Joe Allard doesn't need any introduction to Saxophone players. Here is a wonderful video entitled 'The master speaks' which can be found on YouTube. Watch or download. Essential viewing.
Wednesday, September 6, 2017
Thursday, August 31, 2017
Alto mouthpiece comparison - Selmer Soloist vs Otto Link 7*
I've seen these two mouthpieces compared before, nevertheless here are my two cents worth. The two mouthpieces in question are a vintage Selmer soloist C** and an Otto Link Tone edge 7*.
Firstly both are really nice pieces. I like them both but they are very different.
The Selmer has a very rounded, slightly closed sound, yet very mellow with a kind of warm, breathy fuzz around the edges. The sound is quite spread and if there are any criticisms it's that the sound is not quite as focused as I would like. It lacks a bit of definition and you have to push it a bit for that. It helps to use harder reeds. Softer reeds get overwhelmed and the sound starts to deteriorate.
The Otto link has alot more definition and edge to it than the Selmer. It has a more focused sound but is therefore less warm than the other. I would say for a kind of "West Coast" feel the Selmer is nicer, as has a bit more character to it. The Otto link probably suits a more modern sound, yet it still has plenty of warmth and never gets too harsh. The link has a hard time with harder reeds. They get tough to blow so half a strength down on the Selmer is needed.
Hopefully I'll have time and post a short demo.
Firstly both are really nice pieces. I like them both but they are very different.
The Selmer has a very rounded, slightly closed sound, yet very mellow with a kind of warm, breathy fuzz around the edges. The sound is quite spread and if there are any criticisms it's that the sound is not quite as focused as I would like. It lacks a bit of definition and you have to push it a bit for that. It helps to use harder reeds. Softer reeds get overwhelmed and the sound starts to deteriorate.
The Otto link has alot more definition and edge to it than the Selmer. It has a more focused sound but is therefore less warm than the other. I would say for a kind of "West Coast" feel the Selmer is nicer, as has a bit more character to it. The Otto link probably suits a more modern sound, yet it still has plenty of warmth and never gets too harsh. The link has a hard time with harder reeds. They get tough to blow so half a strength down on the Selmer is needed.
Hopefully I'll have time and post a short demo.
Sunday, August 27, 2017
Getting the most out of charts
How many of us take the time to sit with a chart or score and actually read it properly and slowly without the instrument? I know it's not something I've done a great deal but when I do, even for 10 minutes, the benefits are numerous. The mind is more alert, those difficult areas seem easier, you can visualize the chords in your mind, and you start to see phrases you might play on your instrument.
Try this experiment. Take a standard such as All the things you are. First thing in the day, play it without any warm up with a backing track. Maybe record yourself to see how you are doing. The next day, instead of playing immediately, spend 15 minutes quietly with the score. Go through each chord. Visualize each arpeggio. Where are the difficult areas where you suddenly slow down? Go back to that section. Spend some time on it. What are the basic guide tones? How could you approach a line given those notes.
I think we can already see without too much trouble that if you were to do this the results would be alot better once you tackled the piece.
So why not do this more often? Maybe before a gig perhaps? Maybe as a warm down after you have finished for the day? Many possibilities are there. If you are going to use the chart for a piece then why not use it properly!
Try this experiment. Take a standard such as All the things you are. First thing in the day, play it without any warm up with a backing track. Maybe record yourself to see how you are doing. The next day, instead of playing immediately, spend 15 minutes quietly with the score. Go through each chord. Visualize each arpeggio. Where are the difficult areas where you suddenly slow down? Go back to that section. Spend some time on it. What are the basic guide tones? How could you approach a line given those notes.
I think we can already see without too much trouble that if you were to do this the results would be alot better once you tackled the piece.
So why not do this more often? Maybe before a gig perhaps? Maybe as a warm down after you have finished for the day? Many possibilities are there. If you are going to use the chart for a piece then why not use it properly!
Monday, August 21, 2017
Inspiration - can it be worked on?
Here's a thought that has been on my mind, something that in future I might expand on. The idea of inspiration vs the idea of hard work.
We all know to be able to perform at the highest level, the hours dedicated to honing our art have to be there. Without them we are simply unable to express what we would like, even if the ideas come. Technique should be just where we need it, in the right place at the right time.
What about inspiration? Can this be worked on? I think the answer is yes. Chess grand-master and legend Garry Kasparov in his new book Deep Thinking, says that in order for anyone to perform at their best, absolutely everything must be in place. That must include not just what we can control such as work and preparation, but the things that we can't foresee such as, innate abilities and talents that are simply part of us and can be opened to given the right circumstances. Those moments of 'genius' that we can't explain must be there too.
We have all been there. What happens when we play at are best. Can we explain it? Usually not. Mostly what happens in these cases is that we are in a zone way beyond something that can be calculated in terms of hours. We no longer think, and the endless calculations needed to improvise at the highest level no longer apply.
So can this be cultivated? The ability to be open to those special moments? Probably the easiest way to see it is when things don't go well. What has usually gone wrong? Maybe we are not able to concentrate, maybe we are unwell, are tired, distracted, thinking of other things, trying too hard. The list is endless.
So perhaps the answer to working on the inspiration part of music is to make sure as much as possible that everything is fitting into place when we need it. Have we slept well, exercised, eaten the right things, spent time away from distractions, warmed up before the show? Maybe these simple things can go a long way to help us reach the places we would like to.
We all know to be able to perform at the highest level, the hours dedicated to honing our art have to be there. Without them we are simply unable to express what we would like, even if the ideas come. Technique should be just where we need it, in the right place at the right time.
What about inspiration? Can this be worked on? I think the answer is yes. Chess grand-master and legend Garry Kasparov in his new book Deep Thinking, says that in order for anyone to perform at their best, absolutely everything must be in place. That must include not just what we can control such as work and preparation, but the things that we can't foresee such as, innate abilities and talents that are simply part of us and can be opened to given the right circumstances. Those moments of 'genius' that we can't explain must be there too.
