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‘Sticking it to
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Stewart Copeland’s
Adventurous Musical
Journey
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Contents NOVEMBER/DECEMBER 2017
features
BASIC TRAINING: ‘RUDOLPH THE
RED-NOSED REINDEER’ AND –
CONFIRMATION – EAR TRAINING
FOR THE JAZZ MUSICIAN 12
Miles Donahue offers some (holi-
day-themed) tips for jazz musicians who
want to work on ear-training
JAZZed® Volume 12, Number 6, November/December 2017, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14-J, Las Vegas, NV 89119, (702) 479-1879, publisher of Musical Merchandise Review, School
Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. Subscriptions to JAZZed are available through our website, www.jazzedmagazine.com/subscribe. JAZZed is distributed to the music trade
by Hal Leonard Corporation. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility
for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright ©2017 by Timeless Communications Corp., all rights reserved. Printed in USA.
“I
n 2017, an independent label devoted to the music of
New Orleans… should not exist, much less be thriving,”
PRESIDENT Terry Lowe
reads a portion of an article about Basin Street Records tlowe@timelesscom.com
that appeared in the November 14th issue of Billboard.
GROUP PUBLISHER Greg Gallardo
The feature details the origins and evolution of the label and
gregg@timelesscom.com
explores key factors behind its continued – and, in fact, increas-
ing – success (Basin Street’s most release by noted trumpeters Editorial
Kermit Ruffins and Irvin Mayfield, A Beautiful World, debuted at EXECUTIVE EDITOR Christian Wissmuller
number 1 on Billboard’s Jazz Album Chart). That success, and the cwissmuller@timelesscom.com
paths that could lead to similar results, are topics of great importance for any jazz artist, ASSOCIATE EDITOR Victoria Wasylak
scholar, or aficionado. For a genre that long struggled to achieve notable sales even back victoria@timelesscom.com
when overall album sales were strong, making the most of every opportunity now that the
ASSOCIATE EDITOR Mike Lawson
recorded music industry is a ghost of what it once was is a vital pursuit. mlawson@timelesscom.com
Art
Within that shrinking ‘commerce pie,’ jazz is
ART DIRECTOR Garret Petrov
represented by an extremely tiny slice. gpetrov@timelesscom.com
RPMDA
Christian Wissmuller JAZZ EDUCATION NETWORK
cwissmuller@timelesscom.com
“ A world-class big band is “ The sound of my sax section “ All of my students in my “ Within fifteen seconds of trying
impossible without a sax section opened up immediately with Mega-Sax Ensemble play on my JodyJazz DV NY, I knew
that truly blends. JodyJazz JodyJazz mouthpieces. I also find JodyJazz mouthpieces (alto, it was the greatest mouthpiece
mouthpieces give the Crescent that the HR* is a great transition tenor and baritone). The blend I ever played. I am proud to
Super Band the consistency, from the concert band setting. is wonderful, and the intonation recommend JodyJazz mouth-
precision, and tone necessary This is the best mouthpiece that is impeccable.” pieces to all of my students.
across all our saxes for that I have come across for my needs.” JodyJazz mouthpieces are
to happen.” Miles Osland simply the BEST!”
