1985 live album by Clifford Jordan
POPULARITY
4 episodes with half note
2 episodes with half note
3 episodes with half note
2 episodes with half note
3 episodes with half note
2 episodes with half note
2 episodes with half note
2 episodes with half note
The guys are back with more nonsense! Dave offers up another jazz playlist, has an update to his "best sandwich" award, and shares a Greek-inspired chicken recipe. Kyle prepares for international travel and gives a scathing review of the movie "Is This Thing On?" The Boogie Monster wants to hear from YOU! Call or text anytime at 323-364-1541 with questions, comments, concerns, or proclamations! BOOGIE MONSTER JAZZ #2 available on Spotify and YouTube Music 1: Wes Montgomery & Wynton Kelly Trio - No Blues (Live at The Half Note, 1965) 2: Bobby Hutcherson - Una Muy Bonita (Stick Up, 1968) 3: Freddie Hubbard - Far Away (Breaking Point, 1964) 4: Donald Byrd - Ghana (Byrd In Flight, 1960) 5: Grant Green - Sookie Sookie (Alive!, 1970) Learn more about your ad choices. Visit megaphone.fm/adchoices
John Palke and I were introduced at a Realities for Children event some months back, and when we finally enjoyed a coffee together, I knew he had a story that I had to dig into and share! In real estate since 2019, John had previously been a commercial fisherman in Alaska (where he once fell in the water and nearly froze to death), was a partner in one of my favorite band bars, Hodi's Half Note, and worked in operations at Vestas - until he realized giant windmills were a mostly a heavily subsidized boondoggle. After getting into real estate with a name-brand firm, John became a partner in a property management business, Big Bear Properties. During the refi boom, he referred a full-time income worth of mortgages to a friend - who encouraged to become a licensed mortgage broker - allowing him to provide full-service real estate for investors - or a la carte for anyone! In 2025, he decided to go his own way in real estate, founding BBP Realty almost exactly a year from when this episode was released. John's a great storyteller, and I enjoyed every bit of this conversation - and I think you will too. So please join me in getting to know and love my new friend John Palke. The LoCo Experience Podcast is sponsored by: Purpose Driven Wealth Thrivent: Learn more
「【Qobuzストリーミングランキング】『Smokin' At The Half Note』が再びトップ！『チェンソーマン レゼ編』主題歌「IRIS OUT」が3位に」 [[text]]
On this episode of The Piano Maven, Jed Distler reconsiders the legacy of jazz pianist, bandleader and educator Lennie Tristano (1919-1978). Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomaven Links to recordings cited in this episode:“Wow” Lennie Tristano Sextet (1949) - https://www.youtube.com/watch?v=3GSjkYnpvYM“C Minor Complex” (1961) - https://www.youtube.com/watch?v=bX1s3OWXxZg“Descent into the Maelstrom” (1953) - https://www.youtube.com/watch?v=99UTNVHLgEkLinks to TV documentary - Part 1: https://www.youtube.com/watch?v=Pw0WO3YCDZA&t=1475s; Part 2: https://www.youtube.com/watch?v=aK7lncPiaW4&t=572sLennie Tristano live at the Half Note in 1964 with Lee Konitz and Warne Marsh on television - https://www.youtube.com/watch?v=bznqGjyYuRk&t=72s
Sintonía: "Bup A Loup" - Donald Byrd"Amen", extraída del álbum "Fuego (Blue Note Records,1959)"My Girl Shirl", "Soulful Kiddy" y "A Portrait of Jennie", extraídas de "Live At The Half Note, Volume 1" (Blue Note, 1960)"Jeannine" y "When Sunny Gets Blue" (cortada), extraídas de "Live At The Half Note, Volume 2" (Blue Note, 1960)Todas las músicas interpretadas a la trompeta por Donald Byrd Relación de fechas de emisión de los 4 anteriores programas de este coleccionable: "The Catwalk" (1962) y "Two Trumpets" (1956), emitido el 26/12/2023"Byrd In Flight" (1960) y "Free Form" (1961), emitido el 16/01/2024"Off To The Races" (1959) y "Royal Flush" (1961), emitido el 25/03/2024"Byrd In Hand" (1959) y "Motor City Scene" (1961), emitido el 03/07/2024Escuchar audio
I dette afsnit har Henrik Queitsch og Klaus Lynggaard fået besøg af guitarist og komponist Anna Roemer. Hun er netop aktuel med sin anden sololade 'Blåregn', og kendes derudover fra bandet KALEIIDO. Anna Roemers medbragte spilleliste gemmer på mange overraskelser, og byder på både nye og gamle kendinger. Et gennemgående er dog guitaren, som spiller en stor rolle i flere af numrene.”Ord og tekster er selvfølgelig vanvittige vigtige. Men fordi jeg aldrig selv har skrevet tekster, er musikkens kanal for mig, primært det instrumentale, og de her signaturriffs synes jeg er helt vildt spændende. At man kan høre 15-20 sekunder af et nummer og med det samme vide hvad der er tale om.” fortæller Anna Roemer om de mange riffs der kan høres i dagens episode.Værter: Henrik Queitsch og Klaus LynggardKlip og Produktion: Mathilde Cortese RetsboSpilleliste: Anna Roemer: ”Blåregn” (Blåregn, 2024)Gasolin: ”Stakkels Jim” (Stakkels Jim, 1974)Paul Simon: “Diamonds on the Soles of Her Shoes” (Graceland, 1986)The Beatles: “I Want You (She's so Heavy)” (Abbey Road, 1969)Led Zeppelin: “Bron-Yr-Aur” (Physical Graffiti, 1975)Lenny Kravitz: “Are You Gonna Go My Way” (Are You Gonna Go My Way, 1993)Red Hot Chili Peppers: “Suck My Kiss” (Blood Sugar Sex Magick, 1991)Nancy Wilson/Cannonball Adderly: “The Old Country” (Nancy Wilson/ Cannonball Adderly, 1962)Wes Montgomery: “Misty” (Live at the Half Note, 1965)Suicide: “Ghost Rider” (Suicide, 1977)Danger Mouse, Daniele Luppi feat. Norah Jones: “Black” (Rome, 2001)The Cure: “A Forest” (Seventeen Seconds, 1980)Choir Of Young Believers: “Serious Lover” (Grasque, 2016)Steve Reich: “Music for 18 Musicians: Pulses” (Works 1965-1995, 1997)John Carpenter: “Assault on Precinct 13” (Classic Themes Redux EP, 2016)Slowdive: “Cello” (Pygmalion, 1995)Darkside: “Paper Trails” (Psychic, 2013)Blonde Redhead: “Dripping” (Barragán, 2014)St. Vincent: “Broken Man” (All Born Screaming, 2024)Anna Roemer: “Panorama” (Blåregn, 2024)
Adam sat down with drummer Jay Epstein, who has been a full time drummer since the late 1960s when he toured with the band Gypsy and rubbed shoulders with people in the Southern California Rock scene like Jimmy Hendricks while going out to see bands with players like Chick Corea, Freddie Hubbard and Miles Davis on his off nights. Adam and Jay talk about the economics of being a full time, life-long musician. Jay gives us three things young musicians should be thinking about as they start their careers, and his three "desert island" albums.Jay also tells a beautiful story of the impact of hearing John Coltrane as a 17 year old kid that is not to be missed.-----------------------Watch on Youtube: https://www.youtube.com/@HowMusiciansMakeIt/videos-----------------------Gypsy band: https://www.youtube.com/watch?v=E-vK3TTHWpMJay's Desert Island Albums:1. Now He Sings, Now He Sobs, Chick Corea2. Smokin at the Half Note, Wes Montgomery and Wynton Kelly Trio3. Ballads, John Coltrane-------------------------Download Gig Boss app: https://linktr.ee/gigbossJoin the Gig Boss Facebook Group: https://www.facebook.com/groups/gigboss-----------------------------Interested in hearing music made by our awesome guests? Check out this Spotify playlist, which includes music by all our music-making guests! https://open.spotify.com/playlist/63kUrVwtV5tYFsyqLJHO3a?si=7853ba778dff4654------------------------------Intro/Outro music "Far Away From here" : https://adammeckler.hearnow.com/
Quinn Lemley is the star of the hit shows, Burlesque to Broadway & Rita Hayworth The Heat Is On! which headline performing arts centers and casinos across North America. She received The Bistro Award and Two MAC awards nominations.Her jazz quintet performs internationally and is The Iconic Face of the Half Note in Athens, Greece. The New York Times defines her performances as "Dazzling...with one show stopping number after another!" The NY Post says “you don't even have to squint your eyes to see Rita's in the room.” Quinn has directed and co-produced Rebel Rebel, The Many Lives of David Bowie, Pink Floyd's Dark Side of the Wall and The Ultimate Queen Celebration. Seen on Good Morning America, Oprah and a finalist on Shark Tank. She has 5 CD's available. You can stream her music on Spotify and Apple Music. Quinn is the host of the TV show, Secrets of the Stage on MNN.org and a monthly virtual concert on Zoom, Up Close & Personal. She is also a Keynote Speaker and Presenter bringing her message to companies around the world. A graduate of NYU Tisch School of the Arts and a Distinguished Toastmaster at Toastmaster's International and proud member of National Speakers Association Quinn is a proud member of SAG, AFTRA, AEA, DTM, NSA NY, APAP, and IEBA. Listen in as Quinn shares with Lou a bit of her journey and how she uses this experience to help Entrepreneurs, Executives and Artists STEP ONSTAGE into their personal power and capture their dreams ***CONNECT WITH LOU DIAMOND & THRIVE LOUD***
Welcome to the Digging Deeper Jazz Podcast. This podcast was originally released on September 25th, 2020, on the Jeff Antoniuk - Educator YouTube channel. Please subscribe to the YouTube channel and feel free to enjoy the video version as well.FOR ALL INSTRUMENTS!In episode #172, Jeff answers the age old questions of "how do I play more melodically?" Great melodies have an internal logic to them, and most jazz melodies also have a harmonic underpinning. How in the world do we get those two things happening at once . . . ? The answer: Half Note Solos. Jump in, give it a try, and be amazed. Mentioned in this podcast:• www.JazzWire.net - Since we announced JazzWire back in 2017, it has become an incredible Community of hundreds of adult musicians from over 25 different countries around the world. If you are looking for a plan for your practice, regular insights and wisdom on playing jazz, and a huge COMMUNITY of jazz players from around the world, this is the place for you! • Digging Deeper Jazz - All of the DDJ episodes include a pdf. Just write us at diggingdeeperjazz@gmail.com, and we'll offer you the pdfs in bundles of 50, or all 200 for a discount! We will also put you on the list to receive each new pdf, weekly. Amazing practice ideas, every week, for free. What's not to love!?