We have all been there. What happens when we play at are best. Can we explain it? Usually not. Mostly what happens in these cases is that we are in a zone way beyond something that can be calculated in terms of hours. We no longer think, and the endless calculations needed to improvise at the highest level no longer apply.
So can this be cultivated? The ability to be open to those special moments? Probably the easiest way to see it is when things don't go well. What has usually gone wrong? Maybe we are not able to concentrate, maybe we are unwell, are tired, distracted, thinking of other things, trying too hard. The list is endless.
So perhaps the answer to working on the inspiration part of music is to make sure as much as possible that everything is fitting into place when we need it. Have we slept well, exercised, eaten the right things, spent time away from distractions, warmed up before the show? Maybe these simple things can go a long way to help us reach the places we would like to.
Thursday, August 3, 2017
Weekly Jazz Lick - No 5
I'm getting a bit more professional now. I used the wonderful Noteflight online to make this.
I love playing ballads and here is a little lick one can use for the ending of a phrase, either in a solo or embellishing the melody.
This short phrase uses the #9 b9 and #11 resolving to the V of the major chord.
I love playing ballads and here is a little lick one can use for the ending of a phrase, either in a solo or embellishing the melody.
Wednesday, July 26, 2017
Listen to the silence - Inner time feel
Last week I was preparing some classes for kids. For a quick rhythm warmup I thought that as a group we could clap a simple 4/4 beat at 60 BPM for one measure and have a silence for 1 measure. For such a simple exercise it turned out to be surprisingly fun.
Once we started, many kids wanted to try on their own and even try harder examples with longer gaps of silence. I also noticed that it was rather calming and almost meditative, so I thought I'd try it for myself later in the day.
Practicing on my own I started to explore further the value of this. The first thing I noticed, was as with the children it was very calming and gave me a strong focus on both what I was practicing later and as well as a greater awareness of my time feel in general.
Before I knew it an hour had past. I tried 2 measures on 2 measures off, different tempos and longer exercises, and even practicing basic rhythm exercises during the silences.
Since then I've been doing this every day as a warm up and even with the limited time I've done this I can tell it's something I'm going to use for a while. Firstly it sets the tone for your practice. It give you a sense of focus and quietness to start your work. Secondly it's clearly good for your inner sense of rhythm. I've seen the benefits of this exercise written about elsewhere.
Lastly and maybe more importantly it seems to give a sense of focus on your playing in general that is unlike other rhythmic exercises. One of the more striking things I noticed was that I was more often accurate when I didn't count, but just "felt" the beat. When I tapped my foot or other parts of my body, surprisingly I was often wrong. However, when I was able to stay quiet enough to listen to the silence in between the gaps, rather than physically trying to beat the rhythm out, I was more often correct.
I'm not yet sure what this indicates, but definitely it opens your ear and feel to something new and interesting. I will write more on this later once I've had the time to explore it further.
Once we started, many kids wanted to try on their own and even try harder examples with longer gaps of silence. I also noticed that it was rather calming and almost meditative, so I thought I'd try it for myself later in the day.
Practicing on my own I started to explore further the value of this. The first thing I noticed, was as with the children it was very calming and gave me a strong focus on both what I was practicing later and as well as a greater awareness of my time feel in general.
Before I knew it an hour had past. I tried 2 measures on 2 measures off, different tempos and longer exercises, and even practicing basic rhythm exercises during the silences.
Since then I've been doing this every day as a warm up and even with the limited time I've done this I can tell it's something I'm going to use for a while. Firstly it sets the tone for your practice. It give you a sense of focus and quietness to start your work. Secondly it's clearly good for your inner sense of rhythm. I've seen the benefits of this exercise written about elsewhere.
Lastly and maybe more importantly it seems to give a sense of focus on your playing in general that is unlike other rhythmic exercises. One of the more striking things I noticed was that I was more often accurate when I didn't count, but just "felt" the beat. When I tapped my foot or other parts of my body, surprisingly I was often wrong. However, when I was able to stay quiet enough to listen to the silence in between the gaps, rather than physically trying to beat the rhythm out, I was more often correct.
I'm not yet sure what this indicates, but definitely it opens your ear and feel to something new and interesting. I will write more on this later once I've had the time to explore it further.
Friday, July 21, 2017
Buying saxes online
This is the question I get asked most. Should I buy this sax? - Mostly something found online on a non music website, and often abroad.
I'm going to try and answer this so that it may help interested saxophone players in future. I am also going to try to answer this in a way that can be helpful to anyone, whether they know about saxophones or not.
Firstly there is an easy way to answer this without having to delve into models and technical issues.
Imagine you were buying a car:
Would you buy a car online without having seen it, let alone tested or driven it?
Would you buy a car not knowing the person selling it?
Would you buy a car not knowing the correct price to pay?
Would you buy a car that was an an unknown model or company to you?
Would you buy a car from a website that doesn't specialize in cars?
I think you can see where I am going here!
Ask your self those questions and put sax instead of car and you have the answer pretty quickly. One doesn't even need to start thinking of saxophone brands let alone looking at details such as specific models and other issues.
I hope that has helped.
I'm going to try and answer this so that it may help interested saxophone players in future. I am also going to try to answer this in a way that can be helpful to anyone, whether they know about saxophones or not.
Firstly there is an easy way to answer this without having to delve into models and technical issues.
Imagine you were buying a car:
Would you buy a car online without having seen it, let alone tested or driven it?
Would you buy a car not knowing the person selling it?
Would you buy a car not knowing the correct price to pay?
Would you buy a car that was an an unknown model or company to you?
Would you buy a car from a website that doesn't specialize in cars?
I think you can see where I am going here!
Ask your self those questions and put sax instead of car and you have the answer pretty quickly. One doesn't even need to start thinking of saxophone brands let alone looking at details such as specific models and other issues.
I hope that has helped.
Thursday, July 20, 2017
Half Diminished Chords - Jazzadvice.com
I love Jazzadvice.com. Anyone studying jazz should read through their articles. There is so much there.