Dr. Roosevelt Griffin III Professor of Saxophone,
Caleb Chapman Band Director, Gwendolyn Brooks Director of Jazz Studies, Gregory W. Yasinitsky, DMA
Director, Crescent Super Band Middle School University of Kentucky Director of the School of Music,
President, Jazz Education Network President/CEO, Griffin Institute Washington State University
Kentucky Governor’s Award for
of Performing Arts
excellence in education Washington Music Educators
Jazz Educator of the Year, Berklee
College of Music and JEN Grammy Award for Music Educator Five 4-star reviews from Downbeat Association Hall of Fame
(student and personal groups) Washington State University
Utah’s Best Educator, Semi-Finalist Golden Apple Award
Utah Best of State for Excellence in Teaching Four recordings have been Eminent Faculty Award
recommended for Grammy National Band Association Jazz
Three-Time GRAMMY Educator Jefferson Award for Public nominations
Award National Semi-Finalist Service from an Educator Educator Award
“ONE OF THE GREATEST MUSICIANS I’VE COME UPON.” - MILES DAVIS Sacramento Traditional
Jazz Society Celebrates
“...this recording, which easily ranks among the best of the year,
“...a tribute album for the ages…” – All About Jazz overflows with such indelible tracks.” – The Los Angeles Times
To honor her late husband, Kelly Peterson assembled some of the most celebrated jazz artists in the world to perform and
record on the luminary’s prized personal Bösendorfer Imperial piano, then released the recordings as a deluxe collector’s
edition, featuring an extensive commemorative book, and as a standard 3-CD digipak package. Oscar, With Love
showcases Oscar Peterson as a composer and includes the world premiere of several pieces he wrote but
never recorded; the compositions were retrieved from Peterson’s library for the project.
GREG DOHLER
KRISIEY SALSA
The D’Addario Foundation Presents Grants to Music Not-For-Profits
The D’Addario Foundation held three back into underserved communities. Our has been crucial to the success of delivering
grant presentation events in October at Ted purpose is to not only provide financial sup- a high quality after-school music program
Brown Music in Tacoma, Washington, Bea- port to organizations like these, but also to to the more than 1,200 Baltimore City stu-
cock Music in Vancouver, Washington, and recognize and raise visibility for the tireless, dents we serve,” said Raquel Whiting Gilmer,
Menchey Music in Timonium, Maryland. incredibly impactful and innovative work executive director of Baltimore Symphony
The not-for-profits that were awarded being done using music as a powerful tool Orchestra’s OrchKids. “We are so grateful to
grants include Seattle JazzED, Metropolitan for positive social and academic develop- have partners that are willing to invest in
Youth Symphony, and Baltimore Symphony ment.” our students with multi-year support – this
Orchestra. So far this year, $46,000 in grants has level of commitment enables OrchKids to
“Handing out grants to not-for-profit ini- been formally handed out at check pre- reach more students and have a greater im-
tiatives like these is really the best part of our sentations, and The D’Addario Foundation pact in our community.”
job,” said Suzanne D’Addario Brouder, exec- has awarded over $517,000 in year-to-date The D’Addario Foundation held anoth-
utive director of the D’Addario Foundation. monetary and product donations to 242 er grant presentation event recognizing
“The D’Addario Foundation has pioneered a music education not-for-profits. not-for-profits in southern California at the
process of supporting grassroots efforts to “OrchKids’ partnership with the D’Add- D’Addario & Co. Woodwinds Facility in Sun
bring quality, immersive music education ario Foundation over the last three years Valley on November 14.
saturday
jazz training
programs
chick corea
& béla fleck
Sat, May 19 @ 8PM
Spring Semester: January–May GRAMMY®-winning artists Chick Corea and
Ages: 13-18 Béla Fleck bring a night of jazz, pop standards
Instrumental and vocal students learn from the best in the industry in NJPAC’s exciting and more.
training programs.
1. Pat Metheny – Unity Band live feel, grooves, and time signatures inspired by Greek music.
This recording featuring Chris Potter, I don’t know how those guys sing and play at the same time!
Ben Williams, and Antonio Sanchez has
a stunning sound and mix. I love every 4. Jerry Gonzalez and the Fort Apache Band – Crossroads
track, but if I had to pick my favorites, I love this record: great original com-
I would have to put “New Year” and positions, arrangements, Afro-Cuban
“Roofdogs” at the top of my list. The grooves, and solos all delivered with
compositions seem to bring out the passion and clarity. The whole package
best in an already incredible group of players. They all sound continues to appeal to me since one of
superb, both individually and especially as an interactive unit. my teachers, David Hardman, played it
I suppose “Unity Band” really is the most appropriate title for for me more than twenty years ago.
the project.