It's 1965. Wes Montgomery has been on the scene for more than 2 decades but he is just emerging as a major pop star. He has hit singles on the charts and he is touring major European concert venues. But in New York, he plays a series of shows at a small club on Spring Street called the Half Note. It's the spot downtown where all the cats check each other out. For this episode, recorded on the actual centennial of Wes Montgomery's birth, you are a fly on the wall of the Half Note for some true musical magic. Our guide is a genuine adept of all things Wes: master guitarist Rodney Jones. Photo credit: Wes_Montgomery_(1967) Published by A&M Records. Photographer uncredited and unknown., Public domain, via Wikimedia Commons. #WKCR #DeepFocus #WesMontgomery #RodneyJones #MitchGoldman #JazzGuitar #JazzPodcast #JazzInterview
It's 1965. Wes Montgomery has been on the scene for more than 2 decades but he is just emerging as a major pop star. He has hit singles on the charts and he is touring major European concert venues. But in New York, he plays a series of shows at a small club on Spring Street called the Half Note. It's the spot downtown where all the cats check each other out. For this episode, recorded on the actual centennial of Wes Montgomery's birth, you are a fly on the wall of the Half Note for some true musical magic. Our guide is a genuine adept of all things Wes: master guitarist Rodney Jones. Also, an added bonus: is this Wes Montgomery practicing alone in a hotel room? Doing what no one else can? Rodney Jones seems to think so. What do you think? #WKCR #DeepFocus #WesMontgomery #RodneyJones #MitchGoldman #JazzGuitar #JazzPodcast #JazzInterview Photo credit: Wes Montgomery - Photo first published by Gibson. According to NPR, the photo was taken by Chuck Stewart., Public domain, via Wikimedia Commons
It's 1965. Wes Montgomery has been on the scene for more than 2 decades but he is just emerging as a major pop star. He has hit singles on the charts and he is touring major European concert venues. But in New York, he plays a series of shows at a small club on Spring Street called the Half Note. It's the spot downtown where all the cats check each other out. For this episode, recorded on the actual centennial of Wes Montgomery's birth, you are a fly on the wall of the Half Note for some true musical magic. Our guide is a genuine adept of all things Wes: master guitarist Rodney Jones. Photo credit: Wes_Montgomery_(1967) Published by A&M Records. Photographer uncredited and unknown., Public domain, via Wikimedia Commons. #WKCR #DeepFocus #WesMontgomery #RodneyJones #MitchGoldman #JazzGuitar #JazzPodcast #JazzInterview
Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play a Key of Eb Major Melodic Workout. In this Jazz Piano Lesson you will:DiscoverA Key of Eb Major Melodic WorkoutLearnHow to "think" within the Key of Eb Major, MelodicallyPlayThe Modes of the Key of Eb Major plus Inverted Melodic Arpeggios from various entry points (Root, 3rd, 5th, 7th).ANDYou are going to play Melodic lines using various Whole Note, Half Note, Quarter, and 8th Note Rhythms played over the II-V-I Progression.For maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of Eb Major Melodic Workout.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. It is my pleasure to help you discover, learn, and play jazz piano!Support the show (https://www.paypal.com/donate/?hosted_button_id=ZZEBGDF38VFNS)
Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play a Key of Bb Major Melodic Workout. In this Jazz Piano Lesson you will:DiscoverA Key of Bb Major Melodic WorkoutLearnHow to "think" within the Key of Bb Major, MelodicallyPlayThe Modes of the Key of Bb Major plus Inverted Melodic Arpeggios from various entry points (Root, 3rd, 5th, 7th).ANDYou are going to play Melodic lines using various Whole Note, Half Note, Quarter, and 8th Note Rhythms played over the II-V-I Progression.For maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of Bb Major Melodic Workout.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. It is my pleasure to help you discover, learn, and play jazz piano!Support the show (https://www.paypal.com/donate/?hosted_button_id=ZZEBGDF38VFNS)
It's great to talk about IDEAS for teaching elementary music, but it's completely different to actually put together lessons. In these What I'm Teaching this Week videos, I'll be talking about EXACTLY what I'm teaching in elementary music! 00:00 Tell my Ma3:00 Virtual field trip4:00 Solfege review6:18 Galway Piper7:24 Prepping half note8:45 In the Hall of the Mountain King10:20 Let us Chase the Squirrel13:07 Tell my ma with drums!15:04 Duerme mi tesoro17:00 Rattlin BogHappy teaching!Becca//IN THIS VIDEOIreland VFT: https://www.teacherspayteachers.com/Product/Ireland-Virtual-Field-Trip-to-Learn-about-Irish-Music-in-Elementary-Music-Lesson-6639695?utm_source=BMR%20Youtube&utm_campaign=WITTW%20S2%20E28St. Patrick's Day solfege game: https://www.teacherspayteachers.com/Product/Catch-a-Leprechaun-BUNDLE-Digital-Solfege-Game-for-St-Patricks-Day-7837049?utm_source=BMR%20Youtube&utm_campaign=WITTW%20S2%20E28Shamrocks: https://www.teacherspayteachers.com/Product/Shamrock-Solfege-Printable-Composition-Cards-for-Spring-Music-Centers-7840942?utm_source=BMR%20Youtube&utm_campaign=WITTW%20S2%20E28IG: https://www.instagram.com/BeccasMusicRoom/Join the email list: https://mailchi.mp/12c5827aecfa/beccasmusicroomHalf note kaboom: https://www.teacherspayteachers.com/Product/Kaboom-Level-2-Rhythm-Game-for-half-note-and-sixteenth-notes-4317984?utm_source=BMR%20Youtube&utm_campaign=WITTW%20S2%20E28Irish dance tutorial: https://www.youtube.com/watch?v=595AKDaildsNeed more virtual lessons?Online music lesson course: https://beccasmusicroom.teachable.com/p/teaching-elementary-music-online/Virtual Music Lesson ebook: http://beccasmusicroom.com/virtual-music-lessons///HELPFUL LINKS*Happier Teacher Life (my new book!): https://amzn.to/337t28M*Camera I use: https://amzn.to/35BS9Pc*Erin Condren (get $10 off when you create an account): https://www.erincondren.com/referral/invite/rebeccadavis-7580/1*Get one month of free ink with HP Instant Ink: http://try.hpinstantink.com/v6mcZWant to get access to exclusive content? Sign up to join my FREE RESOURCE LIBRARY. Once you sign up, you can download and use any of the content in the library. New things are being added every few weeks, so make sure you check back for more FREE stuff! https://mailchi.mp/12c5827aecfa/beccasmusicroom//LET'S BE FRIENDSBlog: https://beccasmusicroom.comTeachers Pay Teachers: https://www.teacherspayteachers.com/Store/Beccas-Music-RoomEtsy: https://www.etsy.com/shop/BeccasMusicRoomPinterest: https://www.pinterest.com/beccasmusicroom/Instagram: https://www.instagram.com/beccasmusicroom/Facebook: https://www.facebook.com/beccasmusicroomPainting in the background: https://www.etsy.com/shop/beccadavisdesigns*May contain affiliate links
There are times we come across a song or rhyme we know students would enjoy, but we might not be sure where it fits in the curriculum. How can we step back and imagine musical possibilities? What if we were to treat songs like musical prompts? In this post we talked about some ways to explore one rhyme with several different pedagogical lenses. Today we'll do the same for a song, Sea Shell. Here's an example of how one song might be used for three different pedagogical outcomes and three different age groups. This also shows how we might approach the song in different areas of learning: The first activities are for students who don't know the song. The next two, it's expected that students would know the song already. The 2nd grade activities are in preparation, before students are aware of the notation and label for half note. The 3rd grade activities are in practice, after students consciously know low sol. Each grade objective includes student choice in the activities.Let's jump in! The SongThis song is sourced from the collection at Holy Names University. Echo Singing & Vocal ExplorationKindergarten / 1st Grade This activity is designed for young musical learners in the early grades. Before the Activity: Previous Knowledge and ExperienceThis activity doesn't require any previous knowledge or experience! Consider using this as an introduction to vocal exploration and add it to your collection of echo songs. Learning Experiences Experience #1: IntroduceIn this first learning experience, the teacher introduces the song through movement and active listening. Seated, the teacher sings the song and leads students in swaying side to side as they listen. In between rounds of the song, the teacher asks questions: “What is our song about?” “What do you think the sea shell is singing about?” “Wait, can sea shells actually sing?”Sing while moving hands like the waves of the ocean, showing the melodic contour of the song. Students echo each four-beat phrase with ocean movements.Sea shell, sea shell (sea shell sea shell), Sing a song for me (sing a song for me) Experience #2: Ocean Movements In this second experience, students extend their ocean movements and continue echoing the song. This learning experience is primarily a review and reinforcement of the previous class, giving students more opportunities to listen and move to the song.Review the previous class: Sing while moving hands like the waves of the ocean, showing the melodic contour of the song. Students echo each four-beat phrase with ocean movements.Sea shell, sea shell (sea shell sea shell), Sing a song for me (sing a song for me) “What if you could make your ocean movements while standing on your spot?” Repeat the activity with students echo singing and showing the melodic contour with stationary movement Experience #3: Whole-Class Pitch Exploration There are many possibilities for the pitch exploration here! Feel free to write your own on the board. Echo sing and move to the song as review “What do you think the sea shell's song sounded like?” Show several options of melodic contour on the board, and lead students in performing with vocals and movementsExperience #4: Partner Pitch Exploration Students have sung the song and explored many examples of pitch exploration. Now it's time for them to create their own sea shell songs. Asking for four different options encourages students to invent variations, instead of stopping after one idea.Echo sing and move to the song as review Review pitch exploration ideas on the board With their shoulder partner, students use a piece of yarn to create their own vocal explorations Ask students to come up with four different options Students take turns sharing their ideas with the class Half Note & Form 2nd Grade Many music curricula explore one sound over two beats in the 2nd grade year. The ocean theme of this song can make it convenient for exploring elongated sounds, like ocean waves. We can also experiment with the form of the song. Before the Activity: Previous Knowledge and ExperiencePrevious Knowledge: Before this activity, students should have conscious knowledge of steady beat, quarter notes, and eighth notes. Even though the activity focuses on one sound over two beats, students don't need to have conscious knowledge of half notes. In future classes, students will be introduced to the half note vocabulary and symbol we'll use in this class. Previous Experience: Students should have plenty of independent and collaborative experiences singing, playing instruments, speaking, moving, reading, writing, improvising, arranging, and aurally identifying the rhythmic set listed in the knowledge section above. For these activities, students should have heard the song before, though it does not need to be memorized for the first learning experiences. Learning ExperiencesExperience #1: Rhythm Movement In this first learning experience, students use movement to show the duration of the rhythm. This happens as a whole class at first, then with pairs of students. There is an opportunity for formative assessment as students tiptoe, step, and slide with a partner at the end of this experience. The teacher sings the song with movement directions for tiptoe, step, and slide. Students echo sing and move (locomotor or non-locomotor) Step step step step (students echo) Tiptoe tiptoe sliiiiiiide (students echo)Tiptoe tiptoe step step (students echo)Tiptoe tiptoe sliiiiiiide (students echo)The teacher sings the song on text. Students echo sing and move, translating to tiptoe, step, and sliding movements Sea shell sea shell (student sing text and step step step step)Sing a song for me (students sing text and tiptoe tiptoe sliiiiiiide) Sing about the ocean (students sing text and tiptoe tiptoe step step) Sing about the sea (students sing text and tiptoe tiptoe sliiiiiiide)Divide the class in half. One half sings and moves first, then pauses for the other partner to sing and echoExperience #2: Aurally Identify The movement work from the previous class is extended here, as the teacher takes away the movement directions and replaces them with an instrument or neutral syllable. Students use their aural awareness to identify one sound that lasts for two beats. Review previous class. Students echo sing the song on text“Let's take out the echo and sing it straight through.” Students sing the song straight through, without echoing.Students sing the whole song and clap the words, remaining seated Seated with their feet in front of them, students sing and put the rhythm of the words in their feetStudents stand, and sing the whole song while tiptoeing and stepping in open space As a B section, the teacher plays four or eight-beat rhythms on a recorder (or sings on a neutral syllable), using a combination of two sounds on a beat, one sound on a beat, or one sound elongated over two beats. Students echo move.Example: ta ta ta-a (students step step sliiiiiiide), ta-di ta-di ta-di ta (tiptoe tiptoe tiptoe step) ta-a ta-di ta (sliiiiiiide tiptoe step) ta-di ta-di ta-a (tiptoe tiptoe sliiiiiide)Students sing the song as they tiptoe, step, and slide back to their spots. “How many times do we slide in this song?” Students inner hear and pat a steady beat (we slide two times)“How many sounds do you hear in the word, ‘me'?” (one sound) “How many beats does it last?” Students sing and pat a steady beat (it lasts two beats) Experience #3: Visual & Form Students have identified one sound that lasts for two beats. Now they use their aural awareness and translate it to a visual representation of the rhythm. Iconic notation is used here to show the elongated sound. In later lessons, the label and symbol for a half note may be used. At the end of the learning experience, students mix up the form to create a new order of the song. Review previous experiences as necessary“Which phrases of the song have matching rhythms?” Students sing and pat a steady beat (phrases 2 and 4 have matching rhythms) Help the teacher put the phrases of the song in the correct order. “How do you know this is the correct answer? Talk to your shoulder partner.” Students explain their thinking, then share their answers as time allows “I'm tired of giving the correct answer all the time. Let's mix up the form so it's the incorrect answer.” Mix up the form to create new version of tiptoeing and sliding. Students speak the new combination while moving their feet in front of them (staying seated) or turning their fingers into people and moving on the floor in front of them. Repeat the activity, with students arranging the form for the classStudents repeat the activity with a partner and move around the room to their arrangement. Share combinations as time allows Low Sol & Partwork3rd Grade By the 3rd grade year, many students are ready to work on the extended pentatone, including low sol. As melodic vocabulary grows, students can apply their knowledge to their developing partwork skills. Before the Activity: Previous Knowledge and ExperiencePrevious Knowledge: Before this activity, students should have conscious knowledge of solfege pitches, do, re, mi, sol, la, low la, low sol. These learning experiences would fall in to the “practice” phase of learning. Previous Experience: This activity is for students who are ready to sing a bass line to a known song. Consider previous experiences students have had with bass lines and partner melodies to prepare them for these experiences. You can find more information about scaffolding vocal partwork skills here. Students should also already know the song for these experiences. Learning ExperiencesThese are adapted from the low sol concept plan in the 2021 - 2022 Planning Binder. Experience #1: Partner Melody & Movement In this learning experience, students listen to the new partner melody with the song. After hearing the melody, students learn it by rote through a combination of movement and aural skills. Aurally decoding the melody is one of the reasons this experience should fall in the practice phase of the learning process. When students have learned the melody, they sing it as the teacher sings the main song. Students walk in a circle, singing the song without teacher assistance“I'll try to mess you up this time. Listen to each other.” The teacher walks inside the circle in the opposite direction, singing the partner melody: Students sit in place. The teacher teaches the partner melody by rote. Students echo sing eight beats at a time, showing the high and low movements of the melodic contour The teacher sings eight beats at a time. Students echo on solfege with Curwen hand signs or with the movements they just created “Hey there, let me hear your song” (do do do do sol sol sol) “Hey there, then we'll sing along” (do do sol sol do do do) Students walk around in a circle, singing the partner melody without teacher assistance. The teacher walks around the inside of the circle singing the main melody of Sea Shell. Experience #2: PartworkThis lesson experience reviews the melody from the previous class, and expands partwork skills. Instead of the teacher singing one part and the whole class singing the other, students work toward partwork interdependence by dividing the partner melody and main melody between half the class. With a partner, students decide if they'll sing the partner melody on solfege with hand signs, or on text with movement that matches the melodic contour. Seated with their partner, students perform their choice, then switch jobsStudents walk around in a circle, singing the partner melody without teacher assistance. The teacher walks around the inside of the circle singing the main melody of Sea Shell. The teacher “tags” a few volunteers to be on the inside circle team and sing the main melody. The rest of the class continues to sing the partner melody. Continue tagging singers until the inside and outside groups are approximately even Experience #3: Transfer to Barred Instruments Students have already aurally identified low sol in the partner melody. When it's time to transfer their understanding to a barred instrument, students use their knowledge of steps and skips to identify low sol and figure out the partner melody by ear. With a partner, students decide if they'll sing the partner melody on solfege with hand signs, or on text with movement that matches the melodic contour.Seated with their partner, students perform their choice, then switch jobsUsing a barred instrument visual on the board, students work with their partner to figure out where do and low sol live if do is F. Students help the teacher notate the melody of the partner song on the boardStudents read the notation on the board, pointing to the notation or pointing to a barred instrument visual With a partner, students sit behind a barred instrument and figure out how to play the partner melody by ear. One partner plays and sings the partner melody. The student without mallets sings the main Sea Shell melody. Switch jobs. When we step back and look at our classroom materials as musical prompts, we see many pedagogical possibilities. Today we looked at how one song might be used for vocal exploration, half notes, and low sol. But there are so many more ways this song might be re-imagined in our teaching. There are many possibilities with one simple musical invitation!
