was transcribed by Nicole Glover and it's called "Garden Of Souls." Get a taste of the band and then come see us live this Friday at 8pm at Shaker and Vine(2929 SE Powell in Portland). It's only 5 dollars; come on people, it's so cheap! In New York, you'd have to pay at least 10 dollars to see this group!

http://www.shakerandvine.com/contact.html

TWO CONCERTS! Tonight and Tomorrow at PSU

Farnell Newton

I've been enjoying my time with the various ensembles I work with in the Portland State University Jazz Program. This term, we benefited from the PDX Jazz Festival giving us additional opportunities for student performances. We had many groups perform at Ivories as well as the PDX Student Stages on the PSU campus. It's great to get the students performing in real situations.  Additionally, I invited some of our ensembles to perform for my Jazz History class. I think it was good for the jazz students as well as the history students.

Tonight and tomorrow(March 11 and 12) our cup runneth over; we will have TWO performances by our ensembles on the campus of PSU. Tonight's concert will be in Lincoln Hall 75, and feature three different groups: the PSU Salsa Band(directed by trumpeter and PSU alumni Farnell Newton), the Guitar Orchestra (directed by one of our Master's degree students, guitarist Corey Hoeppner), and the Portland State Jazz Saxophone Ensemble(directed by yours truly...). I have heard the Salsa Band, and they are impressive; Newton has done a great job of teaching them the traditional rhythms of Latin Jazz. He also sits in with the band on congas! Similarly, I will be playing piano with the Saxes; they've done  lot of performing this term and they are steadily improving. We are doing a number of great McCoy Tyner tunes and Herbie Hancock tunes, as well as a few tunes arranged by our tenor saxophonist Tristan Weitkamp. Tonight's concert is free and begins at 7pm.

Darrell Grant

Tomorrow's concert is in Lincoln Hall 175. The groups performing will be the PSU Nonet(directed by Assistant Dean of the College of the Arts and famed pianist Darrell Grant), the Park Avenue Group(which I direct and play in) and the Guitar Heroes(which I direct...and occasionally sit in on drums). The Nonet has some of our strongest players in the program, as does the Park Avenue Group. The latter group has done a lot of performing this term, and even more playing without me; tenor saxophonist Nicole Glover, bassist Jon Lakey, and drummer Jon Huteson have been playing every week at the Brasserie Montmartre, which means they know how to groove together. The Guitar Heroes are playing many of my songs, and they also know how to groove together, as well as come up with some cool guitar effects using pedals and so forth. This concert also starts at 7pm and is free and open to the public.

I'm leaving you with some clips from a recent performance of the Park Avenue Group from the PDX student stages. The sound isn't optimal, but it might give you an idea of the great things we are doing in the Portland State Jazz Program. Hope to see you tonight and/or tomorrow!

Kerry Politzer/George Colligan Double Bill March 9th 8pm Camellia Lounge

Pianist Kerry Politzer

Tomorrow night, Portland is in for a treat: two New York jazz musicians for the price of HALF of one. (Or maybe a third or fourth of one, considering how expensive it usually is to hear live music in New York City.) This Saturday, March 9th, at 8pm, at the Camellia Lounge
(510 NW 11th Ave, click here for tickets) for 5 DOLLARS(I don't know, maybe that's a lot of money for Portland but you could probably find 5 dollars IN YOUR COUCH CUSHIONS), you can hear the wonderful pianist, composer, and mother of my son, Kerry Politzer. Kerry doesn't get to play often; she's mostly taking care of 3 year old Liam, freelancing as a writer, or doing schoolwork(she's pursuing a writing degree at Portland State University). However, Kerry is so profoundly talented that she needs little effort to bring technical flair and creative brilliance to the keyboard. Joining her tomorrow night will be the great Eugene native Chris Higgins on bass and George Colligan (yours truly) on drums. Kerry will begin the night.

Second set will be something completely different: I will be performing as a singer-songwriter for the first time in my whole life. (Some of you are probably thinking, "What the Freak?") Yes, I've been working on songs with lyrics since 2010. I started by setting some of my sister Dana's poems to music. Eventually, I became confident in my own lyrics to set them to music as well. If you've been following my blog, you might be aware that I've done projects where I used other vocalists to perform my songs. (I'm still working on an album featuring vocalist Debbie Deane. I hope it will come out later in the year.) Although it was amazing to have other singers, really trained vocalists, perform my music, it's actually easier if one sings one's songs oneself. (Say that three times fast...)