Here is another great article by Forrest on Half Diminished chords. I'm posting this as it's an area many people have troubles with - including myself over the years. This article is a good one to get you on your way with these troublesome chords. Follow this and you will a lot better at tackling them in any key.
I like what he says here "Most standards tend to hang around certain keys and therefore, use the same few half diminished chords. What we end up with is seeing the same four over and over, while rarely encountering the other eight, making for a world of pain when we do."
Sounds familiar? - have a go at this and it will be sorted once and for all.
http://www.jazzadvice.com/how-to-not-suck-at-half-diminished-chords/
For something a bit more advanced once you have the basics down have a look as this article again by Forrest. He looks specifically at Bill Evans to find a multitude of ways to be creative on a minor ii v i.
http://www.jazzadvice.com/a-lesson-with-bill-evans-14-techniques-to-master-the-minor-ii-v-progression/
After that if you still have trouble THEN the aptly named!
http://www.jazzadvice.com/why-you-still-suck-at-half-diminished-chords/
Here is another great article by Forrest on Half Diminished chords. I'm posting this as it's an area many people have troubles with - including myself over the years. This article is a good one to get you on your way with these troublesome chords. Follow this and you will a lot better at tackling them in any key.
I like what he says here "Most standards tend to hang around certain keys and therefore, use the same few half diminished chords. What we end up with is seeing the same four over and over, while rarely encountering the other eight, making for a world of pain when we do."
Sounds familiar? - have a go at this and it will be sorted once and for all.
http://www.jazzadvice.com/how-to-not-suck-at-half-diminished-chords/
For something a bit more advanced once you have the basics down have a look as this article again by Forrest. He looks specifically at Bill Evans to find a multitude of ways to be creative on a minor ii v i.
http://www.jazzadvice.com/a-lesson-with-bill-evans-14-techniques-to-master-the-minor-ii-v-progression/
After that if you still have trouble THEN the aptly named!
http://www.jazzadvice.com/why-you-still-suck-at-half-diminished-chords/
YAS 280 vs YAS 62 ii
I have recorded a small test to illustrate the difference between the YAS 280 and YAS 62 ii.
Here are a few things to note:
I recorded these with a stock mouthpiece. It has no brand and came with one of the horns. It's to show like the reviewer at SH woodwind says, you can literally stick any mouthpiece on these horns and they sound quite good. (for that reason there are a few tuning issues - I've never used the mouthpiece before)
The reed was a used Vandoren Java strength 2
I used a RODE NT3. The only effect was a little reverb.
https://soundcloud.com/mattav/body-and-soul-yas-62-ii-test-comparison
https://soundcloud.com/mattav/body-and-soul-yas-480-sax-comparison-test
How do I feel?
Aside being a little uncomfortable on the new mouthpiece I feel that considering that, they play pretty well and fairly similarly. I was afraid to push too much higher up and as the sound on this mouthpiece was a little brittle, but they both handled it really well.
The YAS 62 ii is clearly a little warmer and has more depth to the sound. A bit fuller and a little more bite in the sound. Still the YAS 280 has a good clear sound, warm and pleasing, though with a little more of the metalic edge than the other. Both are clearly playable in my opinion. I'd be happy to receive feedback from others.
Here are a few things to note:
I recorded these with a stock mouthpiece. It has no brand and came with one of the horns. It's to show like the reviewer at SH woodwind says, you can literally stick any mouthpiece on these horns and they sound quite good. (for that reason there are a few tuning issues - I've never used the mouthpiece before)
The reed was a used Vandoren Java strength 2
I used a RODE NT3. The only effect was a little reverb.
https://soundcloud.com/mattav/body-and-soul-yas-62-ii-test-comparison
https://soundcloud.com/mattav/body-and-soul-yas-480-sax-comparison-test
How do I feel?
Aside being a little uncomfortable on the new mouthpiece I feel that considering that, they play pretty well and fairly similarly. I was afraid to push too much higher up and as the sound on this mouthpiece was a little brittle, but they both handled it really well.
The YAS 62 ii is clearly a little warmer and has more depth to the sound. A bit fuller and a little more bite in the sound. Still the YAS 280 has a good clear sound, warm and pleasing, though with a little more of the metalic edge than the other. Both are clearly playable in my opinion. I'd be happy to receive feedback from others.
Tuesday, July 18, 2017
Yamaha alto saxes - cheap vs expensive
I play Yamaha saxes mainly. I have had alot of them other years and they are great horns from bottom to top. They suit me and I like their sound. Having owned both the cheapest and pro model horns many people ask me what the difference is?
To answer that fully is probably beyond the scope of this blog. There are lots of technical articles on these horns and a good start is here at SH Woodwind. http://www.shwoodwind.co.uk/Reviews/Saxes/Alto/Yamaha_YAS475.htm Excellent technical reviews of most modern saxes. Here is a YAS 475 for example. Check out others if you are interested in buying a horn. It's really a great read. For something a little simpler have a look here: http://www.bestsaxophonewebsiteever.com/yamaha-saxophone-overview/
So what about Yamaha Altos. Let's say YAS 480 vs a YAS62 II? What do I say?
The YAS 480 is a great horn. It's well made, plays in tune throughout and has a good clear tone. It's probably on the brighter side of saxophones in terms of tone, and with a solid mouthpiece it can give a very decent tone. I've used mine with a variety of mouthpieces and been happy with them all. The sax has a solid feel to it, the key-work fits great in the hands. Overall a solid sax and for the price you really can't go wrong. I've played mine in lots of gigs.
The YAS62 II - Having owned a great YTS 62 II this wasn't a difficult choice when one came my way. I only stopped playing the tenor because of wanting to focus on Alto but it was a great horn with a wonderful sound. The 62 is basically an improved 480. Immediately the action and handling feel very similar and it makes you feel right at home from the get go. Tone wise as you would expect from a more expensive horn, it is fuller and somewhat less bright especially higher up, but still has alot of power and projection like the cheaper model. The lowest note are fuller and have more snap or punch to them than the less expensive sax.