There are times we come across a song or rhyme we know students would enjoy, but we might not be sure where it fits in the curriculum. How can we step back and imagine musical possibilities? What if we were to treat songs like musical prompts? In this post we talked about some ways to explore one rhyme with several different pedagogical lenses. Today we'll do the same for a song, Sea Shell. Here's an example of how one song might be used for three different pedagogical outcomes and three different age groups. This also shows how we might approach the song in different areas of learning: The first activities are for students who don't know the song. The next two, it's expected that students would know the song already. The 2nd grade activities are in preparation, before students are aware of the notation and label for half note. The 3rd grade activities are in practice, after students consciously know low sol. Each grade objective includes student choice in the activities.Let's jump in! The SongThis song is sourced from the collection at Holy Names University. Echo Singing & Vocal ExplorationKindergarten / 1st Grade This activity is designed for young musical learners in the early grades. Before the Activity: Previous Knowledge and ExperienceThis activity doesn't require any previous knowledge or experience! Consider using this as an introduction to vocal exploration and add it to your collection of echo songs. Learning Experiences Experience #1: IntroduceIn this first learning experience, the teacher introduces the song through movement and active listening. Seated, the teacher sings the song and leads students in swaying side to side as they listen. In between rounds of the song, the teacher asks questions: “What is our song about?” “What do you think the sea shell is singing about?” “Wait, can sea shells actually sing?”Sing while moving hands like the waves of the ocean, showing the melodic contour of the song. Students echo each four-beat phrase with ocean movements.Sea shell, sea shell (sea shell sea shell), Sing a song for me (sing a song for me) Experience #2: Ocean Movements In this second experience, students extend their ocean movements and continue echoing the song. This learning experience is primarily a review and reinforcement of the previous class, giving students more opportunities to listen and move to the song.Review the previous class: Sing while moving hands like the waves of the ocean, showing the melodic contour of the song. Students echo each four-beat phrase with ocean movements.Sea shell, sea shell (sea shell sea shell), Sing a song for me (sing a song for me) “What if you could make your ocean movements while standing on your spot?” Repeat the activity with students echo singing and showing the melodic contour with stationary movement Experience #3: Whole-Class Pitch Exploration There are many possibilities for the pitch exploration here! Feel free to write your own on the board. Echo sing and move to the song as review “What do you think the sea shell's song sounded like?” Show several options of melodic contour on the board, and lead students in performing with vocals and movementsExperience #4: Partner Pitch Exploration Students have sung the song and explored many examples of pitch exploration. Now it's time for them to create their own sea shell songs. Asking for four different options encourages students to invent variations, instead of stopping after one idea.Echo sing and move to the song as review Review pitch exploration ideas on the board With their shoulder partner, students use a piece of yarn to create their own vocal explorations Ask students to come up with four different options Students take turns sharing their ideas with the class Half Note & Form 2nd Grade Many music curricula explore one sound over two beats in the 2nd grade year. The ocean theme of this song can make it convenient for exploring elongated sounds, like ocean waves. We can also experiment with the form of the song. Before the Activity: Previous Knowledge and ExperiencePrevious Knowledge: Before this activity, students should have conscious knowledge of steady beat, quarter notes, and eighth notes. Even though the activity focuses on one sound over two beats, students don't need to have conscious knowledge of half notes. In future classes, students will be introduced to the half note vocabulary and symbol we'll use in this class. Previous Experience: Students should have plenty of independent and collaborative experiences singing, playing instruments, speaking, moving, reading, writing, improvising, arranging, and aurally identifying the rhythmic set listed in the knowledge section above. For these activities, students should have heard the song before, though it does not need to be memorized for the first learning experiences. Learning ExperiencesExperience #1: Rhythm Movement In this first learning experience, students use movement to show the duration of the rhythm. This happens as a whole class at first, then with pairs of students. There is an opportunity for formative assessment as students tiptoe, step, and slide with a partner at the end of this experience. The teacher sings the song with movement directions for tiptoe, step, and slide. Students echo sing and move (locomotor or non-locomotor) Step step step step (students echo) Tiptoe tiptoe sliiiiiiide (students echo)Tiptoe tiptoe step step (students echo)Tiptoe tiptoe sliiiiiiide (students echo)The teacher sings the song on text. Students echo sing and move, translating to tiptoe, step, and sliding movements Sea shell sea shell (student sing text and step step step step)Sing a song for me (students sing text and tiptoe tiptoe sliiiiiiide) Sing about the ocean (students sing text and tiptoe tiptoe step step) Sing about the sea (students sing text and tiptoe tiptoe sliiiiiiide)Divide the class in half. One half sings and moves first, then pauses for the other partner to sing and echoExperience #2: Aurally Identify The movement work from the previous class is extended here, as the teacher takes away the movement directions and replaces them with an instrument or neutral syllable. Students use their aural awareness to identify one sound that lasts for two beats. Review previous class. Students echo sing the song on text“Let's take out the echo and sing it straight through.” Students sing the song straight through, without echoing.Students sing the whole song and clap the words, remaining seated Seated with their feet in front of them, students sing and put the rhythm of the words in their feetStudents stand, and sing the whole song while tiptoeing and stepping in open space As a B section, the teacher plays four or eight-beat rhythms on a recorder (or sings on a neutral syllable), using a combination of two sounds on a beat, one sound on a beat, or one sound elongated over two beats. Students echo move.Example: ta ta ta-a (students step step sliiiiiiide), ta-di ta-di ta-di ta (tiptoe tiptoe tiptoe step) ta-a ta-di ta (sliiiiiiide tiptoe step) ta-di ta-di ta-a (tiptoe tiptoe sliiiiiide)Students sing the song as they tiptoe, step, and slide back to their spots. “How many times do we slide in this song?” Students inner hear and pat a steady beat (we slide two times)“How many sounds do you hear in the word, ‘me'?” (one sound) “How many beats does it last?” Students sing and pat a steady beat (it lasts two beats) Experience #3: Visual & Form Students have identified one sound that lasts for two beats. Now they use their aural awareness and translate it to a visual representation of the rhythm. Iconic notation is used here to show the elongated sound. In later lessons, the label and symbol for a half note may be used. At the end of the learning experience, students mix up the form to create a new order of the song. Review previous experiences as necessary“Which phrases of the song have matching rhythms?” Students sing and pat a steady beat (phrases 2 and 4 have matching rhythms) Help the teacher put the phrases of the song in the correct order. “How do you know this is the correct answer? Talk to your shoulder partner.” Students explain their thinking, then share their answers as time allows “I'm tired of giving the correct answer all the time. Let's mix up the form so it's the incorrect answer.” Mix up the form to create new version of tiptoeing and sliding. Students speak the new combination while moving their feet in front of them (staying seated) or turning their fingers into people and moving on the floor in front of them. Repeat the activity, with students arranging the form for the classStudents repeat the activity with a partner and move around the room to their arrangement. Share combinations as time allows Low Sol & Partwork3rd Grade By the 3rd grade year, many students are ready to work on the extended pentatone, including low sol. As melodic vocabulary grows, students can apply their knowledge to their developing partwork skills. Before the Activity: Previous Knowledge and ExperiencePrevious Knowledge: Before this activity, students should have conscious knowledge of solfege pitches, do, re, mi, sol, la, low la, low sol. These learning experiences would fall in to the “practice” phase of learning. Previous Experience: This activity is for students who are ready to sing a bass line to a known song. Consider previous experiences students have had with bass lines and partner melodies to prepare them for these experiences. You can find more information about scaffolding vocal partwork skills here. Students should also already know the song for these experiences. Learning ExperiencesThese are adapted from the low sol concept plan in the 2021 - 2022 Planning Binder. Experience #1: Partner Melody & Movement In this learning experience, students listen to the new partner melody with the song. After hearing the melody, students learn it by rote through a combination of movement and aural skills. Aurally decoding the melody is one of the reasons this experience should fall in the practice phase of the learning process. When students have learned the melody, they sing it as the teacher sings the main song. Students walk in a circle, singing the song without teacher assistance“I'll try to mess you up this time. Listen to each other.” The teacher walks inside the circle in the opposite direction, singing the partner melody: Students sit in place. The teacher teaches the partner melody by rote. Students echo sing eight beats at a time, showing the high and low movements of the melodic contour The teacher sings eight beats at a time. Students echo on solfege with Curwen hand signs or with the movements they just created “Hey there, let me hear your song” (do do do do sol sol sol) “Hey there, then we'll sing along” (do do sol sol do do do) Students walk around in a circle, singing the partner melody without teacher assistance. The teacher walks around the inside of the circle singing the main melody of Sea Shell. Experience #2: PartworkThis lesson experience reviews the melody from the previous class, and expands partwork skills. Instead of the teacher singing one part and the whole class singing the other, students work toward partwork interdependence by dividing the partner melody and main melody between half the class. With a partner, students decide if they'll sing the partner melody on solfege with hand signs, or on text with movement that matches the melodic contour. Seated with their partner, students perform their choice, then switch jobsStudents walk around in a circle, singing the partner melody without teacher assistance. The teacher walks around the inside of the circle singing the main melody of Sea Shell. The teacher “tags” a few volunteers to be on the inside circle team and sing the main melody. The rest of the class continues to sing the partner melody. Continue tagging singers until the inside and outside groups are approximately even Experience #3: Transfer to Barred Instruments Students have already aurally identified low sol in the partner melody. When it's time to transfer their understanding to a barred instrument, students use their knowledge of steps and skips to identify low sol and figure out the partner melody by ear. With a partner, students decide if they'll sing the partner melody on solfege with hand signs, or on text with movement that matches the melodic contour.Seated with their partner, students perform their choice, then switch jobsUsing a barred instrument visual on the board, students work with their partner to figure out where do and low sol live if do is F. Students help the teacher notate the melody of the partner song on the boardStudents read the notation on the board, pointing to the notation or pointing to a barred instrument visual With a partner, students sit behind a barred instrument and figure out how to play the partner melody by ear. One partner plays and sings the partner melody. The student without mallets sings the main Sea Shell melody. Switch jobs. When we step back and look at our classroom materials as musical prompts, we see many pedagogical possibilities. Today we looked at how one song might be used for vocal exploration, half notes, and low sol. But there are so many more ways this song might be re-imagined in our teaching. There are many possibilities with one simple musical invitation!
You might not know Andrew Synowiec's name, but chances are you've heard his guitar playing. Heck, chances are you heard his guitar playing this week.Synowiec makes his living as an LA session guitarist, with a list of credits as long as the California coastline. Among those credits: you can hear him on the score for pretty much every recent Disney film (Frozen, CoCo, Zootopia), as well superhero flicks like Logan and Spider-Man: Far From Home, TV shows like The Simpsons and The Good Place, as well as on records with recording artists like The Who, HAIM, P!nk, Nick Jonas, Donna Summer, and so many more. A couple weeks back, Kirk sat down with Andrew to talk about his career as a session player, how he finds a good balance when doing creative work for hire, his approach to practicing and guitar tone, how he designed and built his home studio, and why he continues to make the time for his own personal music projects.FEATURED/DISCUSSED ON THIS EPISODE:Guy Lacour etude No. 4 as performed by David Hernando Vitores: https://www.youtube.com/watch?v=RyGo9NmZUNwWes Montgomery on “No Blues” from Smokin' at the Half Note w/ the Wynton Kelly Trio, 1965“Where The Streets Have No Name” by U2 from The Joshua Tree, 1987“Sad But True” by Metallica from Metallica, 1991“Blood and Thunder” by Mastodon from Leviathan, 2004“Last Goodbye” by Jeff Buckley from Grace, 1994“Already Taken,” “Second Story,” and “Humor Me” by Andrew Synowiec from Second Story, 2019“Jonkoloni” by Bassekou Kouyate & Ngoni Ba from Segu Blue, 2006, feat. the Ngoni“Salsa Caliente (Versión Aumentada)” by Meridian Brothers from Desperanza, 2012“You Are Young” by Keane from Strangeland, 2012A video with Andrew about his work and his home studioA Spotify playlist Andrew maintains featuring things he's played onAndrew's website, with lots more credits and other infoSTRONG MERCHCheck out the Strong Songs merch store for some cool t-shirts, mugs, totes, and more: store.strongsongspodcast.comJOIN THE STRONG SONGS DISCORDThe Strong Songs Discord server is now open to everyone! Come join the conversation and get (or give) some music recs: https://discord.gg/GCvKqAM8SmKEEP IT SOCIALFollow Strong Songs on Twitter: @StrongSongsAnd find Kirk on Twitter @Kirkhamilton and on Instagram at @Kirk_HamiltonNEWSLETTER/MAILING LISTSign up for Kirk's mailing list to start getting newsletters with music recommendations, links, news, and extra thoughts on new Strong Songs episodes: https://kirkhamilton.substack.com/subscribeSTRONG PLAYLISTSKirk has condensed his Strong Songs picks into a single new list, which you can find on Spotify and Apple Music, and YouTube Music.SUPPORT STRONG SONGS!A huge thank-you to all of Strong Songs' Patreon supporters! For more on how to support the creation of this show, go here: https://Patreon.com/StrongSongsYou can also make a one-time Paypal donation here: https://www.paypal.com/paypalme/kirkhamiltonmusicFEBRUARY 2022 WHOLE-NOTE PATRONSDaniel Hannon-BarryRRPrince M. Levy-BenitezElliot RosenAshley HoagMark and MichelleKelsairRob BosworthKyle CookeDonald MackieMelissa OsborneChristopher MillerTim ByrneJamie WhiteChristopher McConnellJoshua JarvisNikoJoe LaskaLaurie AcremanKen HirshJezMelanie AndrichJenness GardnerSimon CammellGuinevere BoostromNarelle HornBill RosingerErinAidan CoughlanJeanneret Manning Family FourDoug PatonDave SharpeSami SamhuriAccessViolationRyan TorvikMerlin MannGlennJim ChokeyAndre BremerMark SchechterDave FloreyFEBRUARY 2022 HALF-NOTE PATRONSPortland Eye CareAdam RayAnupama RaghavanDemetri DetsaridisCarrie SchneiderAlenka GrealishAnne GerryRichard SneddonDavid JudsonJulian RoleffMelissa GallardoJanice BerryDoreen CarlsonmtwolfDavid McDarbyAbigail DuffieldRaphadavidWendy GilchristLisa TurnerPaul WayperMiles FormanDennis M EdwardsJeffrey FerrisBruno GaetaKenneth JungbenAdam StofskyZak RemerRishi SahayJason ReitmanGreg BurgessAilie FraserSimon PrietoPaul McGrealKaren ArnoldNATALIE MISTILISJosh SingerPhino DeLeonSchloss Edward J. MDAmy Lynn ThornsenAdam WKelli BrockingtonStephen RawlingsBen MachtaVictoria YuKevin RiversBrad ClarkChristopherMichael J. CunninghamKari KirkMark Boggsmino caposselaSteve PaquinMary SchoenmakerSarahDavid JoskeEmma SklarBernard KhooDavid BlackmanRobert HeuerMatthew GoldenBrian MeldrumDavid NoahGeraldine ButlerRichard CambierMadeleine MaderTimothy DoughertyJason PrattCaroline MillerAbbie BergSam NortonNicole SchleicherDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistElaine MartinKourothBonnie PrinsenSharon TreeBelinda Mcgrath-steerLiz SegerEoin de BurcaKevin PotterM Shane BordersPete SimmSusan PleinDallas HockleyJana JJason GerryNathan GouwensWill Dwyer Alethea LeeLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneJeffyThanadrosDavid FriedmanPhillip DaltonSarah SulanDiane HughesKenneth TiongJo SutherlandMichael CasnerMichael YorkBarb CourtneyDerek BenderJen SmallLowell MeyerEtele IllesStephen TsoneffLorenz SchwarzWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaJCClare HolbertonDiane TurnerTom ColemanTijs SoeteMark PerryDhu WikMelEric HelmJake RobertsBill FullerSteven MaronMichael FlahertyJarrod SchindlerZoe LittleCaro Fieldmichael bochnerDuncanNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerMatt GaskellJules BaileyEero WahlstedtAndrew FairBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJon O'KeefeJustin McElroyArjun SharmaJames JohnsonAndrew LeeKevin MorrellKevin PennyfeatherNicholas SchechterEmily Williams
Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play a Key of F Major Melodic Workout. In this Jazz Piano Lesson you will:DiscoverA Key of F Major Melodic WorkoutLearnHow to "think" within the Key of F Major, MelodicallyPlayThe Modes of the Key of F Major plus Inverted Melodic Arpeggios from various entry points (Root, 3rd, 5th, 7th).ANDYou are going to play Melodic lines using various Whole Note, Half Note, and Quarter Note Rhythms played over the II-V-I Progression.For maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of C Major Melodic Workout.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. It is my pleasure to help you discover, learn, and play jazz piano!Support the show (https://www.paypal.com/donate/?hosted_button_id=ZZEBGDF38VFNS)
Legendary vocalist talks about playing with George Duke at the Half Note in San Francisco and how the arts can bring people closer together.