5. John Coltrane – Coltrane’s Sound
2. John Cowherd – Mercy When I hear the band launch into
John Patitucci, Brian Blade, and Bill “The Night has a Thousand Eyes,” I get
Frisell join forces here on a collection chills. McCoy Tyner, Steve Davis, and El-
of John’s beautiful compositions. Much vin Jones are at their best here. I may
of it is introspective, mood-wise, with never tire of this album.
plenty of space, dynamics, and of course
emotion. My favorite tracks are “Mercy 6. Michael Brecker – Tales from the Hudson
Suite: Part 1” and “Postlude.” This album This is another all-time favorite of
has impeccable sound. Listen through nice headphones or a mine. The tunes are melodic and intri-
high-end system to enjoy the full depth! cate, the recording quality is beautiful,
and the band supports each other in
3. Burlap to Cashmere – Burlap to the most musical ways. I can’t pick a fa-
Cashmere vorite on this album, I love the whole
A great set of compelling songs in thing.
a pop/rock/folk genre. I love the lyrics,
© bruce langton
If you like
grooves and
fusion influ-
enced by funk,
techno, R & B,
and Brazilian
styles, you
should check this out. Perfectly mixed
and mastered, this album is full of great
arrangements, solos, drumming, and
programming. and more. My favorite
tracks are “Live Wire,” “Galaxy,” and “The
Underground.”
Visit jjbabbitt.com
Mouthpieces for all clarinets and saxophones
T
he intuitive side of music is the natural ability we are born • Play the melody note and
with that enables us to remember what we hear and accu- hold it down while you sing
mulate vocabulary without benefit of intellectual study. Van the next note of the song and un-
Cliburn, who in 1958 and was the winner of the Tchaikovsky piano derstand/hear what the interval is.
competition in Moscow, was only three years old when he was • Play the note you sang and check yourself for or
able to play the music his mother had just taught a student of hers accuracy.
mere moments after she would leave the room. As an adult, the • Sing the whole song and check to see that you have
first thing he did when learning a new piece of music was to sing not changed keys. It is necessary to start with simple dia-
the melody of the piece before beginning to actually play it at the tonic melodies such as Christmas songs, thus the title of this
piano. The jazz pianist Art Tatum had perfect pitch and learned article: “Rudolf the Red Nosed Reindeer.” If you sing a melody
to play the piano at age three by listening to the radio and his and you lose the key, that means you sang a wrong interval
mother’s piano rolls. Neither Van Cliburn nor Tatum had taken an somewhere in the song and went off track. It will be neces-
ear-training course to develop this ability. sary to go thru the song note by note and discover which
Singing is the only way to improve your ear if you are not lucky interval you sang incorrectly.
enough to be born with this natural ability. Relative pitch is the The difficult news is that learning intervals is a mathematical
ability to identify or recreate a musical note by comparing it to a skill that involves thinking – i.e. a minor 6th is E up to C (8- ½ steps)
reference note and to identify the interval between the two notes. and a major 6th is G up to E (9- ½ steps). By singing intervals cor-
Jazz musicians need this skill to create an improvised solo. rectly, over time you will have confidence in your hearing ability,
Using a keyboard, I have developed a method for improving and this translates into being a better musician no matter what
this necessary skill: the music is that you are performing.
DIVA
has performed and recorded 14 al-
bums, many of which are available on
The iTunes. His site, www.jazzworkbook.
com, offers an effective course for
Jazz Orchestra’s new players to learn jazz improvisa-
tion and for seasoned players to learn
25th Anniversary Project fresh approaches to soloing.
on
To become part of DIVA Jazz History go to this link “Relative pitch is the ability to identify or
http://www.artistshare.com/news/?pt=4722
recreate a musical note by comparing it to
Join the project and get immediate access to exclusive videos,
composer sketches, artist's blogs, photos, opportunites to
participate in unique DIVA experiences and MORE!