Again if you prefer a more mellow saxophone maybe this is not your thing, but in my experience you can play pretty much any way you like, and with the right kind of mouthpiece for your individual sound you can set it up to your way of playing. I use a Selmer Soloist C* and I'm very happy. It's got alot of clarity, with a smooth warm tone which plays well from bottom to top.
I've made some recordings with both which I will post here. As always the ears are the best judge. I will add to this post in due course. For now here are some from the web:
https://www.youtube.com/watch?v=w9cirfzmGCs
Bob Reynolds - From 5:33 - Watch this great video. Later he plays his YAS 62. Wonderful tone for someone who says he doesn't play alto.
https://www.youtube.com/watch?v=ct0w-gVTqmg
Greg Vail demonstrating the YAS 480
https://www.youtube.com/watch?v=FI88dv_CdTk
Greg Vail demonstrating the YAS 62 III
To answer that fully is probably beyond the scope of this blog. There are lots of technical articles on these horns and a good start is here at SH Woodwind. http://www.shwoodwind.co.uk/Reviews/Saxes/Alto/Yamaha_YAS475.htm Excellent technical reviews of most modern saxes. Here is a YAS 475 for example. Check out others if you are interested in buying a horn. It's really a great read. For something a little simpler have a look here: http://www.bestsaxophonewebsiteever.com/yamaha-saxophone-overview/
So what about Yamaha Altos. Let's say YAS 480 vs a YAS62 II? What do I say?
The YAS 480 is a great horn. It's well made, plays in tune throughout and has a good clear tone. It's probably on the brighter side of saxophones in terms of tone, and with a solid mouthpiece it can give a very decent tone. I've used mine with a variety of mouthpieces and been happy with them all. The sax has a solid feel to it, the key-work fits great in the hands. Overall a solid sax and for the price you really can't go wrong. I've played mine in lots of gigs.
The YAS62 II - Having owned a great YTS 62 II this wasn't a difficult choice when one came my way. I only stopped playing the tenor because of wanting to focus on Alto but it was a great horn with a wonderful sound. The 62 is basically an improved 480. Immediately the action and handling feel very similar and it makes you feel right at home from the get go. Tone wise as you would expect from a more expensive horn, it is fuller and somewhat less bright especially higher up, but still has alot of power and projection like the cheaper model. The lowest note are fuller and have more snap or punch to them than the less expensive sax.
Again if you prefer a more mellow saxophone maybe this is not your thing, but in my experience you can play pretty much any way you like, and with the right kind of mouthpiece for your individual sound you can set it up to your way of playing. I use a Selmer Soloist C* and I'm very happy. It's got alot of clarity, with a smooth warm tone which plays well from bottom to top.
I've made some recordings with both which I will post here. As always the ears are the best judge. I will add to this post in due course. For now here are some from the web:
https://www.youtube.com/watch?v=w9cirfzmGCs
Bob Reynolds - From 5:33 - Watch this great video. Later he plays his YAS 62. Wonderful tone for someone who says he doesn't play alto.
https://www.youtube.com/watch?v=ct0w-gVTqmg
Greg Vail demonstrating the YAS 480
https://www.youtube.com/watch?v=FI88dv_CdTk
Greg Vail demonstrating the YAS 62 III
Monday, July 10, 2017
What scales ARE and what they are NOT - Jazzadvice.com
I was about to write about this but when I read this post on jazzadvice.com I thought better of it because it sums up exactly how I feel. Just because you know a particular scale to play over a particular chord, doesn't necessarily give you the sound you are looking for when soloing. We have all been in this position. "What do you play on that chord?" - We get an answer, try it out and it sounds awful. Yes, scales give us a starting point, but unless we know what to do with them, it doesn't go a lot further than that. Sometimes it can even be a hindrance. "So and so told me they play that scale so I need to play that" - when actually our ears are screaming at us to play something different! I think players of all levels would enjoy reading this article. We all need the reminder from time to time. Yes, scales are important and the basis for many things, but until we explore the different possibilities and sounds by hearing and trying them out in context to see what fits our particular way of playing, it is unlikely to take as far as we would like.
http://www.jazzadvice.com/scales-are-not-the-secret-short-cut-to-jazz-improvisation/
http://www.jazzadvice.com/scales-are-not-the-secret-short-cut-to-jazz-improvisation/
Tuesday, July 4, 2017
Video teaser
A little teaser from our recent appearance at the Madras Jazz Festival. Thank you Lisa Suchanek for the video:
Some recordings can be found here:
https://soundcloud.com/mattav
Some recordings can be found here:
https://soundcloud.com/mattav
Saxindia - Older posts
Thank you to those who still read and comment on my posts at my older blog www.saxindia.blogspot.in There are alot of posts there, and more than 9 years of material. Some useful - some maybe not! Still - I am getting quite a number of readers everyday and and I appreciate the useful feedback and comments I am receiving.
For now - I will continue to write here. Please follow me also on Twitter:
And Soundcloud:
Three tracks from our latest recording are there with Holger Jetter and Sreenath Sreenivasan.
Wednesday, June 21, 2017
If you want to play the Sax better (or teach) - You must watch this!
A brilliant video by Saxophonist Bob Reynolds. Pretty much sums everything up needed for both students and teachers alike to remember. Everyone should watch this.
http://lessons.bobreynoldsmusic.com/join/becoming-a-member/
Update -
If you are clicking on this link and it says WE ARE FULL. Unlucky for you. Check again and have a look for the next time around. Fabulous stuff from Bob Reynolds.
http://lessons.bobreynoldsmusic.com/join/becoming-a-member/
Update -
If you are clicking on this link and it says WE ARE FULL. Unlucky for you. Check again and have a look for the next time around. Fabulous stuff from Bob Reynolds.