Ohiyo!! Hopin' your weekend is off to a rockin' start and that you've had a great week ^_^ You can make someone's week even better by nominating them for 'Be Vocal about a Local'! ;) If they've been an awesome human and you want to acknowledge them/their selfless act, we have an OG Picnic Box from Picnic Whistler to reward them with!
Sometimes there's a fantastic narrative behind these Deep Focus programs and sometimes we are simply reveling in glorious, never-before-heard recordings of history's greatest musicians with a brilliant scholar of the music to lead us through it. And, by golly, that's good enough. Join host Mitch Goldman and his guest, bandleader Eric Anthony Person for a Deep Focus on John Coltrane and Rahsaan Roland Kirk with music from the WKCR archives. Mitch says, “If you have heard any of these recordings before, I'll eat my hat!” #WKCR #MitchGoldman #DeepFocus #EricPerson #RahsaanRolandKirk #JohnColtrane #ArtEnsembleOfChicago #jazzinterview #jazzradio #jazzpodcast Photo credit: fair use.
Sometimes there's a fantastic narrative behind these Deep Focus programs and sometimes we are simply reveling in glorious, never-before-heard recordings of history's greatest musicians with a brilliant scholar of the music to lead us through it. And, by golly, that's good enough. Join host Mitch Goldman and his guest, bandleader Eric Anthony Person for a Deep Focus on John Coltrane and Rahsaan Roland Kirk with music from the WKCR archives. Mitch says, “If you have heard any of these recordings before, I'll eat my hat!” #WKCR #MitchGoldman #DeepFocus #EricPerson #RahsaanRolandKirk #JohnColtrane #ArtEnsembleOfChicago #jazzinterview #jazzradio #jazzpodcast Photo credit: fair use.
”Smoking“是一种爵士俚语，说的是当爵士乐手的表演“swing“得不得了，就会“smoking“，表示精彩得冒烟了。 按照主持人泽相 Tay Cher Siang 的说法，由传奇吉他手 Wes Montgomery 和杰出钢琴家 Wynton Kelly 在纽约 Half Note 现场录音的专辑，「Smokin' at the Half Note」就是一张“swing“得冒烟的经典爵士乐专辑。
It's great to talk about IDEAS for teaching elementary music, but it's completely different to actually put together lessons. In these What I'm Teaching this Week videos, I'll be talking about EXACTLY what I'm teaching in elementary music! These are replays from the Tuesday night live sessions on Instagram (@beccasmusicroom) and Facebook (Becca's Music Room).Happy teaching!BeccaNeed more virtual lessons?Online music lesson course: https://beccasmusicroom.teachable.com/p/teaching-elementary-music-online/Virtual Music Lesson ebook: http://beccasmusicroom.com/virtual-music-lessons///IN THIS VIDEOVirtual Music Lessons for Teaching Elementary Music BOOK: http://beccasmusicroom.com/virtual-music-lessons/Last week's video: https://youtu.be/DJuon0U749EEditable slides templates: https://www.teacherspayteachers.com/Product/EDITABLE-Google-Slides-Templates-for-Music-Class-5982787?aref=f82rzb94&utm_source=youtube.com&utm_campaign=BMR%20WITTW%203%20Virtual Field Trip to Ireland: https://www.teacherspayteachers.com/Product/Ireland-Virtual-Field-Trip-to-Learn-about-Irish-Music-in-Elementary-Music-Lesson-6639695?utm_source=BMR%20Youtube&utm_campaign=WITTW%2023Watercolor level 3 cards: https://www.teacherspayteachers.com/Product/Watercolor-Level-3-Rhythm-Cards-for-syncopa-and-single-eighth-notes-4492667?utm_source=BMR%20Youtube&utm_campaign=WITTW%2023Meter Lesson: https://www.teacherspayteachers.com/Product/Meter-Time-Signature-Google-Slides-Lesson-for-Elementary-Music-or-Band-6536615Meter Kahoot: https://create.kahoot.it/share/2-truths-a-lie-meter-dotted-half-notes/9ee1ae89-74bb-43c7-b875-78d4e5b10aebFionna's Luck: https://amzn.to/3qBHZYZI Know a Shy Fellow Who Swallowed a Cello book: https://amzn.to/30ukGpuI Know a Shy Fellow Who Swallowed a Cello Google Slides: https://www.teacherspayteachers.com/Product/I-Know-a-Shy-Fellow-who-Swallowed-a-Cello-DIGITAL-Instrument-Families-Lesson-5882692?utm_source=BMR%20Youtube&utm_campaign=WITTW%2023Printable!: https://www.teacherspayteachers.com/Product/I-Know-a-Shy-Fellow-who-Swallowed-a-Cello-Instrument-Families-Lesson-4397104?utm_source=BMR%20Youtube&utm_campaign=WITTW%2023Irish Dance Video: https://www.youtube.com/watch?v=595AKDailds//HELPFUL LINKS*Camera I use: https://amzn.to/35BS9Pc*Erin Condren (get $10 off when you create an account): https://www.erincondren.com/referral/invite/rebeccadavis-7580/1*Get one month of free ink with HP Instant Ink: http://try.hpinstantink.com/v6mcZ*Happier Teacher Life (my new book!): https://amzn.to/337t28MWant to get access to exclusive content? Sign up to join my FREE RESOURCE LIBRARY. Once you sign up, you can download and use any of the content in the library. New things are being added every few weeks, so make sure you check back for more FREE stuff! https://mailchi.mp/12c5827aecfa/beccasmusicroom//LET'S BE FRIENDSBlog: https://beccasmusicroom.comTeachers Pay Teachers: https://www.teacherspayteachers.com/Store/Beccas-Music-RoomEtsy: https://www.etsy.com/shop/BeccasMusicRoomPinterest: https://www.pinterest.com/beccasmusicroom/Instagram: https://www.instagram.com/beccasmusicroom/Facebook: https://www.facebook.com/beccasmusicroomPainting in the background: https://www.etsy.com/shop/beccadavisdesigns*May contain affiliate links
Polyrhythmic jazz drummer talks about the influence of Mahapurush Misra and playing the Half Note in San Francisco with Al Jarreau and George Duke. --- Support this podcast: https://anchor.fm/jake-feinberg/support
This episode is all about Soul. Garrick and Timothy head to the theater to watch Soul, a new cinematic feature produced by Pixar Animation Studios and released by Walt Disney Pictures. And by "heading to the theater," what they mean is that each of them headed downstairs to their respective home theaters, where the screens are far smaller but the seats are much larger and the popcorn is much cheaper. Your intrepid cohosts' goal in watching Soul was to discuss the theological nuances of this film, but Garrick quickly derails that noble intention with his description of a "Giant Bug Zapper in the Sky" (which would, by the way, be an amazing name for a bluegrass punk fusion band). Also, by the way, there are a lot of spoilers in this episode, if you haven't seen the movie already. In the end, Timothy manages to wrangle enough focus out of Garrick to discuss how Soul tends toward Greek dualism while simultaneously critiquing the secular notion that happiness is found by discovering your "thing." Along the way, the dynamic duo explores Andrew Root's book The End of Youth Ministry? and considers how Josh Chatraw's Telling a Better Story might help Christians to draw from the storylines of popular movies to make their case for God. In the end, it becomes clear that, despite being packed with pop mysticism and Eastern spirituality, Soul is able to provide viewers with a meaningful resolution only by borrowing from the Christian metanarrative. Links to Click B and H Academic Cultural Intelligence: book by Darrell Bock Soul: trailer from Pixar Studios MY N.Y.: album by Jon Batiste & The Stay Human Band Smokin’ at the Half-Note: album by Wes Montgomery Immortality of the Soul or Resurrection of the Dead?: book by Oscar Cullmann The End of Youth Ministry?: book by Andrew Root Telling a Better Story: book by Josh Chatraw SBTS Preview Day Urban Ministry Podcast How to Make Three Chords and the Truth More Amazing than It Already Is Support the show and spread the word! Here are a few ways to do that: 1. Subscribe to Three Chords and the Truth: The Apologetics Podcast: Apple / Android / RSS. 2. Leave a rating and review on iTunes to encourage other people to listen to the show. 3. If you purchase any of the books mentioned in Three Chords and the Truth, consider using the Amazon links provided in the show notes. The show will receive a small percentage of each sale. 4. Visit our Patreon site where you can support the podcast, suggest future songs or topics, and order Three Chords and the Truth merchandise. 5. Make contact with us on Twitter: @DrTimothyPJones @GarrickBailey @ApologeticsPod The Closing Credits Three Chords and the Truth: The Apologetics Podcast thanks B&H Academic for their sponsorship. Music for the podcast has been licensed through Artlist.io and performed by Trent Thompson. Brief excerpts of music played in each program are included solely for the purposes of comment and critique as allowed under the fair-use provision of U.S. copyright law. “The fair use of a copyrighted work … for purposes such as criticism, comment, news reporting, teaching, … scholarship, or research, is not an infringement of copyright” (U.S. Code § 107, Limitations on exclusive rights: Fair use).
Over the past decade, Pixar's excelled at building deep existential dilemmas into touching animated feature films. Director Pete Docter (Inside Out, Up), in particular. Docter's known for his skill in blending weighty themes into emotionally charged, yet charmingly joyful, treks through the human psyche. So, it only makes sense that Pixar paired him with Kemp Powers (One Night in Miami) as co-director and co-writer on his passion project Soul. You'll be pleased to discover that Soul leans into what Pixar's best known for, creating an immersive world of visual and sensory delights woven into a thoughtful and emotional journey. Teaching, Dream Chasing, and all that Jazz Joe Gardner (Jamie Foxx) is a jazz musician making his living as a middle school music teacher. Jazz feeds his soul but it doesn't pay his bills. Gardner dreams of performing onstage. But it's starting to look like that's a dream he'll never realize. His mother, Libba (Phylicia Rashad), wants him to accept an offered permanent position teaching and give up on pursuing jazz as a career. Jamie Foxx voices Joe Gardner in Soul. Photo Credit: Disney/Pixar Just as he's losing hope, a call from Curley (Questlove), a former student leads to an unexpected audition. Gardner secures a spot playing with renown jazz musician Dorothea Williams (Angela Bassett). It's his chance to play at the world-famous Half Note jazz club. On the cusp of realizing his dream, he rushes towards home. One moment of inattention leads to an accident that jettisons him out of his body and on his way to the Great Beyond. Gardner comes to in his spirit form and, upon realizing he's no longer among the living, refuses to accept his fate. Refusing to Give Up and Discovering Your Spark The meat of this film encompasses Gardner's attempt to avoid going into the Great Beyond. The visuals for the hereafter, by the way, are startling and more than a touch mesmerizing. The blend of a soft color palette and sharp angles creates a stark contrast to an Earth pulsing with life in such bold color it's almost tangible. Rachel House voices Terry in Soul. Photo Credit: Disney/Pixar Gardner's escape efforts land him as accidental mentor to a seemingly cynical 22 (Tina Fey), an unborn soul, in the Great Before. As 22's latest mentor, it's Gardner's job to help them discover their spark and earn their pass to a life on Earth. From this point on, expect hilarity, tear-jerking moments, and pithy banter. Shortcut Back to Earth Gardner just knows his reason for living is jazz. It's hard for him to see his life from any other perspective. Until he's forced to. Inspiring 22 to want to have a life proves a daunting task. But guiding the reluctant soul to their own "spark" is secondary. It only matters as a means to get him a pass back to Earth in time for his gig. Jamie Foxx and Tina Fey voice Joe Gardner and 22 in Soul. Photo Credit: Disney/Pixar And this is where Soul really finds its footing (and will lose a bit of ground with some). Watching as this pair blunder their way through life's turns, is both hilarious and ironically enlightening. Throughout, a non-corporeal Joe is still distinctly himself. He's also still self-involved in a way that's well past obsessive. The bedrock conviction that jazz is his life blinds him to the fact he's not really been living. A never-been-born 22's convinced they've seen enough of life to skip it altogether. What each discovers, about themselves, and each other, along the way highlights how very easy it is to miss the point of it all. Revelations occur naturally in this world through secondary characters that work to build a version of life in New York that practically screams the creators love at every turn. Jamie Foxx and Tina Fey's chemistry makes for a captivating duo navigating the highs and lows of Gardner's life. The secondary characters are also well developed story essentials that add their own flavor and color to the action.