a reference note and to identify the interval
between the two notes. Jazz musicians need
this skill to create an improvised solo. ”
V 44 Ï Ï ä Ï
sing up a minor 6th
Ï Ï
down minor 3rd play sing up a 4th
VÏ ˙. Ï Ï Ï Ï Ï Ï
2
down a 1/2 step down a flat 5(tri tone) sing maj 6th
Vw Ï Ï ä Ï Ï
Ï
4
sing up a 5th END DOWN A STEP TO THE TONIC
VÏ ˙. Ï Ï Ï Ï Ï Ï w
6
CONFIRMATION CHECK OUT SOME OF THE SAME INTERVALS IN THIS COMPLEX SONG
V ∑ ∑ ∑
9
PLAY SING DOWN A 4TH
VÏ Ï ä
3
Ï Ï Ï Ï #Ï
12
Ï
SING UP A 5TH SING DOWN A MINOR 6TH
Ï
SING UP A TRI TONE
VÏ Ï Ï Ï ä Ï
13 #Ï
Vä j Î Î ä j
CHECK THE TONIC NOTE PLAY
Ï Ï
14
V #Ï nÏ bÏ Ï Ï Ï Ï
16
BY STEPHEN RUSH
A Definition of Harmolodics: The Shape of Jazz to Come (major or minor), with phrases ending
Harmolodics is about race. It is about human equality. Equality of on C# in m. 4, G# in m. 6, C# again in m. 8, and G#
tones is about race. Consider this exchange from page 128: in m. 10 (see below). However, the coda (mm. 11–14) ends the
Stephen: This constraint on civilization and the constraint on mu- composition with a phrase in G, then in Gb!
sic is going to cause an end to jazz?
Ornette: I know you’re right…. I know you’re right. And the reason I could envision this scenario in a jazz improvisation or theory
why it is … sex, money, and race. In that order. class:
Teacher: In what key is “Peace Warriors” by Ornette Coleman?
H
armolodics is an approach that attempts to value each el- Student: C# and Gb, I think! But maybe A, G, or G#.
ement and each participant equally. Melody is the “source Teacher: That is precisely correct. But isn’t the key of the com-
of the music,” as Ornette told me years ago in an interview position established by the opening phrase of the composition,
that predates this material. From melody all other elements are and supported by the last phrase?
implied: groove, intervallic content, harmony. If one were to trace Student: Yes, but the opening phrase ends in A, and the last
Gary Peacock or Charlie Haden’s bass notes accompanying Or- phrase ends in G#, and the body of the composition is clearly in
nette Coleman over the years, it would prove difficult, even fruit- C#. In other words, the composition is in at least three keys, before
less, to attempt to codify the harmony for any given composition. any improvisation occurs at all.
Each repetition of the form, if there is a repetition, uses a consis- Teacher: Correct! You get an A. Or a Bb, or a ... (class laughter
tent harmony. The bass line, seeming to contain the harmony, is ensues).
actually a result of the melody: in the same
way, the bass line of a Bach Two-Part Inven-
tion seems to contain the harmony, but is
actually a result of the melodic material that
generates both treble and bass lines. The
melody is the source code of all the other
musical events, harmonic or contrapuntal.
It is simply bizarre that music schools still
teach the bass line as being the generator
of the melody (figured bass instruction is
endemic to all classical Western European
music education). Ornette’s approach is
much more straightforward: “top down” in-
stead of “bottom up.”
Notice in “Peace Warriors,” from In All
Languages (Coleman 1987), Charlie Haden’s
ability to follow and sometimes subvert
Ornette’s tonal and rhythmic phraseology.
The composition itself is tonally ambigu-
ous, and deliberately so. The first phrase is
almost a throwaway tonally—ending in A—
but generates the groove. It does end on a
G#, making the G# seem like either I or V. The
first portion of the head is certainly in C#
Works Cited
Audio Recordings
Coleman, Ornette. 1987a. In All Languages.
With Don Cherry, Charlie Haden, and Billy Hig-
gins. Caravan of Dreams Records, Caravan of
Dreams CDP 85008, vinyl recording.