YouTube - Jazz Solo Transcriptions
Somehow I wasn't expecting this to be such a popular feature on YouTube, even though I had seen a number of solo transcriptions over the years, and had worked through this fabulous soprano solo by Bob Sheppard on Pat Metheny's tune First Circle.
https://www.youtube.com/watch?v=tNiLO7lxizg
Now having searched a little, I've have found a huge selection. Anyone wishing to study famous solos has a large choice. Personally I like the ones that play the original and scroll. Even if you don't end up working them out it's a great little study tool to have a listen and follow. I've linked some of the ones I like:
Kevin Hayes - It Could happen to you
https://www.youtube.com/watch?v=Hi8DR1XDW6o
Wynton Marsalis - Struttin' With Some Barbecue
https://www.youtube.com/watch?v=MyMiq13Kc5Y
Miles Davis - Straight No Chaser
https://www.youtube.com/watch?v=xLfsQSpefbA
Miles Davis - Seven Steps to Heaven
https://www.youtube.com/watch?v=MajA3cs94Wc
Kenny Barron - Someday My Prince Will come
https://www.youtube.com/watch?v=E28gAG9K4rs
Charlie Parker - Just Friends
https://www.youtube.com/watch?v=4u8-V5q91Xk
https://www.youtube.com/watch?v=tNiLO7lxizg
Now having searched a little, I've have found a huge selection. Anyone wishing to study famous solos has a large choice. Personally I like the ones that play the original and scroll. Even if you don't end up working them out it's a great little study tool to have a listen and follow. I've linked some of the ones I like:
Kevin Hayes - It Could happen to you
https://www.youtube.com/watch?v=Hi8DR1XDW6o
Wynton Marsalis - Struttin' With Some Barbecue
https://www.youtube.com/watch?v=MyMiq13Kc5Y
Miles Davis - Straight No Chaser
https://www.youtube.com/watch?v=xLfsQSpefbA
Miles Davis - Seven Steps to Heaven
https://www.youtube.com/watch?v=MajA3cs94Wc
Kenny Barron - Someday My Prince Will come
https://www.youtube.com/watch?v=E28gAG9K4rs
Charlie Parker - Just Friends
https://www.youtube.com/watch?v=4u8-V5q91Xk
Monday, June 5, 2017
Stella By Starlight
As promised one of our tracks from our recent recording.
Matt Littlewood - Piano
Holger Jetter - Double Bass
Sreenath Sreenivasan - Drums
Stella by Starlight - Victor Young - Arr Matt Littlewood
https://soundcloud.com/mattav/stella-by-starlight-victor-young-arr-matt
Matt Littlewood - Piano
Holger Jetter - Double Bass
Sreenath Sreenivasan - Drums
Stella by Starlight - Victor Young - Arr Matt Littlewood
https://soundcloud.com/mattav/stella-by-starlight-victor-young-arr-matt
News
It's been a busy couple of months, so not much in the way of posts. The good is that we have been recording, so music is going to be available soon. My trio - myself on piano, with Holger Jetter on Double Bass and Sreenath Sreenivasan on drums recorded 6 tracks in sweltering heat in Auroville. We are happy with the outcome despite having to work very odd hours to avoid the heat. We also played at the Madras festival with our good friend Maarten Visser on saxophone on June 3rd.
More news to follow.
More news to follow.
Thursday, April 20, 2017
Interview with Shanks
I'm very happy to announce a series of interviews with Jazz musicians from around India. This has been in the pipeline for sometime, and finally I've got it underway. I intend to do this at least once a month with musical personalities in the jazz field from around the country, and hopefully this should provide some very interesting insights into jazz and improvised music in India today.
This first interview gets us off to a great start. Sankarsan Kini - Shanks - is an independent producer and multi instrumentalist based in Auroville, India. He explores genres of jazz, blues, rock, folk and funk with different independent projects. He plays guitar, violin, mandolin, trumpet and harmonica. He scores for cinema and theater. For links to his music find him here on SoundCloud:
Tell us about some of your first musical experiences. How did you get into music and what we're your earliest memories?
My earliest memory of music is my father playing the tabla, harmonium, harmonica and my mum singing. I started singing and playing harmonica first, then picked up the harmonium. Initially I learnt to play some old Hindi film songs from my dad on the harmonica and then started fooling around on my own. I learnt tabla from my dad for many years growing up. My initial musical experiences were primarily in a Hindustani Classical world. 'English' music as pop/rock was called was taboo. But western classical music was allowed and my little-sister brought that in when we were in primary school. I remember some Mozart and Vivaldi's 'Four Seasons'. My earliest musical experience of note was hearing the fiancée of my fourth grade class teacher play and sing 'Rock my soul in the bosom of Abraham'. I didn't care for the song but he played a simple C, F and G on a nylon string guitar and the sound of the harmony coming out of a wooden box awoke the guitar player in me. It was six more years before I got my hands on a guitar but this was the day that did it.
What are you currently working/practicing on your instrument?
On guitar, I'm focusing on right hand picking and internalising triads all over the fret board. I'm also working on playing three or four note patterns over changes, alternating comping and soloing over changes, singing standards and accompanying myself on guitar using a combination of full chords and substituted upper structures so as to bring in altered sounds.
What attracted you to Jazz and improvised music, as opposed to other forms of music?
Initially jazz appealed to me as a means to be different from the other rockers around me. It appealed to me, then a nineteen year old as a means to appear sophisticated and superior to others. I was listening to Coltrane's 'Blue Train', a big band compilation with 'Bird' and some others, and an album of Duke Ellington and Louis Armstrong. The third one made a little sense to me and I actually started rewinding the tape to two or three songs and playing them back. One of them was 'Mood Indigo' and I transcribed Duke's four bar intro on that using the guitar and I remember suddenly feeling like the notes in that intro were not random 'jazz' notes anymore but were hinting at four different chords. I started hearing more music in jazz after that.
Coming from a Hindustani background I could improvise easily but I lacked structure and harmony was still a vague concept. So I appreciated improvisation but couldn't improvise over changes yet and this challenge drew me to jazz. How do you play out and step in now and then to outline the changes, here and there? That still intrigues me and I'm thrilled when I get close. I only started to hear the jazz in jazz after I grew up a little and then the deviance started to taste good. Now about a decade and a half later I can't do without harmony and substitution.
