Improvisation Basics 5: The Right Notes At The Right Time

I routinely review Sax on the Web older contents checking out link changes and other things which may have changed over time. It was my pleasure to rediscover Andew Campbell's article "The Right Notes At The Right Time" from 2007. Previously we took a look of Teaching Improvisation to Adult students, Blues Chord Progressions and Blues Scales.

Why do solos based on Blues scales sometimes sound great, but other times sound terrible?

It’s all about playing “Blues Notes” at the right time and in the right place.

Andy uses the great Eddie “Cleanhead” Vinson’s solo on “Kidney Stew” as a practical example so, that we can learn a simple and workable method to accomplish the same feat in our own solos.

Although the blues scale, or any scale for that matter, might fit a certain chord or progression, you also have to know when and where to play those notes.

Most of us eventually work this out through a lot of trial and error and lots of listening, but it doesn’t have to be that hard.

Let's look at the melody (head) first:

Then Andy is laying out the theory background for creating a solo.

Enter Mr. Eddie “Cleanhead” Vinson with his solo:

Andy goes on analyzing Vinson's solo piece by piece very masterfully. If this is something you want learn more, take a look of the entire article.

Andrew Campbell lives in Sydney Australia, where he plays and teaches. He has been a regular SOTW Forum contributor, under the alias of "Dog Pants", since 2001. Andrew hopes that this lesson will encourage other players to explore both Eddie Vinson and the many other great Blues Sax players.

Improvisation Basics 4: Psyching Out Improv Demons

I participated in mid-1990s in Jazz Studio class taught by Roger Freundlich in Espoo, Finland. Roger later published an article in Down Beat Magazine (1998) about his teaching methods. Here is a summary of it:

Look the demons of jazz improvisation straight in the eyes and say, "I'm going to improvise - deal with it!"

That's the attitude I try to instill in adult jazz improvisation students at Jazz Studio, an adult-education evening class held under the auspices of the City of Espoo Adult Education Centre outside Helsinki, Finland. The participants, generally adults between 30 and 60, are seriously interested in unlocking the secrets of jazz improvisation. In the course, we investigate total musical discipline and total musical chaos to find the magic middle ground where the best music is created.

To supplement the systematic study of intervals, chords and scales, a series of simple group exercises can help adult amateur musicians overcome psychological inhibitions in their desire to become more comfortable as improvising jazz soloists. Developed to educate people in a culture where modesty is a virtue and the ability to improvise is not generally an inborn trait, the following classroom techniques can also be used by band directors to sharpen soloing skills in their big bands.

Some of the methods Roger is using:

• Talk/Play/Talk/Play
• Create/Imitate
• I Am the Greatest
• Ugly/Beautiful
• Verbose/Taciturn
• Guest Drummer

The SOTW Article:
Psyching Out Improv Demons by Roger Freundlich

Tim Price on How To Find Your Saxophone Sound

My good friend, Tim Price authored a comprehensive set of Jazz Lessons and Etudes for my web site, Sax on the Web.

Tim is a Selmer Clinician, professional musician, jazz journalist and author. He teaches in New York City and Pennsylvania.

While at Berklee, he studied with Charlie Mariano, as well as with Andy McGhee, Joe Viola, and Nick Ciazza. After Berklee he studied saxophone and improvisation with Sal Nistico, Fred Lipsius, Jimmy Lyons, Ray Pizzi, Sonny Stitt, and Ronnie Cuber; flute with Harold Jones; clarinet with Kal Opperman and bassoon with Karen Borca.

Tim Price's web site.

In the following video Tim is addressing the eternal question: How to develop your saxophone sound?

Technorati Tags: Fred Lipsius,Sax on the Web,saxophone sound,Tim Price,tenor saxophone,improvising

Lester Young — A Centennial Tribute

Lester Young via last.fm

For the lyricists of the Great American Songbook, it was difficult enough to say "I love you" in 32 bars, ­expressing all that passion and profundity in one brief chorus. Yet when the legendary tenor saxophonist Lester Young played those same songs, he crammed even more artistry into that same small space. When Young (1909-1959) plays a chorus of a ballad—or a blues or a riff number—you hear more than "I love you." You hear babies gurgling, flowers blooming, couples making love, dogs barking, mothers crying to their kids, worlds colliding.

Young, whose centennial ­arrives on Aug. 27, created a new approach to the saxophone and to jazz in general. His playing was, by turns, lighter and gentler than anything that had come before it, but also capable of driving with tremendous force and energy.

His 1943 solo on "Sometimes I'm Happy," made shortly after Young's return to the Count Basie Orchestra, is a prime ­example of the President (usually shortened to "Prez")—as Billie Holiday called Young—touching on every emotion known to man in a single, short solo. He's obviously ­inspired by Irving Caesar's title and lyric as much as he is by Vincent Youmans' melody. Most popular songs present the states of "happy" and "sad" as monolithic poles of feeling, but Young seems to be jazzed by the way that Caesar and Youmans mix both together. His ­interpretation of the tune is both at the same time, a constant state of melancholic ­euphoria.