During the fall, I was on the road in Europe for a few weeks with the Jack DeJohnette group. Instead of spending my time watching the news in German or reruns of "The Cosby Show" in Norwegian, I spent any down time either running or writing songs. So I have a stockpile of new tunes. Tomorrow night, I will present a small sampling of fresh material. It's not really straight ahead jazz, per se, however, it's jazz influenced and there will be some kick ass grooves and solos.

Helping me out will be two of my top students at Portland State University. Jon Lakey, who will play electric bass, is actually a very talented acoustic bassist, pianist, vocalist, and occasional drummer. Brandon Braun is a very precocious drummer, and has endless potential as a musician. I'm very excited about this gig and I hope you will come by and hear for yourself.

I must admit that I'm not the most accomplished vocalist; however, I have been studying with a wonderful voice teacher in Portland. His name is Daniel Weiskopf and he teaches a method called "Speech Level Singing." It's actually done wonders for me. Weiskopf is highly trained in this method and he's very focused during the lessons. He's also a great musician himself; he has a band called Age Sex Occupation that's done some touring around the U.S.

Hope to see you tomorrow. Come on, y'all, FIVE DOLLARS? Plus, Camellia Lounge has great tea and food. What else are you going to do on a Saturday night? That's right, come to my gig......See you then.

Vocal Night featuring Jeff Baker at PSU LH 75 Monday December 3rd 7pm

As you might know, I was added to the Jazz faculty of Portland State University in 2011. This fall, we added another new jazz person: Jeff Baker. Mr. Baker is one of the best vocalists on today's jazz scene, and is also an energetic and highly skilled teacher. He's got a great deal of enthusiasm for jazz. We are extremely lucky to have him here in Portland. I scheduled a concert at PSU this Monday night in Lincoln Hall 75 so that we could get to hear Baker and get to know him a little better. I sat down with him to do a short interview, to also get to know about Jeff Baker a little more.

GC: What are some of your earliest memories of music? Are your parents
  musical? When did you know that you wanted a life in music?

JB-Music was one of my very favorite things to do growing up.  My parents weren't really musical, but both my grandmothers were.  And we went to shows, and concerts all the time as a family.  I sang in church choir, took Yamaha piano classes, went to music camps, etc.  But I also really enjoyed playing sports (although I wasn't as good at them) ha!  It wasn't until I was 16 years old, standing on stage at the Lionel Hampton Jazz Festival as the winner of the Festival Solo Competition that I really realized that music, and more specifically jazz was what I wanted to do in life!  I remember everything about that experience.  Elvin Jones was playing drums in the All Star band, grinning at me the whole time.  I botched the bridge to 'I'm Beginning to see the Light',  and I was using a diamond shaped AKG microphone.  I'll never forget that 5 minutes as long as I live.

  GC: Who are your biggest musical inspirations? Are you influenced by
  instrumentalists as well as vocalists?

JB-Actually, it was a couple years before I even became aware that you could SING jazz.  I'd gotten a hold of this Dizzy Gillespie album I think it was either 'Live at the Vanguard' or 'Birk's Works' from like 1957.  And I listened to it, and thought that music was completely amazing.  I taught myself to sing those lines, kind of transcribing I suppose, but not exactly?  It wasn't till a couple years later I heard vocalist singing that same stuff.  I was so excited!  But even then, I gravitated towards singers like Chet Baker, Who had a much stronger instrumental sensibility to their singing.
  I also had the incredible joy in life to meet, perform with, and know the late Gene Harris.  He was an amazing man, and an incredibly generous musician.  I don't know very many artists that can make people FEEL as good as he could playing the piano.  Ive listened to the Ray Brown Trio records with Gene playing piano as much as any single recording I own!
 In terms of singers, I've always been drawn towards specific characteristics of a singers style, and not necessarily what genre they're performing.  Eva Cassidy, Joni Mitchell, Mark Murphy, Betty Carter, Johnny Hartman, and of course Portland's treasure Ms. Nancy King are my Mt. Rushmore of vocalists.

  GC: How does Boise, Idaho compare to Portland? In terms of the jazz
  scene or anything else?