How do you see the Jazz scene in India? Talk a little about the playing experiences, musicians, venues and audiences.
I've met jazz musicians playing at very high levels in India and have been lucky to have been able to interact with several of them. I'm happy to see kids blasting out of music school ripping through changes. India is in a very dynamic state and I'm not surprised that jazz in India shows much promise. It still has a long way to go but I see many more talented kids being backed by their parents to pursue the discipline of jazz and it's only a matter of time before the numbers add up to become clearly visible on the world map.
India needs more jazz venues. Venues that make a killing from electronic music could throw a coupla crumbs our way and it wouldn't hurt em. I believe you can't play jazz at the level that people play pop/rock/EDM here and hope to sound half decent, leave alone get a gig. You need to be able to play jazz at a good level in order to get paid for a gig at a 'jazz' venue. And that takes many more years. Jazz needs support. The commerce of jazz is not tapped to benefit the artist in India because I believe it's too damn easy to make money, buy gear, up your lifestyle playing whatever rather than kill yourself to sound half decent and get a free meal and two drink coupons at an empty bar. I like the Pianoman, Delhi the B flat Bar, Bangalore, Sheesha Cafe, Pune and Kasha ki Aasha, Pondy to name a few of the few jazz venues I've been to. I've enjoyed some good jazz at these venues and while it strains the owners and musicians to keep the ride swinging it sure does help to keep the scene regular.
We can't expect the Indian audience to shut up and listen to a jazz concert in a bar. These places are great for the music but you're gonna have to try to settle into the gentle lilt of 'Naima' over the din of forty inebriated raised voices knowing that much of that is translating to your performance fee. It's a compromise, but if your monitors are sounding good and you've done your homework I daresay you can play a pretty satisfying show and go home with enough to pay the help and the electricity bill. It's not half bad when you realise that those raised voices are going to office day after tomorrow at 9am, and suddenly your office doesn't seem so bad :)
Something very particular to India is the diverse combination of musical styles, in particular the merging of jazz forms with Indian classical music. What is it that attracts both Indian and musicians from abroad to explore this kind of music?
Merging of styles is a dangerous medium. I hear it backfiring once too often. I prefer juxtaposing styles rather than combining them for I believe a full immersion in both styles is only what can bring about a graceful union.
I enjoy the fire and brilliance of Shakti, but to me that sounds like the Indian musicians are juxtaposed with McLaughlin's fusion of styles. I don't hear the other three playing jazz or fusion. Sure their improvisation is spontaneous, hair raising and hugely inspiring. But they're still ricocheting off the tenets of Indian music in an effort to break through. I believe Amit Heri, Sanjay Divecha and Prasanna have achieved fusion in their compositions by virtue of their immersion in both mediums.
I've met several Indian classical musicians who want to experiment with jazz. Alas, Indian classical musicians are literally hard wired into thinking modally, and most shy away from structure and modulation which for jazz are akin to what cheesecloth and curdling/fermentation is to cheese. As a result the jazz musician is most often forced to vamp modally, dumb down his output and assume a role as an accompanying artist. Sure there are exceptions, but few and far between. I really enjoyed what Louis Banks and Shankar Mahadevan did at a private party once several years ago. It was spontaneous and Shankar didn't sing the same phrase twice though he was singing a ghazal. That's the closest I've seen a classically trained singer come to jazz.
Who were the musicians that influenced you as a developing musician?
Zakirbhai when I was growing up. He's the reason I stuck with the tabla for 15 years.
T N Krishnan the Carnatic violinist. Kumar Gandharva the breakaway Hindustani Classical singer who with half a lung developed his own style. Sting helped my song writing. Aerosmith, Roxette and Guns and Roses brought me closer to the western world of sound. Dave Brubeck's 'Time Out' was the first jazz album I think I enjoyed thoroughly and everyday for many months.
The Grateful Dead to me was the gateway to making beautiful music immersed in intoxicated consciousness. This is the highest point I have had experimentally with music and fortunately for my brain was short lived and opened me to the idea that it was going to be music for me hereafter and not grad school.
John Scofield. I'm still intrigued and addicted to the sounds he makes. He's perhaps the only musician whose
music I have absorbed at such depth and yet have only heard a fraction of what he has put out to date.
Can you tell us about some of the Jazz based musicians or groups in India that we should be listening to? Share a little for those who might not know.
Amit Heri's compositions are my favourite among Indian jazz composers. Mumbai based Sudanese pianist Karim Ellaboudi is a treat to listen to. Guitarist Sanjay Divecha 's album 'Full Circle'.
What can we look forward to hearing in your own work and projects in the next year or so?
My album should be out in a coupla months. I've been lucky to have collaborated with Mishko M'ba, Matt Littlewood, Holger Jetter and Suresh Bascara to put this album out. It's got tunes in different styles from big band to slow rock to smooth jazz.
I am working steadily to create a body of original jazz tunes written more as an exercise but they're turning out surprisingly well. Matt's on board this project as well as on a third with the Temple Rock Trio, a reinterpretation of traditional Carnatic Classical music supported by acoustic guitar and saxophone played in a variety of styles from funk to rock to West African.
I'm collaborating with bass player Mishko M'ba to write and perform songs for bass and guitar. We recently toured North India. We're called Stringly Yours.
Being a musician is not just about playing and performing. Can you tell us about some of the things that interest you outside music?
Food. I love to eat perhaps more than anything else. So that drives me to cook for in India finding a restaurant that serves healthy and tasty food without ripping you off is difficult, to put it mildly.
Riding. I ride a Bullet. I've ridden smoother, faster more efficient bikes in India, but a classic cast iron engine driven Bullet still offers the most pleasurable ride among what's available here right now. Apart from being my primary mode of transport right now, enjoying the ride adds hugely to the quality of life. Needless to say I take it out now and then on long rides and get to see the country around where I live.