Over the past decade, Pixar's excelled at building deep existential dilemmas into touching animated feature films. Director Pete Docter (Inside Out, Up), in particular. Docter's known for his skill in blending weighty themes into emotionally charged, yet charmingly joyful, treks through the human psyche. So, it only makes sense that Pixar paired him with Kemp Powers (One Night in Miami) as co-director and co-writer on his passion project Soul. You'll be pleased to discover that Soul leans into what Pixar's best known for, creating an immersive world of visual and sensory delights woven into a thoughtful and emotional journey. Teaching, Dream Chasing, and all that Jazz Joe Gardner (Jamie Foxx) is a jazz musician making his living as a middle school music teacher. Jazz feeds his soul but it doesn't pay his bills. Gardner dreams of performing onstage. But it's starting to look like that's a dream he'll never realize. His mother, Libba (Phylicia Rashad), wants him to accept an offered permanent position teaching and give up on pursuing jazz as a career. Jamie Foxx voices Joe Gardner in Soul. Photo Credit: Disney/Pixar Just as he's losing hope, a call from Curley (Questlove), a former student leads to an unexpected audition. Gardner secures a spot playing with renown jazz musician Dorothea Williams (Angela Bassett). It's his chance to play at the world-famous Half Note jazz club. On the cusp of realizing his dream, he rushes towards home. One moment of inattention leads to an accident that jettisons him out of his body and on his way to the Great Beyond. Gardner comes to in his spirit form and, upon realizing he's no longer among the living, refuses to accept his fate. Refusing to Give Up and Discovering Your Spark The meat of this film encompasses Gardner's attempt to avoid going into the Great Beyond. The visuals for the hereafter, by the way, are startling and more than a touch mesmerizing. The blend of a soft color palette and sharp angles creates a stark contrast to an Earth pulsing with life in such bold color it's almost tangible. Rachel House voices Terry in Soul. Photo Credit: Disney/Pixar Gardner's escape efforts land him as accidental mentor to a seemingly cynical 22 (Tina Fey), an unborn soul, in the Great Before. As 22's latest mentor, it's Gardner's job to help them discover their spark and earn their pass to a life on Earth. From this point on, expect hilarity, tear-jerking moments, and pithy banter. Shortcut Back to Earth Gardner just knows his reason for living is jazz. It's hard for him to see his life from any other perspective. Until he's forced to. Inspiring 22 to want to have a life proves a daunting task. But guiding the reluctant soul to their own "spark" is secondary. It only matters as a means to get him a pass back to Earth in time for his gig. Jamie Foxx and Tina Fey voice Joe Gardner and 22 in Soul. Photo Credit: Disney/Pixar And this is where Soul really finds its footing (and will lose a bit of ground with some). Watching as this pair blunder their way through life's turns, is both hilarious and ironically enlightening. Throughout, a non-corporeal Joe is still distinctly himself. He's also still self-involved in a way that's well past obsessive. The bedrock conviction that jazz is his life blinds him to the fact he's not really been living. A never-been-born 22's convinced they've seen enough of life to skip it altogether. What each discovers, about themselves, and each other, along the way highlights how very easy it is to miss the point of it all. Revelations occur naturally in this world through secondary characters that work to build a version of life in New York that practically screams the creators love at every turn. Jamie Foxx and Tina Fey's chemistry makes for a captivating duo navigating the highs and lows of Gardner's life. The secondary characters are also well developed story essentials that add their own flavor and color to the action.
Welcome to the Digging Deeper Jazz Podcast. This podcast was originally released on July 21, 2017 on the Jeff Antoniuk - Educator YouTube channel. Please subscribe to the YouTube channel and feel free to enjoy the video version as well. FOR ALL INSTRUMENTS !In Episode#11, we suggest that you may have brain problems. Honestly! Your fingers do way too much of the walking, and your brain is just along for the ride too much of the time. Let's flip things around for a bit, and I guarantee you'll be playing better, in short order.Mentioned in this podcast: • www.JazzWire.net - Since we announced JazzWire back in 2017, it has become an incredible Community of hundreds of adult musicians from over 25 different countries around the world. If you are looking for a plan for your practice, regular insights and wisdom on playing jazz, and a huge COMMUNITY of jazz players from around the world, this is the place for you! • Digging Deeper Jazz - All of the DDJ episodes include a free pdf. Just write us at diggingdeeperjazz@gmail.com, and we'll send you the pdf for this episode, and put you on the list to receive each new pdf, weekly. Amazing practice ideas, every week, for free. What's not to love!?
Welcome to episode 243 where today I reveal my top 10 favorite jazz albums of all time. These albums are ones that I have come back to time and time again, and think you should check out as well. I go over 5 older jazz albums and 5 modern jazz albums I absolutely love. Listen to episode 243 I had someone in our Learn Jazz Standards Facebook group recently ask me, "Hey Brent, what are your favorite jazz albums of all time? Have you done a podcast episode about that?" And at that time, the answer was no. But today, I am gearing to fix that. In today's episode, I'm going to go over my 10 favorite jazz albums, the ones that I just always kept coming back to over the years. I'm going to do five old ones and five more modern jazz ones that I really love. And hopefully, you'll also learn some great albums that you can start listening to this week. In this episode: 1. Sonnyside Up by Dizzy Gillespie 2. Soul Station by Hank Mobley 3. The Bridge by Sonny Rollins 4. Smokin' at the Half Note by Wynton Kelly 5. Someday My Prince Will Come by Miles Davis 6. Strangers in Paradise by Peter Bernstein 7. Deep Song by Kurt Rosenwinkel 8. It's You I Like by John Ellis 9. Art of the Trio 4 by Brad Mehldau Trio 10. Ultrahang by Chris Potter Important Links 1. LJS Inner Circle Membership
This Live Cuts episode features Wes Montgomery and the Wynton Kelly Trio from the 1965 album Smokin' at the Half Note. There's also a preview of a new recording by Blanc Du Blanc that spotlights Dana Colley of Morphine, who spoke to Sounds Out of Time in Episode 4. You can find a playlist of the songs featured and an edited transcript of recent episodes here: https://soundsoutoftime.substack.com/
Clearwater Jazz Holiday's Young Lions Jazz Master Virtual Sessions
Clearwater Jazz Holiday's History of Jazz Outreach Program engages professional musicians to share the story of Jazz through live, interactive musical experiences. By Spring 2020, the Program had reached nearly 30,000 students in approximately 60 Tampa Bay area schools and has evolved to also bring meaningful experiences to schools and organizations serving at risk students, people of all ages with special needs, neurodiversities, and autism, as well as older adults in senior living communities and memory care centers. Frank T. Williams III, a 40-year + educator, band director, clinician, author, adjudicator, and composer, is a long-time CJH education partner, important to the development of many CJH Outreach programs. In 2020, CJH launched its STOP-TIME SERIES with Frank Williams to complement the History of Jazz Outreach Program by creating a comprehensive visual and audio History of Jazz archive delivered in Frank's one-of-a-kind style. WATCH & LISTEN! Visit the CJH website Education & Outreach section to watch all STOP-TIME videos for FREE or enjoy listening here as part of the CJH Young Lions Jazz Master "Virtual" Sessions Podcast. To learn more about the annual CJH festival tradition and year-round Education & Outreach: www.clearwaterjazz.com
You'll learn about how math is used to make music! Just like chopping vegetables in half, you can chop notes in half too. *** National Standards incorporated: Understanding the relationships between music and other arts, other disciplines, varied contexts, and daily life. Understanding rhythmic and melodic ideas Demonstrating knowledge of musical concepts *** Additional resources: Musical Notation – The Quarter Note, the Half Note, and the Whole Note Music Lesson – Steady Beat How to Read Music –Episode 4: Counting and Clapping *** Featured music: Ninja Re Bang Bang: Kyary Pamyu Pamyu *** Donate to support this and future seasons of The Music Box.
On this episode, Kirk dives in to one of the most influential jazz recordings of all time. (For real this time.) As the lead track on Miles Davis's landmark album Kind of Blue, "So What" signaled a new era in jazz harmony, composition, and improvisation. This episode will get into what that actually means, how the tune works, and why the seven musicians who played on Kind of Blue were each such a crucial part of the album's magic. Artist: Miles Davis Album: Kind of Blue (1959) Written by: Miles Davis Listen/Buy: Apple Music | Amazon | Spotify ------ ALSO FEATURED: “Will O’ the Wisp” by Miles Davis and Gil Evans from Sketches of Spain, 1960 “Seven Steps to Heaven” by Victor Feldman/Miles Davis from Four And More (Live), 1966 “Giant Steps” by John Coltrane from Giant Steps, 1960 “Resolution Pt. 2” by John Coltrane from A Love Supreme, 1965 “This Here” By Cannonball Adderley from The Cannonball Adderley Quintet in San Francisco, 1960 “Mercy Mercy Mercy” by Josef Zawinul from Mercy, Mercy, Mercy, 1966 “Autumn Leaves” by by Joseph Kosma, performed by the Bill Evans Trio on Portrait in Jazz, 1959 “Dancing in the Dark” by Dietz/Schwartz, performed by the Bill Evans Trio on Trio 64, 1964 “No Blues” by Miles Davis performed by Wes Montgomery and the Wynton Kelly Trio on Smokin’ at the Half Note, 1965 “Donna Lee” by Charlie Parker/Miles Davis recorded by the Charlie Parker Quintet, 1947 “I Wish” by Stevie Wonder from Songs in the Key of Life, 1976 “Excursions” by A Tribe Called Quest from The Low End Theory, 1991 “Rimshot [Intro]” by Erykah Badu from Erykah Badu: Live, 1997 Discussion of Miles: The Autobiography by Miles Davis and Quincy Troupe, 1990 Discussion of Ascension: John Coltrane and his Quest by Eric Nisenson, 1995 The Strong Songs Kind of Blue Playlist Kirk made a new playlist of the recordings discussed on this episode, in the hopes that it would give a sense of how the seven musicians on Kind of Blue went on to make all kinds of great music as bandleaders. It's in chronological order, so don't put it on shuffle. Unless, you know, you want to. Spotify: https://open.spotify.com/playlist/1X2ETUpsFfH03FHOZDCiic?si=UHahG4EcRcSQ_tBlpzSakA Apple Music: https://music.apple.com/us/playlist/strong-songs-kind-of-blue-playlist/pl.u-mJy8DG8t1g8Ka OUTRO SOLOIST: BJ Cord This episode's outro soloist is BJ Cord, a fantastic trumpet player based in Portland. BJ works at Monette trumpets making some of the most beautiful horns in the world, and is a regular presence on their Instagram: https://www.instagram.com/monettetrumpets 'GRAM BY 'GRAM If you're interested in occasional music and Portland-related photos and videos, as well as teases for upcoming Strong Songs episodes, follow Kirk on Instagram @kirk_hamilton. https://www.instagram.com/kirk_hamilton/ NEWSLETTER/MAILING LIST Sign up for Kirk's mailing list to start getting monthly-ish newsletters with music recommendations, links, news, and extra thoughts on new Strong Songs episodes: https://tinyletter.com/KirkHamilton STRONG PLAYLISTS You can find playlists containing every Strong Song as well as all of Kirk's weekly music picks from his other podcast, Kotaku Splitscreen, on both Spotify and Apple Music. You can also find a new playlist Kirk specifically designed for listening while staying home and not spreading viruses on Spotify, Apple Music, and Google Play (thanks Thomas for making that last one) SUPPORT STRONG SONGS ON PATREON! Thank you to all of Strong Songs's Patreon patrons; you all are the best. If you want to support Kirk making the show, do so here: https://Patreon.com/StrongSongs APRIL 2020 WHOLE-NOTE PATRONS AccessViolation andrew walters CALEB ROTACH Chad Barnard Clint Johnson Craig J Covell Dan Apczynski Dave Florey Glenn Jared Norris Mark Schechter Merlin Mann R Watson Ryan Torvik Viki Dun APRIL 2020 HALF-NOTE PATRONS AJ Schuster Albukitty Alex Singer Alexander Polson Amanda Furlotti Andre Bremer Andrew Baker Andrew Lee Arjun Sharma Bill Thornton brant brantphillip Brett Douville Brian Amoebas Brooke Wilford Chas Lednicky Chris Brown Christer Lindqvist Cyrus N. White Darryl Stewart Dave King David Stroud Duncan Earl Lozada Eero Wahlstedt Elliot Jay O'Neill Emily Williams FlSHBONES Forrest Chang Gavin Doig Gerry Nelson Jacob Dye Jaehoon Jeong James Johnson Jeffrey Olson Jenifer Carr Jennifer Bush Jeremy Dawson John and Sharon Stenglein Jon O’Keefe joujou Juan Carlos Montemayor Elosua Judith Stansfield Jules Bailey Justin Liew Justin McElroy Kate Albury Kevin Morrell Kevin Pennyfeather Leigh Sales Mark Steen Markus Koester Matt Betzel Matt Gaskell Max Schechter Melanie Stivers Michael Blackwell michael bochner Miriam Juskowicz Mueller Nate from Kalamazoo Nicholas Schechter Richard Toller Robbie Ferrero Robert Paul Sam Fenn samuel gardner Shane DeLeon SP Tanner Morton Tom Clewer Tom Lauer Toni Isaacson Wayne Marsh