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Stewart
Copeland
‘Sticking it to
Convention’
BY BRYAN REESMAN
musicians is that they all suck.’ Okay, now we’ve got a party,
now we’re talking.”
After all of his years in the business, Copeland still exudes a
youthful energy and a desire to push himself. His latest project,
Gizmodrome, is an eclectic rock band that will tour the U.S. in ear-
ly 2018. When I meet him for our interview at the Empire Hotel in
Manhattan, Copeland is easy to spot. While he’s obviously older
than the figure I first recall seeing during MTV’s glory days (and
hey, so am I), he still retains the same tall, wiry frame and abun-
dantly light colored hair. He’s an animated subject who loves to
debate and discuss music and enjoys being contentious when the
occasion arises.
Despite his overt disdain for jazz, Copeland is not completely
harsh on the genre. Having a spent a life in pop and rock, musical
areas where he says drums are there as a supporting instrument
to make the singer look good and where everybody knows their
place, he remarks that jazz fans “do not want you to know your
place. They want to hear everything you’ve got all the time right
now. You go out there completely indulgent. I did the jazz festivals
in Europe with Stanley [Clarke]. Jazz music is more fun to play than
it is to listen to.”
S
tewart Copeland declares jazz to be, “the last refuge of the
talentless.” That’s not exactly the most auspicious comment Jazz fans I adore. I will play
to launch this cover story profile with, but it’s appropriate
considering the iconic drummer has never been one to play by
for jazz fans every day of the
the rules. Whether agitating his old Police bandmate Sting, impro- week.
vising with orchestras, or secretly roping together a band, Cope-
land follows his own beat for sure. Which is funny, because many That being said, he remarks that jazz fans pay good money to
people might declare that that is exactly what many jazz players hear musicians let it all hang out. He actually loves those “very ad-
do, particularly in the face of repetitive pop music or heavily struc- venturous ears. Jazz fans I adore. I will play for jazz fans every day
tured orchestral music. of the week.” But he calls bull on people like Miles and Coltrane.
The drummer believes that jazz, more than any other form “I’ve tried to listen to those guys. I know what drugs those guys
of music, has the highest fluff ratio. “The 10 percent at the top are on, and you can’t fool me. Jazz has the highest quotient of the
is amazing, of course,” he concedes. “But I’ve been a musician king’s new clothes. That doesn’t mean that Stanley Clarke isn’t a
for 60 years now and you can’t fool me – those guys are just genius, and that on some of those cuts Miles Davis wasn’t burn-
wiggling their fingers.” He places less of the blame on jazz ing. That’s what music is all about. But it is a world where you can
drummers and more on the soloists, guitarists in particular. get up there and put a vaguely petulant expression on your face,
“One of my favorite ways to enliven an otherwise somber din- wiggle your fingers, and get away with it.”
ner party is to make a statement like, ‘The problem with jazz Throughout the course of his musical career, Copeland has
BY LEE EVANS
F
or the November 2012 issue of The Atlantic, writer Benjamin about most of the songs that constitute The Great American
Schwartz provided a provocative column – with whose ba- Songbook, apart from their memorable melodic lines, is the in-
sic argument I strongly disagree – entitled, “The End Of Jazz: ternal functional-harmony logic of each, such as circle-of-fifths
How America’s Most Vibrant Music Became A Relic.” His screed is (ii7 – V7 and ii7 – V7 – I) chord movement. (Think of “All The
based upon Ted Gioia’s useful new book, The Jazz Standards: A Things You Are” and “Gone With The Wind” as two such exam-
Guide To The Repertoire (Oxford University Press.) ples.) This harmonic-progression feature makes it easier for jazz
improvisers to remember such chord patterns by feel. In fact, it
Essential Jazz Repertoire was this aspect of many popular songs that made them excel-
Gioia’s volume consists of a listing and analysis of 250 piec- lent candidates for re-composition. (Think, for example, of Char-
es that, in his opinion, form the most significant, as well as the lie Parker’s “Ornithology,” based on the chord structure of “How
most requested and most often performed, jazz repertoire of High The Moon,” and Lester Young’s “Lester Leaps In,” based on
the current working jazz musician, including such songs as Bil- the chord structure of “I Got Rhythm”; plus a great many other
ly Strayhorn’s “Lush Life,” Duke Ellington’s “Sophisticated Lady,” examples.)