Tennis. I play to enjoy chasing the sweet spot. I don't care much for competitive sport. I have a tennis partner who's happy to rally and enjoy quality hitting. It keeps my hand-eye coordination supple and responsive and is good for my music which in performance demands much of that.
Film. The most attractive and compelling alternate reality there is. The last coupla years have seen technology and art come together like never before.
This first interview gets us off to a great start. Sankarsan Kini - Shanks - is an independent producer and multi instrumentalist based in Auroville, India. He explores genres of jazz, blues, rock, folk and funk with different independent projects. He plays guitar, violin, mandolin, trumpet and harmonica. He scores for cinema and theater. For links to his music find him here on SoundCloud:
Tell us about some of your first musical experiences. How did you get into music and what we're your earliest memories?
My earliest memory of music is my father playing the tabla, harmonium, harmonica and my mum singing. I started singing and playing harmonica first, then picked up the harmonium. Initially I learnt to play some old Hindi film songs from my dad on the harmonica and then started fooling around on my own. I learnt tabla from my dad for many years growing up. My initial musical experiences were primarily in a Hindustani Classical world. 'English' music as pop/rock was called was taboo. But western classical music was allowed and my little-sister brought that in when we were in primary school. I remember some Mozart and Vivaldi's 'Four Seasons'. My earliest musical experience of note was hearing the fiancée of my fourth grade class teacher play and sing 'Rock my soul in the bosom of Abraham'. I didn't care for the song but he played a simple C, F and G on a nylon string guitar and the sound of the harmony coming out of a wooden box awoke the guitar player in me. It was six more years before I got my hands on a guitar but this was the day that did it.
What are you currently working/practicing on your instrument?
On guitar, I'm focusing on right hand picking and internalising triads all over the fret board. I'm also working on playing three or four note patterns over changes, alternating comping and soloing over changes, singing standards and accompanying myself on guitar using a combination of full chords and substituted upper structures so as to bring in altered sounds.
What attracted you to Jazz and improvised music, as opposed to other forms of music?
Initially jazz appealed to me as a means to be different from the other rockers around me. It appealed to me, then a nineteen year old as a means to appear sophisticated and superior to others. I was listening to Coltrane's 'Blue Train', a big band compilation with 'Bird' and some others, and an album of Duke Ellington and Louis Armstrong. The third one made a little sense to me and I actually started rewinding the tape to two or three songs and playing them back. One of them was 'Mood Indigo' and I transcribed Duke's four bar intro on that using the guitar and I remember suddenly feeling like the notes in that intro were not random 'jazz' notes anymore but were hinting at four different chords. I started hearing more music in jazz after that.
Coming from a Hindustani background I could improvise easily but I lacked structure and harmony was still a vague concept. So I appreciated improvisation but couldn't improvise over changes yet and this challenge drew me to jazz. How do you play out and step in now and then to outline the changes, here and there? That still intrigues me and I'm thrilled when I get close. I only started to hear the jazz in jazz after I grew up a little and then the deviance started to taste good. Now about a decade and a half later I can't do without harmony and substitution.
How do you see the Jazz scene in India? Talk a little about the playing experiences, musicians, venues and audiences.
I've met jazz musicians playing at very high levels in India and have been lucky to have been able to interact with several of them. I'm happy to see kids blasting out of music school ripping through changes. India is in a very dynamic state and I'm not surprised that jazz in India shows much promise. It still has a long way to go but I see many more talented kids being backed by their parents to pursue the discipline of jazz and it's only a matter of time before the numbers add up to become clearly visible on the world map.
India needs more jazz venues. Venues that make a killing from electronic music could throw a coupla crumbs our way and it wouldn't hurt em. I believe you can't play jazz at the level that people play pop/rock/EDM here and hope to sound half decent, leave alone get a gig. You need to be able to play jazz at a good level in order to get paid for a gig at a 'jazz' venue. And that takes many more years. Jazz needs support. The commerce of jazz is not tapped to benefit the artist in India because I believe it's too damn easy to make money, buy gear, up your lifestyle playing whatever rather than kill yourself to sound half decent and get a free meal and two drink coupons at an empty bar. I like the Pianoman, Delhi the B flat Bar, Bangalore, Sheesha Cafe, Pune and Kasha ki Aasha, Pondy to name a few of the few jazz venues I've been to. I've enjoyed some good jazz at these venues and while it strains the owners and musicians to keep the ride swinging it sure does help to keep the scene regular.
We can't expect the Indian audience to shut up and listen to a jazz concert in a bar. These places are great for the music but you're gonna have to try to settle into the gentle lilt of 'Naima' over the din of forty inebriated raised voices knowing that much of that is translating to your performance fee. It's a compromise, but if your monitors are sounding good and you've done your homework I daresay you can play a pretty satisfying show and go home with enough to pay the help and the electricity bill. It's not half bad when you realise that those raised voices are going to office day after tomorrow at 9am, and suddenly your office doesn't seem so bad :)
Something very particular to India is the diverse combination of musical styles, in particular the merging of jazz forms with Indian classical music. What is it that attracts both Indian and musicians from abroad to explore this kind of music?
Merging of styles is a dangerous medium. I hear it backfiring once too often. I prefer juxtaposing styles rather than combining them for I believe a full immersion in both styles is only what can bring about a graceful union.
I enjoy the fire and brilliance of Shakti, but to me that sounds like the Indian musicians are juxtaposed with McLaughlin's fusion of styles. I don't hear the other three playing jazz or fusion. Sure their improvisation is spontaneous, hair raising and hugely inspiring. But they're still ricocheting off the tenets of Indian music in an effort to break through. I believe Amit Heri, Sanjay Divecha and Prasanna have achieved fusion in their compositions by virtue of their immersion in both mediums.