You may or may not know that I have a background in jazz piano (I wrote and performed the intro and outro music for this show, for example). In this album I introduce you to about ten of my very favorite jazz albums. This is an experimental solo episode, but don't worry, we'll be back to interviews next week. Links The main list: Charlie Parker, “Parker's Mood” (1948) (listen to this original version, not the overdubbed version from Clint Eastwood's depressing film Bird!) https://www.youtube.com/watch?v=6Wa7El-k3jQ Best of the Savoy and Dial Master Takes (I mentioned the complete set in the episode but this is more approachable): https://www.amazon.com/Best-Complete-Savoy-Studio-Recordings/dp/B000067FUO/ “Koko”: https://www.youtube.com/watch?v=okrNwE6GI70 Erroll Garner, The Complete Concert by the Sea (1958): https://www.amazon.com/Complete-Concert-Sea-Erroll-Garner/dp/B00ZJ5QXDO/ “I'll Remember April”: https://www.youtube.com/watch?v=I_aILGaLqyc Stan Getz and Joao Gilberto, Getz/Gilberto (1964): https://www.amazon.com/Getz-Gilberto-Stan/dp/B0000047CX/ “Desafinado”: https://www.youtube.com/watch?v=So718wk426c Wes Montgomery and the Wynton Kelly Trio, Smokin' at the Half Note (1965): https://www.amazon.com/Smokin-At-Half-Note-Remastered/dp/B0006VXF4G/ “Unit 7”: https://www.youtube.com/watch?v=D12_468jvNk Miles Davis, Kind of Blue (1959): https://www.amazon.com/Kind-Blue-Miles-Davis/dp/B000002ADT/ “Blue in Green”: https://www.youtube.com/watch?v=veDgWww1hIQ Bill Evans's liner notes: https://www.sfjazz.org/onthecorner/bill-evans-kind-blue-liner-notes/ Bill Evans, Alone (1968): https://www.amazon.com/Alone-VME-Bill-Evans/dp/B00006C79A/ “Here's That Rainy Day”: https://www.youtube.com/watch?v=rMa2VaV3Voo Miles Davis, Nefertiti (1968): https://www.amazon.com/Nefertiti-Miles-Davis/dp/B003O5MODY/ “Nefertiti”: https://www.youtube.com/watch?v=tHBIfBex7Ig Herbie Hancock, Speak Like a Child (1968): https://www.amazon.com/Speak-Like-Child-Herbie-Hancock/dp/B0007LLQ3W/ “Speak Like a Child”: https://www.youtube.com/watch?v=lTNLWi-xAkE Chick Corea, Friends (1978): https://www.amazon.com/Friends-CHICK-COREA/dp/B01LVWGSGJ "Waltz for Dave": https://www.youtube.com/watch?v=oNdowVQ9nxE Other albums mentioned: Charlie Parker and Dizzy Gillespie, Bird and Diz (1950): https://www.amazon.com/Bird-Diz-Charlie-Parker/dp/B009R50YU0/ “Bloomdido”: https://www.youtube.com/watch?v=1MCGweQ8Oso Elis Regina and Antonio Carlos Jobim, Elis & Tom (1974): https://www.amazon.com/Elis-Antonio-Carlos-Jobim-Regina/dp/B0017YWG2S “Aguas de Março”: https://www.youtube.com/watch?v=E1tOV7y94DY Miles Davis, Miles Smiles (1967): https://www.amazon.com/Miles-Smiles-Davis/dp/B016QE48TM/ “Footprints”: https://www.youtube.com/watch?v=62p-CXrYmf4 Herbie Hancock et al., Tribute to Miles (1992): https://www.amazon.com/Tribute-Miles-Various-Artists/dp/B000002MG7/ “Elegy”: https://www.youtube.com/watch?v=r_DJJyJ5Ogg Chick Corea, Three Quartets (1981): https://www.amazon.com/Three-Quartets-Chick-Corea/dp/B000003OZE/ “Quartet No. 2, Pt. 2: Tribute to John Coltrane”: https://www.youtube.com/watch?v=UQx96DsZXxA
In Your Own Sweet Way.-JAZZANIVERSARIO.-tubby hayes - the eighth wonder-1959 .-JAZZACTUALIDAD.-GUSTAVO DIAZ QUINTETO-INCIPIT VITA NOVAIn Your Own Sweet Way.-JAZZANIVERSARIO.-tubby hayes - the eighth wonder-1959 .-JAZZACTUALIDAD.-GUSTAVO DIAZ QUINTETO-INCIPIT VITA NOVA PROG.Nº 596.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “In Your Own Sweet Way” JAZZ RECUERDO ANIVERSARIO. tubby hayes - the eighth wonder-1959 – Este CD toma su nombre de un antiguo Tempo Ep de Tubby, en el que toca todos los instrumentos, excepto el bajo y la batería. Todos los números de ese disco, una distracción interesante y un testimonio de la versatilidad del hombre, están presentes y son correctos, pero la mayoría de las pistas provienen de Tubby's Groove, su último álbum para el jazz de Decca, la banda Tempo, y su primer álbum desde el último concierto. arriba de los mensajeros de jazz. De hecho, la alineación es la de la encarnación final de los Couriers menos Ronnie Scott. Este CD es un buen ejemplo de hard bop británico de 1959. Tubby Hayes ?– The Eighth Wonder Sello: Jasmine Records ?– JASCD 611 Formato: CD, Compilation País: UK Fecha: 2000 Género: Jazz Estilo: Pistas 1 Blues For Those Who Thus Desire 5:45 2 Time Was 3:35 3 The Eighth Wonder 2:39 4 Tin Tin Deo 9:33 5 Tin Tin Deo (Alternate Take) 7:44 6 Embers 5:11 7 Like Someone In Love 5:50 8 The Surrey With The Fringe On Top 6:12 9 Sunny Monday 7:42 Créditos • Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Vibraphone, Piano – Tubby Hayes • Bass – Jeff Clyne (tracks: 4 to 12), Phil Bates (tracks: 1 to 3) • Drums – Bill Eyden (tracks: 1 to 3), Phil Seamen (tracks: 4 to 12) • Piano – Terry Shannon (tracks: 4 to 12) • Producer – Tony Hall (4) Edward Brian "Tubby" Hayes (30 de enero de 1935 [1] - 8 de junio de 1973 [2]) fue un multi-instrumentista de jazz inglés , mejor conocido por su saxofón tenor tocando en grupos con su compañero saxofonista Ronnie Scott y con el trompetista Jimmy Deuchar . • Vida temprana [ editar ] Hayes nació en St Pancras, Londres , y se crió en Londres. Su padre era un violinista de estudio de la BBC que le dio clases de violín a su hijo desde una edad temprana. A la edad de diez años, Hayes tocaba el piano y comenzó a tocar el saxo tenor a los 11. Dizzy Gillespie fue una de las primeras influencias: [3] Siempre solía escuchar música de swing a principios de los años cuarenta y, de hecho, solo era un niño en ese momento. Realmente no tenía la intención de convertirme en un tenor, aunque siempre me gustó el tenor. Creo que tal vez Dizzy me influenció más que a Parker porque era más accesible, llamó más tu atención. En lo que respecta a mis influencias a lo largo de los años, Getz estuvo en una etapa del proceso, y más tarde Rollins, Coltrane, Hank Mobley y, en menor grado, incluso Zoot [Sims]. Una historia muy repetida sobre la carrera temprana de Hayes fue contada por Ronnie Scott . Scott estaba jugando en un club en Rose Hill, cerca de Sutton, y se le preguntó si le importaba si un jugador local se sentaba: "Este niño pequeño no era mucho más grande que su saxo tenor. De manera más condescendiente, sugerí un número y se fue. Me asustó hasta la muerte ". Hayes asistió a la Escuela Rutlish en Merton Park , al sur de Londres, donde su profesor de música era Roy Howard. Después de un período de tocar con varias bandas semiprofesionales en Londres, Hayes dejó el colegio y comenzó a tocar profesionalmente a la edad de 15 años. Carrera [ editar ] En 1951, con 16 años, Hayes se unió al sexteto de Kenny Baker , y más tarde tocó para líderes de grandes bandas como Ambrose , Terry Brown, Tito Burns , Roy Fox , Vic Lewis y Jack Parnell . En 1955, formó su propio octeto, con el que realizó una gira por el Reino Unido durante 18 meses. Hayes tomó el vibráfono a principios de 1957, después de haber probado el instrumento de Victor Feldman en un concierto. Aunque las vibraciones eran un doble clave en su arsenal instrumental, finalmente se cansó de tocarlas, grabando su último solo en el instrumento en 1966. De 1957 a 1959, se unió a Ronnie Scott para co-liderar un quinteto, The Jazz Couriers , quizás el más recordado de los grupos británicos de jazz moderno. Hayes tomó la flauta en 1958, haciendo su debut de grabación en el instrumento un año más tarde. Continuó presentando la flauta durante el resto de su vida. Posteriormente, Hayes reformó su cuarteto y realizó una gira por Alemania con Kurt Edelhagen . Luego, en 1961, fue invitado a jugar en el Club Half Note en la ciudad de Nueva York; un nuevo acuerdo de la Unión de Músicos Transatlánticos significó que, a cambio, Zoot Sims jugó en el de Ronnie Scott. Mientras se encontraba en los Estados Unidos, Hayes grabó ( Tubbs In NY ) con Clark Terry , Eddie Costa y Horace Parlan , y regresó en 1962 para otra visita, ¡esta vez grabando Return Visit! con James Moody , Roland Kirk , Walter Bishop Jr , Sam Jones y Louis Hayes. Tocó en el Half Note de nuevo en 1964, y en el Boston Jazz Workshop el mismo año, y en el Manne-Hole de Shelly Manne en Los Ángeles en 1965. De vuelta en Londres, Hayes formó su propia gran banda, trabajando en televisión, cine y radio, e incluso teniendo sus propias series de televisión (1961–1962 y 1963). Él representó a Paul Gonsalves en febrero de 1964 (con quien también grabó dos veces: Just Friends grabó en febrero de 1964 y Change of Setting grabado un año más tarde), cuando la orquesta de Ellington tocó en el Royal Festival Hall . Además de dirigir sus propias bandas y grabar bajo su propio nombre, Hayes también aparece en grabaciones de otros músicos de jazz del Reino Unido, como Harry South Big Band, Ian Hamer Sextet y más tarde sesiones de estudio de Ted Heath's Orchestra. Hayes también fue un músico de sesión prolífico en muchos géneros. Entre sus muchos créditos, Hayes fue uno de los músicos de la sesión en Music in a Doll's House , el álbum debut de 1967 de la banda de rock Family , en el que Mike BattArreglamos las cuerdas y el latón. Batt le da crédito a Hayes por guardar su arreglo en la canción "Old Songs for New Songs", que fue su primera sesión de grabación importante como arreglista. En la primera toma, descubrió que inadvertidamente había anotado las partes en la clave equivocada, pero Hayes y su Los colegas, al darse cuenta de su error, transpusieron discretamente sus partes al oído para que coincidieran con la pista de acompañamiento. [4] Hayes apareció en varias películas, incluyendo All Night Long (1961) con Dave Brubeck y Charles Mingus , y (con su grupo) en A King in New York dirigida por Charlie Chaplin (1957), The Beauty Jungle (1964) y Dr La casa del terror de los horrores(1965). También tocó en festivales de jazz, como Reading , Windsor , Antibes , Lugano , Viena y Berlín . A mediados de los años sesenta, los músicos de jazz británicos eran más difíciles de encontrar en los conciertos regulares; Primero rock and roll , y luego rhythm & blues y The Beatles.había alterado el panorama musical y, como resultado, Hayes ahora rara vez trabajaba en clubes de Londres como 'The Flamingo' y 'The Marquee' en los que había sido un habitual en el cartel a finales de los años cincuenta y principios de los sesenta. Las cosas se empeoraron por una combinación de problemas de relación, alcohol y narcóticos, que en 1968 habían comenzado a afectar públicamente su carrera. Fue arrestado en agosto de 1968 por posesión de heroína y se le dio una sentencia suspendida. A finales del año siguiente, había comenzado a experimentar dificultades respiratorias cuando jugaba, lo último en una larga serie de aflicciones. En 1970, Hayes pasó 15 semanas en un hospital con una infección grave de sus órganos internos. En julio de 1971, se sometió a una cirugía a corazón abierto para reemplazar la válvula mitral. Esta operación fue un éxito y pudo comenzar a actuar nuevamente en diciembre de 1971.Noruega , Suecia y Finlandia. Hayes murió en 1973, durante una segunda operación de corazón en Hammersmith , a la edad de 38 años. Fue incinerado y las cenizas se enterraron en el Crematorio de Golders Green , donde hay una placa conmemorativa de piedra blanca pegada a una de las paredes. El epitafio lee "Viva su memoria y su música". Hayes dejó un legado de grabaciones que se convirtieron en artículos de colección muy buscados, casi todos los cuales han sido reeditados en CD. A pesar del rumor de que la compañía descartó algunas de las primeras cintas tempo de Tempo que son propiedad de Decca , [5] se descubrió que ciertos masters aún existían, incluidos los de uno de los mejores álbumes de Hayes, Tubby's Groove , grabado en 1959. esta sesión se envió a Blue Note Records para una audición en 1960, pero posteriormente se perdió hasta que se redescubrió en 2008. Se incluyeron en el álbum Tubby's New Groove , publicado por Candid en 2011. En 2015, fue publicada por Equinox Publishing una biografía completa, La larga sombra de El pequeño gigante: La vida, el trabajo y el legado de Tubby Hayes por Simon Spillett . El libro recibió elogios tanto de la prensa especializada como no especializada, y fue nominado entre los mejores libros de 2015 por The Guardian . Spillett también ha catalogado el archivo privado de cintas de Hayes y ha organizado el lanzamiento de muchas sesiones de Hayes que no se habían escuchado anteriormente en sellos como Art Of Life, Rare Music, Harkit, Tentoten, Savage Solweig, Gearbox, Candid, Jasmine, Proper, Acrobat, Fantastic Voyage, Avid y Real Gone Jazz. Un documental en DVD, Tubby Hayes: A Man In A Hurry , dirigido por Lee Cogswell y producido por Mark Baxter, con la narración del actor Martin Freeman , se lanzó en 2015. Contiene material de archivo y entrevistas con otros músicos, amigos, familiares y fanáticos. de Hayes. JAZZ ACTUALIDAD.- Esta semana tendremos a Gustavo Diaz Quintet, con su álbum INCIPIT VITA NOVA Gustavo Díaz Quinteto Ref.: Youkali 158 Después de lanzar Cromatonal” (Youkali Music, 2016), un debut lleno de audacia y originalidad, marcado por la experimentación y la búsqueda de sonoridades innovadoras, el joven saxofonista, pianista y compositor toledano GUSTAVO DÍAZ, presenta, también en formato de quinteto, “Incipit Vita Nova”, su segundo disco como líder, para el cual ha vuelto a rodearse de un selectísimo grupo de músicos de lo más sobresaliente de la escena jazzística actual, integrado por Mario Quiñones a la Guitarra, Jorge Castañeda al piano, Ander García en el Contrabajo y Shayan Fathi a la Batería. Y, si la investigación y la exploración de nuevas vías en los campos de la composición y de la improvisación fueron el motory el elemento principal en la aventura sonora de “Cromatonal”, este nuevo “Incipit Vita Nova” muestra, en cambio, como imprescindible hilo conductor la decidida persecución de la Melodía, a través de envolventes y coloristas paisajes sonoros. Paisajes sobre los que GUSTAVO DÍAZ y sus siempre eficientes e inspiradísimos acompañantes delimitan un territorio sonoro propio y genuino, imaginando laberintos rítmicos, fundiendo lo clásico y lo contemporáneo, lo latino con lo cool, o mirando al Blues desde ópticas inéditas… Standards para el futuro.
Rae Solomon and I made the piece Heidi and Pearl and Heidi produced for KCRW‘s 24 Hour Radio Race. Rae’s upcoming workshop is here. Bevin Luna lent us the song Volatile or Stable. Instagram is here. CPR’s OpenAir Performance Studio is here, here, here and here. Hodi’s Half Note show is here. Elisa Gabbert reads Time, … Continue reading "Episode Thirty-One: All Grown Up"
Rae Solomon and I made the piece Heidi and Pearl and Heidi produced for KCRW‘s 24 Hour Radio Race. Rae’s upcoming workshop is here. Bevin Luna lent us the song Volatile or Stable. Instagram is here. CPR’s OpenAir Performance Studio is here, here, here and here. Hodi’s Half Note show is here. Elisa Gabbert reads Time, … Continue reading "Episode Thirty-One: All Grown Up"
Rae Solomon and I made the piece Heidi and Pearl and Heidi produced for KCRW‘s 24 Hour Radio Race. Rae’s upcoming workshop is here. Bevin Luna lent us the song Volatile or Stable. Instagram is here. CPR’s OpenAir Performance Studio is here, here, here and here. Hodi’s Half Note show is here. Elisa Gabbert reads Time, … Continue reading "Episode Thirty-One: All Grown Up"
Fort Collins Colorado — The tag-team of Minnesota rappers P.O.S and Astronautalis met 15 years ago on Warped tour and agreed to create a band. Known together as Four Fists, they released their first collaborative album 6666 at the beginning of the month. On October 18, they were on stage in Hodi’s Half-Note for the third show […] The post Concert Review and Interview with Four Fists appeared first on KCSU FM.