JB-Portland is an city that's alive in way very few other places I've been can match.  There's a unique energy and sense of community here that I've never seen.  Boise is an amazing place!  I love my hometown, and always will.  as far as the scene in Boise, there were a handful of players as I was growing up, guys who ended up there for one reason or another who set a great example to younger musicians of taking care of the music.  Honoring the craft.  Some are even still around the area, like my friend Saxophonist Brent Jensen.  the guy is a world class musician, who just happens to live in Idaho.  But in Portland, there are SO MANY extremely talented, and uniquely compelling artistic voices.  In the span of a week earlier this fall, without walking more than one mile from my house, I was able to go see and hear YOU (George Colligan) Randy Porter, Tom Wakeling, Nancy King, Steve Christopherson, Jason Palmer, Ezra Weiss, John Nastos, David Valdez, Todd Straight, and on and on and on!  I started on a Saturday, went almost every night, and heard amazing music, after amazing music.  Night after night!  And I don't even have the time to list all the other cats that are SO killing!  My point is, it isn't like this everywhere.  The Darrell Grant's of the world don't live in every town!  Don't perform in every town.  These guys are in Portland.

  GC: What are some of your philosophies as a jazz educator? What do you
  think  are your strengths as an educator? Did you always have an
  interest in teaching?

JB-My main philosophy about teaching really has to do with helping young artists to realize that learning is a forever kind of thing.  It doesn't have an end point.  Doesn't have a moment of 'oh, I'm finished.'  Learning doesn't resolve.  Life doesn't resolve.  Jazz doesn't resolve.  They EVOLVE, move, change, and grow.  So we have to understand exactly what moment were in!  Why it's important.  Why the information, or concept, or lesson I'm dealing with matters.  It's not to pass a test, or get a certain grade.  Its to prevent us from standing still.  From being stagnant.  Learning allows us to stay in the continuum.  To grow and adapt with what's around us.  And jazz is SO important, MUSIC is so important because as we're moving through life, as humans we need  a way to express what were feeling and seeing!  We take in all this stuff, information, knowledge, emotions, etc.  that stuff has to go somewhere!  It has to come out using our perspective, through our creative expression.  So....to put it more simply, I know that by teaching someone how to do something new, or about something new, I've given them a new way to express their own perspective.  I've given them another tool, another color in their palette.

  GC: What are your biggest accomplishments as an educator? As a performer?

JB-I've been extremely blessed to work with and mentor some incredible young artists.  Many of them are all over the country, working on their craft, and expanding their skill set.  I'm always so proud when their new professors and teachers contact me to tell me how incredible my students are, and how they are uniquely dedicated and devoted to serving the music, and the people around them.  To me, that's what this life's all about.
I was also humbled to have two of my students named as the Downbeat Magazine High School Vocalists of the Year in 2010 and again in 2012!  Additionally, vocal jazz ensembles under my direction were three time finalists at the Monterey Jazz Festival Next Generation Competition, were invited to perform at the Montreux Jazz Festival in 2011, and were three time Downbeat Award Winners, being named the Outstanding High Vocal Jazz Ensemble in 2012.
As a performer, I've played festivals and clubs throughout the U.S. and toured Central Europe and South Africa.  I've shared Festival billing with renowned jazz artists like Kenny Werner, the Yellow Jackets, Mose Allison, Bobby Hutcherson, Henry Butler, Gene Harris, Joe LaBarbera and many others.

GC: What should we expect at the concert this Monday?

JB-You tell me!?  It's your gig, George!  Just kidding.  I've always taken The approach of trying to honor this music in whatever artistic choices I make.  I really enjoy taking beautiful songs, many if which that have been around for a very long time, and introducing them into a new musical context.  Hopefully listeners Monday night will be treated to a unique musical perspective, and come away having been reintroduced to some of jazz musics best repertoire in ways they hadn't thought possible.  Who knows maybe I'll even give people a new 'favorite version' of a song they'd heard 100 times before?!.  That'd be very cool!

http://jeffbakerjazz.com/

George Colligan Quartet Featuring Debbie Deane December 22nd At ShapeShifter Lab in NYC

 Newsflash: I will be performing in New York in December! Yay! December 22nd to be exact. This is a special project featuring vocalist Debbie Deane. If you've been following my blog, you might remember that we did a duo tour of Japan last December, and then we had a nice gig at the Jazz Standard in April, as well as a nice duo gig in Baltimore at An Die Musik. We also had a good gig at the Jazz Gallery and a great house concert in Princeton Township. This is another episode of this project, which is mostly my originals, with lyrics either by me or by my sister, Dana Colligan. Filling out the band will be Lonnie Plaxico on bass and Donald Edwards on drums. 