I've met several Indian classical musicians who want to experiment with jazz. Alas, Indian classical musicians are literally hard wired into thinking modally, and most shy away from structure and modulation which for jazz are akin to what cheesecloth and curdling/fermentation is to cheese. As a result the jazz musician is most often forced to vamp modally, dumb down his output and assume a role as an accompanying artist. Sure there are exceptions, but few and far between. I really enjoyed what Louis Banks and Shankar Mahadevan did at a private party once several years ago. It was spontaneous and Shankar didn't sing the same phrase twice though he was singing a ghazal. That's the closest I've seen a classically trained singer come to jazz.
Who were the musicians that influenced you as a developing musician?
Zakirbhai when I was growing up. He's the reason I stuck with the tabla for 15 years.
T N Krishnan the Carnatic violinist. Kumar Gandharva the breakaway Hindustani Classical singer who with half a lung developed his own style. Sting helped my song writing. Aerosmith, Roxette and Guns and Roses brought me closer to the western world of sound. Dave Brubeck's 'Time Out' was the first jazz album I think I enjoyed thoroughly and everyday for many months.
The Grateful Dead to me was the gateway to making beautiful music immersed in intoxicated consciousness. This is the highest point I have had experimentally with music and fortunately for my brain was short lived and opened me to the idea that it was going to be music for me hereafter and not grad school.
John Scofield. I'm still intrigued and addicted to the sounds he makes. He's perhaps the only musician whose
music I have absorbed at such depth and yet have only heard a fraction of what he has put out to date.
Can you tell us about some of the Jazz based musicians or groups in India that we should be listening to? Share a little for those who might not know.
Amit Heri's compositions are my favourite among Indian jazz composers. Mumbai based Sudanese pianist Karim Ellaboudi is a treat to listen to. Guitarist Sanjay Divecha 's album 'Full Circle'.
What can we look forward to hearing in your own work and projects in the next year or so?
My album should be out in a coupla months. I've been lucky to have collaborated with Mishko M'ba, Matt Littlewood, Holger Jetter and Suresh Bascara to put this album out. It's got tunes in different styles from big band to slow rock to smooth jazz.
I am working steadily to create a body of original jazz tunes written more as an exercise but they're turning out surprisingly well. Matt's on board this project as well as on a third with the Temple Rock Trio, a reinterpretation of traditional Carnatic Classical music supported by acoustic guitar and saxophone played in a variety of styles from funk to rock to West African.
I'm collaborating with bass player Mishko M'ba to write and perform songs for bass and guitar. We recently toured North India. We're called Stringly Yours.
Being a musician is not just about playing and performing. Can you tell us about some of the things that interest you outside music?
Food. I love to eat perhaps more than anything else. So that drives me to cook for in India finding a restaurant that serves healthy and tasty food without ripping you off is difficult, to put it mildly.
Riding. I ride a Bullet. I've ridden smoother, faster more efficient bikes in India, but a classic cast iron engine driven Bullet still offers the most pleasurable ride among what's available here right now. Apart from being my primary mode of transport right now, enjoying the ride adds hugely to the quality of life. Needless to say I take it out now and then on long rides and get to see the country around where I live.
Tennis. I play to enjoy chasing the sweet spot. I don't care much for competitive sport. I have a tennis partner who's happy to rally and enjoy quality hitting. It keeps my hand-eye coordination supple and responsive and is good for my music which in performance demands much of that.
Film. The most attractive and compelling alternate reality there is. The last coupla years have seen technology and art come together like never before.
Monday, April 17, 2017
Best Saxophone Podcasts
I've written many times here about the bestsaxophoneever website. It's really that good, so do please check it out. There is so much to learn there.
I love podcasts and I was surprised that I hadn't listened to the ones on the site. Better late than never. These are world-class. Fantastic interviews with jazz greats that offer lots of invaluable insights and advice. There is so much there that most likely several listens to each is needed.
Please let me know of other similar podcasts and I'll add to the list.
http://www.bestsaxophonewebsiteever.com/tag/podcasts/
I love podcasts and I was surprised that I hadn't listened to the ones on the site. Better late than never. These are world-class. Fantastic interviews with jazz greats that offer lots of invaluable insights and advice. There is so much there that most likely several listens to each is needed.
Please let me know of other similar podcasts and I'll add to the list.
http://www.bestsaxophonewebsiteever.com/tag/podcasts/
Thursday, March 30, 2017
Weekly Jazz Lick - No 3
Here's a simple minor II - V lick using a couple of concepts. On the A-7b5 I use a G and A diminished triad pair (check out Jeff Schneider on how those work) and on the D7b9 a variation of the 7b9 pattern (the Db is a passing note) by Jerry Bergonzi. The G minor begins with a little variation of the D7b9 pattern.
Thursday, March 23, 2017
George Garzone - MyMusicMasterclass.com
There are quite a few gems on YouTube featuring interviews with saxophone great George Garzone. These two from MyMusicMasterclass.com are very enjoyable and include lots of valuable tips despite the short length of the clips. Have a look at the rest of the MyMusicMasterclass series for huge amounts of insights from an assortment of great musicians.
https://www.youtube.com/watch?v=ZW_POmRjVng
https://www.youtube.com/watch?v=eMwQ8pnE9L4
To jump directly to the page on horns click here:
https://www.mymusicmasterclass.com/premium-videos/horns-newest/
https://www.youtube.com/watch?v=ZW_POmRjVng
https://www.youtube.com/watch?v=eMwQ8pnE9L4
To jump directly to the page on horns click here:
https://www.mymusicmasterclass.com/premium-videos/horns-newest/
Weekly Jazz Lick - No 2
Ok, it's been a while, but I have excuses ;) and now I will have more time to do what I set out to.
Here is a simple lick involving triad pairs on a II-V-I. It uses Ab and Bb triads, going up one way and down the other. Of course there are many other combinations and rhythmic combinations that can be used but the idea here is to use the major triads built on the 4th and 5th degree of the I chord.
Here is a simple lick involving triad pairs on a II-V-I. It uses Ab and Bb triads, going up one way and down the other. Of course there are many other combinations and rhythmic combinations that can be used but the idea here is to use the major triads built on the 4th and 5th degree of the I chord.
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