Falling In Love With Love.-JAZZANIVERSARIO.-Donald Byrd - At The Half Note Cafe, Vol. 2 .-JAZZACTUALIDAD.-.ANDER GARCIA-HIRU PROG.Nº 536.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “.Falling In Love With Love” JAZZ RECUERDO ANIVERSARIO.- Donald Byrd - At The Half Note Cafe Título: At The Half Note Cafe Músico: Byrd, Donald Acompañantes: Pepper Adams; Duke Pearson; Laymon Jackson y Lex Humphries Fecha de Grabación: 1960. 11 Noviembre Lugar de Grabación: New York Sello Discográfico: Blue Note Nº de temas: 6 Formato: 2CD Instrumento: Trompeta Estilo: Freejazz Nº de Serie: 70423 5 95959 24 Año de Edición: 2004 Duración: 1:59:49 Calificación: 5* Comentario: Grabado en directo desde el amblemático club neoyorkino de lo años sesenta: el Half Note, el trompetista Donald Byrd, acompañado por su grupo de entonces, el saxo bartiono, Pepper Adams; el pianista Duke Pearson, el bajista, Laymon Jackson y el baterista, Lex Humpries ofrecen una extraordinaria sesion de jazz al espectante publico del club. JAZZ ACTUALIDAD.- Esta semana tendremos a ANDER GARCIA-HIRU. Bienvenidos a “HIRU”, mi tercer disco como solista. HIRU es un paso firme en el camino: es la primera grabación donde comienzo a experimentar para hallar mi propia voz como contrabajista. Es además, el primer texto que escribo acerca de mi investigación sobre la improvisación basada en el estilo musical vasco. Me baso en tres aspectos de la música vasca para improvisar: • Las melodías y las métricas de los Bertsos (los versos improvisados por los Bertsolaris). • Los ritmos de Zortziko y de la Dantzari Dantza (conjunto de danzas de Durangaldea) que bailé en mi juventud. • Las melodías tradicionales o de autores concretos que están inspiradas en la tradición musical vasca. En esta grabación, cuento con la inestimable colaboración de un músico excepcional, el pianista Juan Ortiz, que desde un primer momento se sintió profundamente atraído por la idea de tocar una música basada en estas raíces. El proceso ha requerido de reflexión y contención a la hora de improvisar, buscando un equilibrio estable y honesto entre el jazz y los recursos propios de la música de Euskal Herria. Defiendo este enfoque improvisacional basado en la raíz, y animo a los músicos vascos a investigar. Es por este motivo que explico a continuación mi manera de enfocar los solos. Es un primer paso, que ojalá me lleve a poder expresarme en cualquier contexto musical sin perder mis raíces y aportar así a otras músicas. 1 – Mendian Gora (Xabier Amuriza, Imanol Larzabal) Pensando en cómo tocar este precioso tema, tuve que darle muchas vueltas a posibles cambios en la armonía para, finalmente, dejarlo prácticamente como es. Es este un disco de espacios, de desnudez, tan necesaria para conectar con la base, y a partir de ahí expresarnos con sinceridad. 3:30. Comienzo el solo inspirándome en la melodía de “Ihesa Zilegi Balitz” de Xenpelar (conocida por mi a través de Mikel Laboa). 3:54. Continúo el solo, esta vez partiendo de la rítmica y la acentuación de la Ezpata Dantza (baile con espadas). En este disco hay varias menciones al baile, ya que formé parte de las compañías de dantza Anai Artea e Ibarrakaldu en mi pueblo natal, Barakaldo. 4:06. Vuelvo a la melodía de Xenpelar, cerrando un ciclo en el solo. 4:30 Empiezo una frase basada en el primer intervalo de la melodía de Mendian Gora, lo tomo como motivo melódico y lo voy variando mientras subo en registro en el instrumento. 5:26. Aquí improviso en el ritmo de zortziko. Realizo una adaptación (modulación métrica) sobre el pulso ternario del tema. El zortziko no lo toco en 5/8 (como se suele escribir en partitura), sino que lo toco “al aire” de la dantza. Es, a fin de cuentas, mi manera de tocar el zortziko, influida por la danza y las melodías que aprendí. De esta manera, adapto el ritmo al compás de manera orgánica. 5:39. Acabo el solo con la melodía (al igual que ha hecho Juan antes que yo). 2 – Nere Izarra (Iparraguirre) Tocamos el zortziko de Iparraguirre con un aire alegre. Una vez más, mi forma de tocarlo está totalmente infliuido por el baile. Esto hace que no pensemos en un compás concreto (no es ni 5/8 ni 4/4 ni 3/4). Juan me acompaña inicialmente tocando los acentos propios del zortziko, para posteriormente liberarse del patrón en su solo. Por mi parte, me mantengo en el patrón y en el aire del zortziko. En mi solo, puede notarse la acentuación propia de este ritmo. Una vez más, acabo el solo con la melodía. 3 – Makil Dantza Tenía muchas ganas de grabar con Juan tomando este baile como punto de partida. Es uno de los bailes que más recuerdo de mi época de dantzari (bailarín). La intro de contrabajo se basa en la melodía de manera libre. Tras la intro, pasamos a un solo de piano con mucho contrapunto en el bajo. La idea es jugar ambos con la melodía y la rítmica de este baile, recordando la última frase en cada vuelta del tema. En el minuto 2:00, Juan toca la melodía mientras que yo la apoyo con los golpes propios del baile, que se realizan con las makilas (palos). Escuchando la grabación, me doy cuenta que en ocasiones imito el sonido de los palos con el contrabajo, tocando dos cuerdas a la vez, buscando la sensación del “golpe” del palo, más que de la nota afinada (me imagino el contrabajo como una makila). 4 – Liliak Ihes Este es hasta la fecha mi único Zortziko propio. La magnífica letra, llena de lirismo, es obra de mi amigo y gran actor Josean Bengoetxea. Como en Nere Izarra, el ostinato del contrabajo da apoyo a un solo muy expresivo de Juan. El solo corto de bajo da paso a la parte B del tema, manteniendo una estructura influida por los standards de jazz. 5 – Nire Lehen Bertsoa Como reza el título, este es mi primer bertso, aún sin letra. La estructura es la del bertso denominado Zortziko Handia, puesto que está formado por ocho puntos (frases) de diez y ocho sílabas. Comienzo mi solo (2:21) tocando la melodía tradicional de “Bentara Noa”, que coincide en métrica con el tema (esto lo he descubierto posteriormente, así que ha habido una feliz inspiración inconsciente y natural, no planificada). Varío la melodía adaptándome a la armonía del tema (2:38). En el 2:44 improviso sobre el ritmo de zortziko. Vuelvo a la métrica original en 2:55. 6 – Betroiarenak (9 puntuko bertsoa). Este es un bertso conocido, de tipo “9 puntukoa”. Comienzo con una intro libre de contrabajo, en la que empieza a entreverse la melodía de este bertso (0:18). En 0:50 vuelve a notarse la influencia de la danza, ya que toco parte de la melodía del “Banako” (uno de los bailes que conforman la Dantzari Dantza). Acabo la intro con el cierre de la melodía del bertso, tan característica. Me di cuenta de que los bertsos de tipo “9 puntukoa” casan perfectamente con la típica estructura AABA de tantas canciones populares. Una estructura AABA muy conocida del jazz es el denominado Rhythm Changes, basada en una canción muy conocida de George Gershwin. Aprovechamos la armonía y la estructura de los rhythm changes para tocar e improvisar este tema. La idea es parecida a la de nuestra versión del Makil Dantza: vamos jugando con la melodía, improvisando sobre ella. Al final (3:42), Juan toca los últimos compases de la melodía, a los que me sumo. 7 – Urxapal Bat Cuando escuché las grabaciones que realizó Ximun Haran en Iparralde quedé profundamente impresionado. Ésta en concreto, me llegó al alma. Me llamaron mucho la atención la profundidad con la que canta Lohidoy, la articulación de su voz y los espacios que deja entre las estrofas. Debido a la afinación no temperada de los cantantes de Iparralde, Juan me propuso grabar con un teclado de los 80, con posibilidad de afinarlo en cualquier frecuencia y un sonido orgánico que empastaba muy bien con la grabación de voz. Una vez grabado el teclado (este es el único tema del disco grabado en dos tomas separadas), me encontré con serias dudas acerca de qué podía aportar. Estuve a punto de no grabar el contrabajo, pero animado por mis compañeros, me puse a ello. He de admitir que me aferré a un recurso peculiar de Ron Carter, tocando con glisandos y dejando mucho espacio. Sería incompleto no incluir aquí las conclusiones que han suscitado este período de reflexión artística, cuyo resultado es este disco. Expongo aquí, desde la absoluta humildad pero también desde una gran convicción y esperanza, las ideas que resumo en un breve manifiesto personal para abordar la improvisación como artista vasco, que extrapolo a cualquier músico consciente de sus raíces: • Tomar las melodías, las métricas de los bertsos y las danzas vascas como punto de partida para la improvisación. • Practicar esta forma de improvisar en todos los contextos musicales, adaptando el discurso a los diferentes ritmos y armonías. • Dejar que la improvisación se nutra del resto de las músicas, pero no perder la referencia de tus raíces en el discurso. Ander Garcia Se licencia en Ingeniería Informática en la Universidad de Deusto en 2001 y posteriormente inicia los estudios de jazz en el Centro Superior de Música del País Vasco, MUSIKENE, obteniendo la licenciatura en 2008. Su grupo CiTRiC, formado en las aulas del prestigioso centro, es seleccionado por el INJUVE, lo que le lleva a tocar en los festivales de jazz de Ibiza, Getxo, San Sebastián, Madrid y Bruselas, entre otros. Con CiTRiC gana el Concurso de Jazz ciudad de Barcelona 2009, consistente en la grabación de su disco “Mandra”. En 2008 se traslada a Madrid, donde trabaja como director musical de Sheilah Cuffy Project y la obra multidisciplinar LONDON, de la compañía Cre.Art. En la ciudad se afianza como contrabajista, acompañando a músicos de la internacionales del prestigio de Jeff Berlin, Rodney Kendrick y Rhonda Ross así como artistas nacionales como Jorge Pardo, Perico Sambeat, Chris Kase, Bob Sands, Moisés P. Sánchez, Chema Sáiz, Victor de Diego, Román Filiú, Verónica Ferreiro, Noa Lur, Borja Barrueta, Marc Miralta, Carlos Carli, Martin Andersen y un largo etc. Desde entonces Ander ha tocado en festivales internacionales en paises como Guatemala, República Dominicana, Costa Rica, Holanda, Italia, Croacia, Irlanda, Alemania, México etc. Su inquietud musical le lleva igualmente a implicarse en grupos de fusión de jazz y música sudamericana y española (Amerikanda – Celia Mur), R&B y Hip-Hop (Soul Commanders), Rock (Ángel Celada, Jose Bruno), Pop (Gato Charro) y música electrónica (Towards Green). Su disco debut “Ttun Kurrun” ha seleccionado como uno de los mejores discos de jazz del país en 2013. Este proyecto ha sido presentado en directo en el Festival de Jazz BBK de Bilbao, en el Jazzaldia de San Sebastián, así como en salas de prestigio como el Jimmy Glass de Valencia o el Bogui Jazz de Madrid. Ander tiene tres discos editados como líder (Ttun Kurrun, Live in BBK, HIRU) y tres discos como colíder (Citric: Mandra, La Luna y Otros Espejos con Cristina Mora, Collado.Garcia.Benito: Suite 2). Es miembro del cuarteto del trompetista Chris Kase y colidera actualmente el trio Collado.Garcia.Benito, con el que ha sacado su segundo disco, "Suite II".