and others that constitute what is often referred to as “The Great
American Songbook.” In Gioia’s words, “my choices...the corner- Omissions
stones of the jazz repertoire as it exists today... reflect the jazz An interesting sidelight in Schwartz’s The Atlantic article
idiom as a vibrant, present-day endeavor.” deals with his complaint that Gioia in his Jazz Standards volume
has omitted four of Schwartz’s favorite songs: Rodgers and
Functional-Harmony Logic Hart’s “Where Or When”; and three by Cole Porter: “I’ve Got You
What I believe jazz musicians find particularly appealing Under My Skin,” “In The Still Of The Night,” and “Begin The Be-
ella
Photo cour
T “
o some, the title of this article may appear redundant. What is
being taught through school big bands if not jazz? All too of-
ten, unfortunately, a very myopic version of our great art form
Quite simply, if our students
are to know anything of
is communicated to students through their interactions with “jazz
band.” An accidental focus on a few genres or a gravitation towards the jazz tradition, they must
complex orchestrations can often subvert many of the key princi-
pals that most of us would wish to share with our students. As the
have some comfort and ability
big band constitutes the entire jazz curriculum of many middle- and
secondary schools (and even some small colleges), a conscious effort
must be made to teach the art form holistically through this format.
to improvise. ”
tic hallmarks of New Orleans, swing, bebop, hard bop, cool jazz, free
jazz, fusion, and everything in-between.
Improv Avoiding “performanceitis” is of the utmost importance. While
It would be easy to argue that the unifying factor in all eras and public performances are always important and can serve an excel-
styles of jazz is the act of spontaneous musical creation, or improvisa- lent educational and public relations purpose, they are not the entire
tion. From New Orleans to the most forward-thinking free jazz inno- point. Rather, performance can serve as a means to an end: Creating
vators, this direct expression has been key. However, due to looming technically and musically proficient young players with the intellec-
performances and a false belief that “you either have it or you don’t,” tual understanding to create meaning for themselves to one extent
or a well-meaning misunderstanding that a student has to have the or another.
technical facility of Coltrane to say something meaningful as an im- Pieces should be chosen for their artistic merit and for the ability
proviser, improvisation takes a backseat in many academic programs. to introduce wider concepts and principals to students. If performing
Quite simply, if our students are to know anything of the jazz tra- a New Orleans style arrangement or a Basie-type swing chart, stu-
dition, they must have some comfort and ability to improvise. In ad- dents should be introduced to the historical background, important
dition, improvisation holds some of the greatest potential for future figures, and stylistic hallmarks of the genre. Above all, listening to
vocational music making for many of our students. Whether playing great examples is of the highest value.
in bands or simply performing for their own enjoyment, spontaneous
creativity can create a lifetime of happiness once students leave the Conclusion
classroom. The big band is more than just a performing ensemble: It is one of
While the act of teaching improvisation can seem daunting, we all the best opportunities to introduce students to the great traditions
know that it is as easy as teaching students how to play a blues and and present of jazz. Young musicians can see this great art form for
offering all students (without exception) the opportunity to solo. This all of its past glories and its future potential. Even more importantly,
need not be in performance. Rather, much good can be achieved if approached in the right spirit, it create the next generation of jazz
through ten-minute “jam sessions” at the ends of rehearsals, where messengers, eager to sing the praises of America’s great contribution
students have the freedom to explore ideas with their friends. Once to the culture of the world, and, perhaps, to create the next group of
students are comfortable with the blues scale, pentatonic scales can great jazz artists.