Shapeshifter Lab

The gig will be at the brand new ShapeShifter Lab, a wonderful space in Brooklyn (18 Whitwell Place, between 1st street and Carroll Street, in Park Slope) which is run by bassist extraodinaire Mathew Garrison. This has become one of the hot spots for creative music in New York. If you haven't been there already, this is a great opportunity to check it out.

Since I'm gearing up for this concert, I thought it would be a good opportunity to interview Deane so that my readers can know a little more about her. As she says below, we have recorded many tunes for a CD to be released in the hopefully near future.

GC: Describe your earliest musical memories.
DD: My parents didn't play much music around the house, even though they went to the opera and NY Philharmonic religiously. But my 2 older brothers did, and they had a huge influence on me. My earliest musical memories are of going into my oldest brother David's room when I was 5 or 6 and listening to Jethro Tull's Aqualung, George Harrison' s All Things Must Pass, The Woodstock album ("Give me an F, GIve me a U, Give me a C, GIve me a K!!! That was very exciting to hear as a 6 year old). When Carole King's Tapestry came out, I vividly remember dancing to it alone in my room. 

GC: How did growing up in Brooklyn affect your musical development? 

DD: Growing up in Brooklyn enabled me some freedom to be a city kid and take the subway around town starting in 6th grade. (Would I let my kid ride the trains at that age these days? Not quite sure!)

I would say being able to experience live shows and the events NYC had to offer had the biggest influence. Just feeling all that energy. 

The Broadway shows Annie and A Chorus Line were huge influences for me and my tween friends. 

Let's see, here are some highlights: 

When I was 10 years old, I went into a record store and randomly put on some headphones at a listening station. It was my very first headphone experience. Weather Report's Heavy Weather was playing. That was life-changing.

My brother Steve and I took the subway to Madison Sq Garden when I was in 8th grade to hear Neil Young on his Rust Never Sleeps tour. Amazing.

In 9th grade, Chicago was my 1st outdoor concert at The Pier at 42nd St. All those horns! We were in the 3rd row and got totally baked. Magic. 

In 11th grade, a friend took me to the Palladium to hear Jeff Beck on his There and Back tour. A pivotal moment to hear instrumental rock/fusion played so well. 

GC: When did you know that you wanted a life in music, which might be contrary to a degree from Harvard?

DD: I went to Harvard, and while I loved the college experience of meeting people from all over the country, I was quite lost.  I had taken piano lessons from age 6 through high school and reached a pretty proficient level with classical music, also playing some pop tunes, some Joni Mitchell, etc...I did a lot of singing in high school in the chorus and musicals, but had no connection to music at Harvard, and I was missing it. My childhood camp friend Laurie Geltman, who was at Boston University at the time,  told me about Berklee College of Music.  We both decided to take a year off and go there. So I took a year off from Harvard after my sophomore year, went to Berklee and it was the beginning of my life change, but I didn't quite know it yet. 

I did 3 semesters there as a piano major. I went to every recital, every performance--I was a sponge and completely musically unformed. I had much work to do. All the Europeans and Japanese students  opened up a new world for me there as well. 

I ended up finishing my last 2 years at Harvard, majoring in English while taking my piano lesson at Berklee once a week with Craig Najjar, who became my mentor. I spent more time in the practice room at Harvard then studying, and I coasted by. But I am very happy I finished Harvard. At that point, I just wasn't sure of my path. I was just trying to play the piano, and learn the jazz language.  I was still a few years off from writing and singing songs....I consider 

myself a late bloomer. 

GC:  When did you get serious about songwriting? How do you approach songwriting?

DD: So I graduated Harvard, was fortunate to travel to China, Tibet, India and Nepal for 3 months and get my mind blown in the process. Then I moved back to NY and became a prep cook . 

Once again I felt quite lost. And music was missing. I realized I wasn't ready to be in NY yet, so I decided to go back to Boston and Berklee. It was a transforming moment to realize that I needed and wanted to pursue music. 

So I went back to Berklee to pursue my piano major. I went to every recital, every performance, taking it all in. I was still studying with Craig Najjar, and felt like I was starting to play some jazz, sorta.

GC: Then Craig told me he was gonna teach a songwriting class outside of Berklee (he was in the process of leaving Berklee to set up his own little school scene). At the time, songwriting hadn't even crossed my mind, but I said yes, why not.  The songwriting class had 10 students and we met once a week for 2 hours. We became a family, we were babes and it was our incubator. I wrote my first song and got hooked. I stopped going out and hearing everyone. I holed up and wrote songs. 

DD: At that time, Craig had us listening to artists that we liked, analyze the song and then try to write one in a similar vein. 