PROG.Nº 459.-Comenzamos con el estándar de la semana escuchando el tema “ALL OF ME”( )con BILLIE HOLIDAY - y esta semana Jazz en el Recuerdo Aniversario.- Vamos a celebrar aniversario del nacimiento de ERROLL GARNER, (-1955- concert by the sea)-- ,y la muerte de WES MONTGOMERY- Smokin' at the Half Note todo ello con las semblanzas biográficas de AYAX MERINO (periodista de ctxt.es) JAZZ ACTUALIDAD.- Esta semana tendremos a MANOS QUE IMAGINAN, con su álbum “TIERRA QUEMADA” ERROLL GARNER, (-1955- concert by the sea) "Concert by the Sea" es hasta la fecha uno de los tres discos de piano de jazz mas vendidos de toda la historia del jazz y la música contenida en él, a pesar de las imperfecciones del directo, alcanza cotas excelentes. El repertorio recoge algunas de las piezas favoritas del pianista, sin que falte el ineludible tinto latino que Garner hacía en cada concierto, en esta ocasión su afamado "Mambo Carmel". Pleno de un contagioso swing, el acompañamiento del excelente contrabajista Eddie Calhun y del baterista, Denzil Best, tambien soberbio compositor, potencia con sobriedad el rico universo musical del líder y participa del ambiente relajado y agradable de la sesión, este excelente disco forma parte, por derecho propio de una de las grandes grabaciones en directo de la historia del jazz, y con toda seguridad, un disco imprescindible en el piano de jazz. LOS MÚSICOS LOS INSTRUMENTOS FICHA TÉCNICA Eddie Calhoum Bajo Sello discográfico: COLUMBIA RECORDS Denzil Best Batería Número de serie: CBS 451042 Erroll Garner Piano y líder Fecha de grabación: 19 de septiembre de 1955 Lugar de grabción: Carmel (California) Calificación: 5* sobre 5 Side one No. Title Writer(s) Length 1. "I'll Remember April" Gene de Paul, Patricia Johnston, Don Raye 4:14 2. "Teach Me Tonight" Sammy Cahn, Gene de Paul 3:37 3. "Mambo Carmel" Erroll Garner 3:43 4. "Autumn Leaves" Joseph Kosma, Jacques Prévert, Johnny Mercer 6:27 5. "It's All Right With Me" Cole Porter 3:40 Side two No. Title Writer(s) Length 1. "Red Top" Lionel Hampton, Ben Kynard 3:11 2. "April in Paris" Vernon Duke, Yip Harburg 4:47 WES MONTGOMERY- Smokin' at the Half Note Personnel Wynton Kelly - p Wes Montgomery - g Paul Chambers - b Jimmy Cobb - dr Entre su viaje inaugural en 1957 y su muerte prematura a los 42 en 1968, Montgomery registró puntuaciones o álbumes para Pacific Jazz, Milestone, Riverside, Verve, y A & M. Durante la mitad de su permanencia en Verve, antes folllowing productor Creed Taylor a A & M y el olvido comercial, Montgomery se unió a la Wynton Kelly Trio (redondeado a cabo con Paul Chambers y Jimmy Cobb, Miles Davis famosa pre Kind of Blue sección rítmica) y grabado en directo en Half Note de Nueva York. Las cinco piezas incluidos finalmente en el disco fueron descritas por el guitarrista Pat Metheny como "... el álbum más grande absoluta guitarra de jazz jamás se ha hecho." Eso es bastante pesado. La música de este álbum es atemporal. Es decir que se ha mantenido bien teniendo en cuenta todos los que se hizo a mediados de 1960, un período en que muchos músicos de jazz se vieron obligados por las compañías discográficas y la economía para grabar la música popular de la época. El disco se abre con Miles "" No hay Blues "a partir del período de transición del trompetista entre sus dos grandes quintetos.Esto es seguido por Tadd Dameron "If You Could See Me Now", completo con su extendida Wynton Kelly Introducción. juego balada de Montgomery se encuentra en la misma categoría que su blues - excepcional. Hank Jones de "Unidad Siete" contiene tal vez el más convincente de jazz Sonny Rollins pensando ya de "Blue Seven". Este disco se cierra con Montgomery propio "Four on Six" y de nuevo vuelve su atención a la balada con "Novedades". Dos cosas hacen que Wes Montgomery guitarra 's jugando único. El uso de ese "dedo pulgar de grasa" hizo el tono de Montgomery redonda y ancha, con una presentación ligeramente amortiguado. La segunda cosa era su uso de octavas, una característica que hace que su música inmediatamente reconocible y proporcionó George Benson una buena vida. Con estas herramientas, Wes Montgomery añadió una voz única para el coro de jazz, mientras que a caballo entre diferentes géneros y épocas. Smokin 'en la nota media es la más profunda testamento vivo. C. Michael Bailey 1 No Blues (Davis) 12:56 2 If You Could See Me Now (Dameron, Sigman) 8:21 3 Unit 7 (Jones) 6:44 4 Four on Six (Montgomery) 6:43 5 What's New ? (Burke, Haggart) 6:10 JAZZ ACTUALIDAD.- Esta semana tendremos a MANOS QUE IMAGINAN, con su álbum “TIERRA QUEMADA” Manos Que Imaginan está integrado por dos músicos, Maite de Bustos Tarragato (saxofonista y clarinetista) y Enrique Gutiérrez Álvarez (guitarrista). Los temas son todos originales, compuestos por Maite de Bustos Tarragato y participando Enrique Gutiérrez Álvarez de los arreglos. Para los conciertos contamos además con músicos colaboradores al bajo eléctrico y a la batería. Siempre mantenemos el formato original con el que grabamos el disco, que consiste en un cuarteto formado por saxofón/clarinete, guitarra eléctrica, bajo eléctrico y batería. El estilo de esta música, puramente instrumental, podría encuadrarse en el Jazz Rock, aunque cada tema bebe de múltiples influencias, como el Funky, el Reggae, el Soul, la Bossa Nova e incluso la música clásica contemporánea. No hay samplers ni electrónica por detrás. Esta es una música pensada por y para el directo, para que la gente escuche y disfrute de la magia de la música en vivo viendo a cuatro músicos de carne y hueso sobre las tablas. Créditos del proyecto: “Tierra quemada” de Manos Que Imaginan (2015) Saxo tenor y clarinete: Maite de Bustos Tarragato Guitarras eléctricas: Enrique Gutiérrez Álvarez. Bajo eléctrico y batería: colaboraciones y músicos invitados - “Tierra quemada” (5 min. 40s) - “Mientras tanto” (2 min,39s) - “Ironías de mi vida” (3 min, 58s) - “Sueños y pesadillas (3 min, 44s) - “Antes de construir realidades hay que edificar sueños” (2 min, 40s) Todos los temas han sido compuestos por Maite de Bustos Tarragato Grabados en febrero y marzo 2015 en los estudios “Fonográfica del Sudeste” RivasVaciamadrid. Productor: Edgar Grau.
This week, Brett gets us jazzy as Wes Montgomery joins the Wynton Kelly Trio for a night of jazz at the Half Note recorded for posterity in the form of "Smokin' At The Half Note". Find out why you need to listen to this album by hitting play.
In perhaps his most prolific period, John Coltrane was documented several times at his probing best in 1965. The master saxophonist recorded no less than ten albums’ worth of material in that year alone. In this special edition of JazzWatch, Greg spotlights rare Coltrane Quartet performances from The Half Note in NYC (March 19, 1965) and at Seattle, Washington’s Penthouse […]
Jazz fiends and guitar nerds will get an extra buzz from this week's episode, featuring singer/songwriter and dexterous axe-man Zane Carney, who you might know from his solo work, his band Carney or him touring as part of John Mayer's band for the past few years. Zane and host Jeremy Dylan break apart of the classic 1965 live album from jazz guitar god Wes Montgomery "Smokin' at the Half Note". Along the way, they talk about how playing jazz can influence playing pop, extended harmony, the chemistry between Wes and the Wynton Kelly Trio, sleeping with your favorite musicians and Zane explains and demonstrates why Montgomery's guitar style was so unique. My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album's influence on their own music.Jeremy Dylan is a filmmaker from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos. If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com
George Duke is one of the most sought-after and accomplished players and producers in music. He grew up in Marin County, just north of San Francisco. “My mom used to talk me to see ballet, classical concerts, gospel concerts, jazz concerts — and the thing that stuck was I got a chance to hear and see Duke Ellington live. The Big Band,” Duke remembered. “And that kind of messed me up. I was like four-and-a-half years old or so, and it really affected me. Maybe because his name was Duke? I really don’t know. I didn’t understand the music, but it made me feel good and I told my mom, ‘I don’t know what he’s doing, but I want to do that.’” Duke started piano at seven-years-old, and later took up trombone. While in college at the San Francisco Conservatory of Music he started working at a club called The Half Note. “Who walks in one Sunday afternoon but a guy named Al Jarreau. A young Al Jarreau started singing. He just tore the place up. We began working together in this place for about two
STANDARS DE LA SEMANA Esta semana tendremos la version de Undecided con ELLA FIZGERALD y BUDY DI FRANCO .-JAZZENELRECUERDO,. HOWARD RUMSEY-MUSIC FOR LIGHTHOUSEKEEPING Este álbum fue grabado en una serie de fechas martes por la noche en el estudio de registros de la época ", y creo que usted lo encontrará justo lo suficientemente diferente de nuestros otros álbumes para hacerlo más interesante en todo. El material se programa el modo en que podría presentar el último juego de una noche muy concurrida, oscilante en el Faro. Side One: "Love Me Or Leavy" fue escrita por Stan Levey por Bill Holman. Es un original de rápido movimiento que le da la oportunidad de Stan intercambio treinta y dos coros de barras con los trompetistas, además de un extenso solo ante el conjunto fuera coro. "Baile Taxi War" fue organizado por Bob Cooper y se añadió a la biblioteca cuando John Levine pidió un poco de material Basie. "Coop" solo transcrito Lester Young para el conjunto coro de apertura. Después de los coros que soplan los trompetistas entrar en un intercambio de ocho compases cada una, luego cuatro barras, dos bares. Hay algunas despedidas, Stan tiene dos descansos de cuatro barras, Sonny juega un puente, y yo toco la siguiente. En resumen, un placer "Swingin. "Octavia" es un original de Cooper. Es un tema basado en intervalos de octava y es la balada uno en este álbum. Me gusta jugar con esta melodía tanto que posiblemente sería mejor para que usted escuche a usted y hacer su propia decisión. Espero que no le importe si yo lo llamo exquisito. "Coop" juega este solo uno con la sección rítmica y, a excepción de dieciséis compases de Sonny, es tenor del todo. "Mambo de Las Vegas" es uno de los dos mambos sobre este álbum escrito para nosotros por Bill Holman. El nombre implica mucho, y cualquiera que haya estado en Las Vegas sabe emoción impregna la atmósfera. Déjame decirte esto, por si acaso usted no ha estado allí: es imposible encontrar un lugar fuera de horas en esa ciudad, todo está abierto las veinticuatro horas del día! Tratamos de hacer lo mismo musicalmente, así que si usted oye un cencerro, maracas, claves, cuerno de carnero o de tambor conga usted sabrá que los All-Stars están jugando estos instrumentos latinos entre coros. Segundo coro: "Júbilo" [ mp3 ] es otra composición Cooper y disposición. He aquí un ejemplo de por qué pienso en "Coop" como músico de un músico. Este es el tipo de acuerdo que puedo jugar una y otra vez y sin embargo siempre siento que la próxima vez voy a jugar mejor. La progresión es muy bueno para soplar, pero en definitiva no es más que otro avance. Hay un coro de gritos excelente, justo antes de que el último conjunto también! "I Deal" es Sonny Clark contribución 's blues a este conjunto, y se pone a hacer frente con bastante libertad. Toca dos coros antes de que el coro y conjunto se desprende que con varios más. A continuación, los jugadores de cuerno y Sonny intercambio seis bares por bando con Stan antes de que el coro fuera. Esta es una buena oportunidad para escuchar enfoque de Clark para un blues medio-up. "América para los amantes", la segunda contribución de Bill Holman mambo a este conjunto, es un buen ejemplo de por qué me gusta tener a escribir para el grupo. Parece que no importa lo que escribe para cualquier banda, grande o pequeño, los músicos les encanta jugar. Su material siempre suena fresco, columpios, y siempre que cumpla con la respuesta del público bueno. En los coros que soplan el ritmo va en vez consecutiva en cada puente y, una vez más, los jugadores de trompa doble en los instrumentos latinos. "Topsy", el maravilloso Eddie Durham - Batalla Edgar original, registró por primera vez por Count Basie en 1937, ha sido nuestra firma todas las noches desde 1950 y es el tema perfecto para refrescarse después de salir de una dura sesión de soplado. Los clientes habituales del faro que nos han oído jugar noche tras noche, se nos ha pedido en repetidas ocasiones para grabarlo. Por favor tenga en cuenta cuando nos oyen tocar cualquier cosa Basie ha registrado, jugamos con el espíritu de reverencia, no la competencia. Los All-Stars que me acompañen en la esperanza de la música en este disco hará que su limpieza un encendedor mucho! - HOWARD Rumsey , De las notas del trazador de líneas Con la noticia de la muerte del trompetista DONALD BYRD, no podiamos dejar pasar un especial en nuestro programa de esta semana, por lo que le dedicaremos un espacio en el programa con su albúm At The Half Note Cafe, Vols. 2.1 Grabado en vivo en el Half Note, Nueva York, Nueva York el 11 de noviembre de 1960. Incluye notas de Bob Blumenthal Leonard y plumas. Como Rudy Van Gelder continuó establecerse como el mayor ingeniero de estudio de jazz, comenzó a aventurarse en los clubes nocturnos de Nueva York 1960 para documentar las bandas del sello Blue Note que crecían en fuerza de los números y de alta calidad difícil de post-bop. Grupos Donald Byrd estaban cambiando y evolucionando, pero en 1960 había vuelto a los dos años anteriores con el regreso de barítono saxo Pepper Adams como su papel principal. A principios de 1960 Byrd estaba trabajando con Jackie McLean y Hank Mobley, pero para el otoño y el invierno había Adams volvió a entrar en el cuadro, uniéndose remanentes pianista Duke Pearson y el baterista Lex Humphries. Parte de este material ve la luz sobre las actuaciones en directo en el Café Half Note de la grabación del estudio anterior, Byrd en vuelo, mientras que los otros números son nuevas interpretaciones de las normas y más material nuevo de Byrd y Pearson. El bajista Laymon Jackson pasó un tiempo importante con Byrd, Lou Donaldson, y antes de Nat Adderley profesionalmente desapareciendo de la vista, pero es un excelente anclaje para sus compañeros de banda, y uno que merece la inspección cercana. Animado y emocionado de Pearson "My Girl Shirl", "juego de niños", la cancioncilla lindo y alegre Byrd "Kiddy Soulful" son las pistas repitió, y poner en marcha el aparato. Son un bocadillo por excelencia hard bop con un relleno soul-jazz aderezado por el piano de los palillos. Dos pistas están escritas por Pearson: la más famosa de sus obras, la rápida y brillante "Jeannine", impulsada por los acordes del pianista comping a dos manos, y "Chant", que es la selección más relajado todavía conmovedor. A Byrd puro contribuye a la diversión, totalmente blues-inspirado "Pure Funk D.," alternando a voluntad de vals rápida de blues lento, mientras que "Kimyas" también explota cifras triplete en un grueso, apareciendo ritmo latino, muy de moda a la mejor Art Blakey dirigidas por bandas. "Cecile" es el blues más extravagantes y de mal humor en casi 15 minutos, mientras que las normas "Entre el diablo y el profundo mar azul" - una característica ideal para el bajo juego fresco de Jackson - y la balada "A Portrait of Jennie" mostrar la cara imperturbable o sensibilidad de Byrd, respectivamente, junto con otras invenciones de acordes de Pearson. Está claro que Byrd es un actor cada vez más fuerte y líder en este momento. Mientras que el papel de Adams es un tanto sublimada en este grupo, es totalmente un jugador del equipo en conjunto con el trompetista en la mayoría de las melodías. Adams se salió, y su talento se convirtió en realidad llena, cuando Byrd fue su acompañante ostensible para el grupo de 1958 que grabó el clásico álbum Riverside 10-4 en el Five Spot. Independientemente de los roles de liderazgo efímeras, esta banda hace clic, se ejecuta por completo en todos los cilindros, y amplía estas piezas un promedio de unos diez minutos de duración. Por supuesto, los valores de producción por Van Gelder son impecables, y el juego colectivo se inspira constantemente. Esta grabación debe estar en la parte superior de la lista de la corriente principal del jazz moderno, y ocupa un lugar muy alto entre los muchos logros musicales de Byrd. ~ Michael G. Nastos Incluye bonus tracks. Esto es parte de series.2cds RVG Nota Azul. RVG Remaster W / 3 Bonus Tracks.2 LPs en 2 CDs: en el Café NOTA MEDIA, Volumen 1 (1960) / EN EL CAFÉ NOTA MEDIA, Volumen 2 (1960). Personal: Donald Byrd (trompeta), Pepper Adams (saxo barítono), Duke Pearson (piano); Laymon Jackson (bajo); Lex Humphries (batería). Personal: Donald Byrd (trompeta), Pepper Adams (saxo barítono), Duke Pearson (piano); Lex Humphries (batería). Audio Remasterer: Rudy Van Gelder. Liner Nota del Autor: Leonard Feather. Información de grabación: Half Note Cafe, Nueva York, NY (11/11/1960).
Piano Duet played by Clara-Catherine Lunny and her piano teacher, Cynthia Marie VanLandingham, at Tally Piano & Keyboard Studio. (www.tallypiano.com)
© 2020-2026 Ivy Podcast Discovery LLC