be introduced, et cetera. Eventually, “jam sessions” can be structured
around simple ii/V progressions and simplified standards. With the Andrew J. Allen is an assistant professor of
conscious goal of creating comfortable improvisers, much can be music at Midwestern State University in Wichita
achieved. Falls, Texas. Dr. Allen has premiered nearly
twenty works for saxophone and has performed
Style and Literature and lectured at the World Saxophone Congress,
Another major area of concern for the conscientious director the International Saxophone Symposium,
should be the exposure of students to the full breadth and scope of the National Association of College Wind and
jazz history and literature. All too often, the academic big band focus- Percussion Instructors Conference, and national
es on a rather narrow stylistic milieu, ranging from Ellington to Basie and regional gatherings of the North American Saxophone Alliance
to more contemporary big band styles. Sometimes the “jazz band” and the College Music Society. He currently performs with the Wichita
is merely an ensemble that plays pop arrangements. While there is Falls Symphony Orchestra, the Lone Star Wind Orchestra, SAGA Quar-
nothing wrong in engaging students with popular music, this should tet, Rogue Two, and the Allen Duo. His debut album with saxophone/
be done sparingly if the end goal is, indeed, educating students. percussion duo, Rogue Two, is forthcoming on Equilibrium Records.
Today there exist many incredible arrangements for groups of ev- Dr. Allen currently serves as editor of The NACWPI Journal and is a
ery skill level encompassing the entire history of jazz from New Or- member of the editorial board of The Saxophone Symposium. He is a
leans style to contemporary hip hop-fusion. Systematically, directors Conn-Selmer Artist-Clinician and performs exclusively on Selmer Paris
should rehearse and perform pieces from all time periods. Students saxophones and Vandoren mouthpieces, ligatures, and reeds. Learn
should be familiar with important composers, performers, and stylis- more at www.allensax.com
I
n an obituary published in the New York Times, Loren Schoen- exquisite taste and
berg, founding director of the National Jazz Museum in unerring judgement
Harlem, was quoted as saying this about Grady Tate, the in- about what to add
dispensable drummer who died at age eighty five this past Oc- and what not to, but
tober: ”He was there to serve the music without the imposition to my ears, Tate didn’t
of a defined personality or style.” Schoenberg was specifically possess an instantly
referring to Tate’s contributions on Quincy Jones’s recording of recognizable style,
“Killer Joe,” but he could have been referencing any number of compared to such
the multitudes of sparkling Tate performances. illustrious peers as,
say, Elvin Jones, Tony
“
Williams or Jack De-
Tate may have provided Johnette. There must
be those that can
just what the music called for hear Tate mannerisms
that distinguish him
again and again, but I’d be hard from all others, but
pressed to identify him in a to me he sounds like
”
an immensely gifted,
blindfold listening. superbly supportive,
and sensitively at-
tuned percussionist
In fact, truer words couldn’t have been spoken about a play- – albeit one who re-
er who in the course of a seven-decade career was able to fit mains hidden in plain
into any musical situation he was asked to, ranging from jazz sight.