I remember my first song ever was based on the  Anita Baker song "Been So Long". 

I wrote one song a week back then, as there was deadline for class, but then it eventually slowed down to only when I felt the inspiration. 

I have never been one to write everyday. Discipline doesn't come easily.  I will go months without writing and then perhaps write a few songs all at once.

For me, the music always come first because it is therapeutic. Writing lyrics is another headspace and ballgame. 

Sometimes I'll sit on a piece of music for a long time, cause I want the music to speak to me about what the lyrics should be about. It can take awhile. The best songs are the ones that come in 15 minutes, music and lyrics. I've only had a couple of those. 

The last handful of years, I have been writing on guitar, just for that different angle and inspiration. 

GC: Who are you vocal heroes? What about jazz musicians in general: what musicians inspire you?

DD: Hmmmmm, where to begin. 

Since 9th grade, I was one of those Joni Mitchell fanatics, singing along alone in my room for hours. How many of you Joni heads are out there? Raise your hand!

Here is my vocal hero list (I'm sure this list looks exactly like most people raised in the 70's):

Aretha Franklin, Stevie Wonder, Bonnie Raitt,  Elton John,  Ricki Lee Jones, Crosby, Stills, Nash and Young,  The Police, Van Morrison, Donald Fagan, Bob Marley, Peter Gabriel, Cat Stevens. There must be more.....

Of course, when I got to Berklee my world expanded.

I took Roy Okutani's Miles Davis class and transcribing Miles' solos was a life changer.

I was turned on to Sarah Vaughan, Live at Tivoli. That record was an education in itself.  

The Nancy Wilson/Cannonball collaboration, Ella. 

I've been very inspired by Miles first and foremost, Pat Metheny, Keith Jarrett, Herbie Hancock, John Coltrane, Joe Zawinul, Jobim,  Jaco Pastorious. 

Michael Brecker, Geri Allen, Dianne Reeves, Ravi Coltrane, Matt Garrison, Kazumi Ikenaga, David Rothenberg, Victor Merlo,  Joe Locke,  Geoff Keezer, George Colligan, Kerry Politzer, Elie Massias, Seamus Blake, Kurt Rosenwinkel, Marc Miralta, Mercedes Rossy, Guillermo Klein, Akiko Pavolka, Mike McGInnis, Mark Turner, JIm Whitney, Andy Statman,  Jon Dryden, Brian Blade,  Jon Cowherd, Melvin Butler, Myron Walden, Chris Thomas, RIchard Hammond, John Deley, Irving Louis Latin, Kenny Rampton, Bill Sims, Andy Hess, Tony Mason, Kevin Barry, Rodney Holmes, Wayne Krantz, Jeff Andrews, Joshua Redman, Terry Deane, Jonatha Brooke, Alain Mallet, Joan Osborne, Me'Shell N'degeocello. Did I forget anyone? The list can go on and on if I sit here long enough. I feel blessed to have worked with many on this list. 

GC:  How do you balance motherhood and music?

DD: I find that ever since Julian came into my life almost 4 1/2 years ago, that although my practice time has plummeted, my performance experience feels deeper. 

I will never forget Jeff Andrews telling me that his best performances happened when he would be traveling and get minimal sleep. He said the brain didn't have the time or energy to edit itself and be self critical. That's how I've been feeling over the past 4 years. I don't have the luxury to edit, and I realize I am there to just tap into expression. Pretty freeing!

Another thing is I can't go out all the time anymore. I used to close places up as I loved hanging and seeing and supporting all my friends. I cannot do that anymore, and sometimes that is hard for me. But I can here and there, and when I do go out to hear music, it becomes that much more special, The same when I perform, hey, it's a night out for me. It's not about oh I fucked up that note, and I'm bummed for the rest of the night.  Don't get me wrong, there's always room for improvement, but I am really enjoying performing more than I ever have. And after 20 plus years of performing, I realize I have a pretty solid foundation there to draw from and I need to trust it. 

GC:  Are you planning a new recording soon? What are your thoughts on this upcoming gig with my quartet? Any of your own gigs coming down the pike?

DD: I have a bunch of songs that I have been sitting on and I am hoping I will record them in 2013. Recording takes a long time for me, plus the dollar aspect is something I have to figure out. My last record was released on Ravi Coltrane's label RKM Music. They so generously paid for all recording and promotion. Things have changed since then, and I am hoping to check in with them to see where they are at.  In the meanwhile, I have been living life--important for the music!