to pop to R&B to cabaret, and plenty of other byways along the Yet I wouldn’t
twisting road. He enhanced performances by Jimmy Smith and trade Tate’s work on such masterpieces as Jimmy Smith’s Organ
Bette Midler, Wes Montgomery and Paul Simon, Peggy Lee and Grinder Swing, Pee Wee Russell’s Spirit of ’67, and Zoot Sims’s
Bill Evans, among scores of other artists; he played in the New Zoot Plays Soprano (to name a mere disparate few) for that of
York orchestra of “The Tonight Show” and was heard on the anyone else. A special favorite remains Sweet Rain, a landmark
soundtrack of both the original incarnation and 2017 edition recording by Stan Getz. A 1967 quartet date stocked with heavy
of “Twin Peaks.” (and by the last few decades of his life, in an hitters including bassist Ron Carter and pianist Chick Corea
increasingly committed role, became a much-praised vocalist). (shortly before he was hired by Miles Davis) Sweet Rain is a gor-
Utterly dependable in any setting because he was so fright- geous album that features supremely lyrical playing by Getz,
eningly consistent, Tate could be counted on to sound great faultless support by Carter and Corea (whose compositions “Li-
no matter what he was asked to do, and until someone points tha” and “Windows” are highlights) and owes more than a bit
out a less than excellent performance from him to me, I believe of its luster to Tate who navigates the sophisticated rhythmic
he may never have let any employer down. Yet, in his role as a turns with panache. He’s superb throughout, yet compare Tate
jazz musician Tate presents us with an interesting dilemma, one with the work of Roy Haynes or Elvin Jones on Getz recordings
which leads us back to Schoenberg’s comment. Indeed, Tate during the sixties and Tate, for all his excellence, can come off
always served the music brilliantly without imposing a discern- as relatively anonymous. Proof, perhaps, that craftsmanship of
ible identity. But isn’t jazz a music that prizes individuality, one the highest quality, given the right circumstances, can outma-
that puts a high premium on establishing a musical voice of neuver personality. Elvin or Roy or whomever drum giant of the
one’s own? Tate may have provided just what the music called time might well have done an impressive and distinctive job on
for again and again, but I’d be hard pressed to identify him in Sweet Rain; still, Tate, in all his accommodating glory, is spot on.
a blindfold listening. He had technique to spare coupled with He was the right man for the job – as usual.
FRETTED
The Prestige Troubadour RS Guitar
The Prestige Troubadour RS is a single cutaway solid body guitar,
boasting a combo of solid ¾” carved Canadian Maple top and solid
mahogany body and neck. The guitar is finished with a satin/matte
black top, with satin/matte stained mahogany sides, back and neck
New Lightweight Woodshell Cases with cream 3 ply binding surrounding the body, and a cream bound
from ProRockGear neck and headstock. The guitar features an ebony fingerboard with
The new Armourguard Wood Series of clean, understated, offset mother of pearl dot inlays. The Troubadour
lightweight cases from ProRockGear and AP RS will be loaded with your option of either the Seymour Duncan
International offer the weight of a gigbag Pegasus Bridge pickup, or a Seymour Duncan Custom Shop ’78 Cus-
and the durability of a hardshell case. tom bridge pickup. Pickup will be direct mounted and exposed coil
The Armourguard Wood Series features a in Zebra (Cream/Black). Controls will include single nickel knurled
sturdy form-fit wood shell covered with rug- volume and tone knobs with push pull coil split, and on-off toggle
ged 600D nylon, utilizes heavy-duty zippers, switch. Hardware is rounded out with all-nickel TonePros intonatable
and has added rubber bumpers on the bot- wraparound bridge and 18:1 Grover Sta-Tite open geared Tuners. The
tom to prevent shock while standing. Incred- Troubadour RS will be priced at $999 MAP, with the ’78 custom version
ibly soft interior foam and padded neck rest at $1199 MAP.
ensure your instrument will be safe while www.prestigeguitars.com
travelling, and the sturdy nylon handle and
detachable shoulder straps give you the op- The Cort Gold A6 Guitar
tion of carrying or wearing. The added large The Cort Gold A6 with a Grand Auditorium body from Cort Guitars
outer storage pocket comfortably fits your delivers a full-bodied, well-balanced tone that suits virtually any mu-
picks, straps, and cables, so you can show up sical style and taste. It features a 45mm genuine bone nut and saddle,
to the gig ready to go with one convenient ideal for fingerstyle playing. Cort’s premium materials are showcased
lightweight and trusty package. The new se- in softer melodies. The only way to electronically compliment the
ries comes in five different sizes to fit most high-quality craftmanship of the guitar was to integrate the Fishman
popular guitars and basses: rectangular Flex Blend System. This system combines an under-saddle pickup
electric guitar, Les Paul, dreadnought acous- with a condenser mic to provide even the most demanding acoustic
tic, classical acoustic, and rectangular bass. players the tones they desire.
www.prorockgear.com www.cortguitars.com
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