That said, this past year has been a departure for me because I got to work on some projects that are not my own, specifically with you, George! Really fun and freeing for me to be a sideman, to learn fun,  challenging tunes, and to be a 'singer' (I usually play the piano or guitar and accompany myself for those who might not be familiar with me...) You are in my piano chair dude! And that has been heavenly to hear every frickin note you play, I feel like I've hit the jackpot being on the bandstand with you. 

Touring in Japan with you really solidified the music, and since we toured as a duo, their was so much opportunity to explore and expand.

After Japan, we've had some band gigs, one highlight was playing at the Jazz Standard, and it was so energizing hearing the music filled out by Lonnie Plaxico, Clarence Penn, and Jaleel Shaw.  I love both ways-duo and full band- equally. 

Shapeshifter Lab is a warm, welcoming venue. My dear friend Matt Garrison and I used to play through Real Book tunes in the Berklee practice rooms when we were just babes, so it's so amazing to see what he and Fortuna have created many years later, (not to mention his ridiculously badass playing). 

I really look forward to playing with you on Dec 22 with such a great band. Can't wait in fact.  It's gonna be so fun to sing those tunes again.

Gig-wise, I am laying a bit low right now. I sang the National Anthem at the 1st ever Nets game at the Barclay Center in October. That was a huge life highlight and people were so supportive, it amazed me.

I am excited to be doing a collaboration with Elie Massias in 2013. And you and I recorded many of your tunes, Mr. George, so I look forward to seeing where that goes!

Great Night! Christian McBride at Ivories Jazz Lounge

Christian McBride

Wow! What a night I had last night! As I had mentioned in my previous blog entry, Ivories Jazz Lounge and Restaurant (1435 NW Flanders St Portland Oregon 503 241 6514) is a new spot in Portland that is going to be a great addition to the jazz scene. Not only is the booking open, which means that many musicians in Portland will get a chance to perform there, but it looks as though there are planning to bring in name players, which should delight the jazz fans of Portland. Last night's featured guest was the great bassist Christian McBride. The former young lion and now well established jazz master has been on the scene since the early 90's. Originally from Philadelphia, McBride has been all over the world with most of the jazz greats who are or were alive in his lifetime. I've known McBride personally for about 10 years; I subbed in his quartet every once in a while throughout the last decade, and we even did some trio stuff with drummer Billy Hart at the Blue Note and the Newport Jazz Festival. I was as surprised as everyone else that McBride was going to come through Portland for a one nighter, so I figured I should go down to Ivories and check out the gig.

Kelly Shannon

McBride was performing with some outstanding local talent. Dan Gaynor, a Portland native, is a wonderful pianist, with a strong touch and driving rhythm. Drummer Todd Strait, whom I've worked with many times, is extremely easy to play with;an intense player who is also focused and musical. Kelly Shannon, who organized the entire event, is a jazz vocalist in the classic sense, although she can improvise and create with subtle sophistication. Sitting in on the guitar was John Stowell, who has such an original melodic style that I'm shaking my head as to why he isn't more well known.

McBride has a touring band, but this gig was, as he described it, "an old fashioned jazz party." McBride's arrival in Portland had been delayed severely due to a screw up with the flight from Los Angeles, so there was no time for any rehearsal. So they found tunes that everyone knew. "That's the great thing about jazz", McBride observed on the bandstand,"you don't even have to know the cats. We just met a few minutes ago, but we can still play together." And so they did.

The great Dick Berk

And then it opened up into a pretty long jam session. I got to play trio with McBride and Portland's own Dick Berk, who is a true master of the jazz drumming language. While I enjoyed getting an opportunity to play piano( I even got to play trumpet later in the evening), I enjoyed watching McBride play; his technique on the bass is simply breathtaking. He has perfect intonation in all registers, and seemingly limitless speed and ideas. And he makes it look easy.

Lots of others got up and played, including drummer Alan Jones and bassist/vocalist Belinda Underwood. The gig went pretty late. McBride understandably had had a long day, but, like many musicians I know, loves to play regardless of physical or mental fatigue. It was mentioned that he'll return in April. I hope to be around if it happens. The turnout was great in that it was completely sold out!

And if you want to see me at Ivories, come down tomorrow, Saturday, January 28th, starting at 8:30. David Valdez in on saxophone, Eric Gruber is on bass, and Todd Strait is again on drums. It's going to be a lot of original music, but we will throw in some standards as well. Come out and support live jazz in Portland!