The song is in ABAB form, meaning that the second 16 bars are a repeat, melodically, of the first, and Young uses that as an impetus to inject more jazzy variations into the second half. Even at the tail end of the first "B," the part that matches the words "If I can find the sun in your eyes," Young weaves in an amazing embellishment, a two-bar phrase that could be the ­basis for a song in itself, but, more important, perfectly compliments the Youmans melody. After bassist Slam Stewart's ­simultaneous bowing-and-humming episode and pianist Johnny Guarnieri's brief statement, Prez returns with an amazing coda that's almost completely improvised, except that it uses a phrase from "My Sweetie Went Away" (a 1923 pop song recorded by Bessie Smith) as a point of departure. This lick had a life of its own: It not only also turns up in the verse to Cole Porter's "Let's Do It, Let's Fall in Love," but Young had used it earlier in "Here It Is Tomorrow Again," and it was later heard in deference to Prez by Gerry Mulligan ("Jeru"), Stan Getz ("Yesterdays") and King Pleasure and Oscar Peterson in their own tribute versions of "Sometimes I'm Happy."

Small wonder that Young was a major influence not just as an improviser but as an ­interpreter. A whole school of tenor saxophonists identified themselves as virtual vice presidents, including Getz, Wardell Gray and Paul Quinichette (who even billed himself as such). But Young exerted an equally pervasive influence on several generations of jazz and popular singers, both directly and through such key acolytes as Holiday and Frank Sinatra, who told ­Arlene Francis in 1981: "I knew Lester well, we were close friends and we had a mutual ­admiration society. I took from what he did and he took from what I did." Sinatra also praised Young for "knowing the lyrics" to the songs that he played: "knowing what the song is about has to come from the lyric, not merely notes on a piece of paper."

Will Friedwald writes about jazz for the WSJ. Printed in The Wall Street Journal, page D9, Aug. 19, 2009

" You Got to Be Original, Man! "

Tim Price here, for RICO REEDS, talking about some things on my mind lately.

We have all remarked when an innocent child speaks their mind and reveals something candid, with no worries about consequences, failure, or judgment that makes us think. We also know there is something envious about that special quality; raw freedom to express with no fears or hang-ups. When a young student drums on a desk, draws on a paper, or sings, sincerity is at its best. And it’s all valid because it’s sincere.

Our attraction to music is a personal one. Sure, there are peer pressures, and multi musical purposes, but somewhere in our hearts we have our own musical tastes. To step forward and play what you feel might be your best move.I feel it’s tragic to not explore music and life through creativity and self development. I respect the ideal of traditional development of needed musical skills but not at the cost of creativity. No one should have to wait some undetermined amount of time to compose something or even think about composing something.Ditto with improvisation. Same with any writing or art. It’s sincere. It’s in the moment.

The path of a true "artist" is a rocky road. It's like walking up wet glass at times but after a while it's fun.It is your business to keep the channel open.You have to keep open and aware directly to the urges that motivate you.You'll note a slow emergence almost imperceptible. it will be something you never forget.

Now's the time tell a genuine story, speak the truth, and someone will appreciate it.It is part and parcel of being an artist.

Keep the channel open, and try your best.You'll learn something special.

The quote at the beginning of this weeks blog was from Lester Young. If you want to hear something original-check out Lester Young.

I'll be talking more about ~stepping forward~ and taking your chances. Now's the time.

Till next week, thanks for reading this blog and keep on your path.

~ Tim Price ( forum admin. for Rico Reeds ). Tim is also a Sax on the Web author.

LiveJournal Tags: Lester Young,tenor saxophone,Stan Getz, Vincent Youmans, Tim Price

Technorati Tags: Lester Young,tenor saxophone,Stan Getz, Vincent Youmans, Tim Price

Amazon's Lester Young Store
Lester Young in Sax on the Web

Improvisation Basics: The Power of the Pentatonic Scale

Last week I spent at Otava Jazz  Camp in outskirts of St. Michael in Finland. (My last year's blog post - 2009 pictorial story is forthcoming.) The theme for this year was syncopation. Much of the time was spent working in small combos and developing an improvised solo. The cornerstone for a beginning improviser is the Pentatonic Scale:

Bobby McFerrin is one of the natural wonders of the music world. A ten-time Grammy Award winner, he is one of the world's best-known vocal innovators and improvisers, a world-renowned classical conductor, the creator of "Don't Worry Be Happy", one of the most popular songs of the late 20th century, and a passionate spokesman for music education. Here Bobby demonstrates the power of the pentatonic scale, using audience participation, at the event "Notes & Neurons: In Search of the Common Chorus", from the 2009 World Science Festival, June 12, 2009.

World Science Festival 2009: Bobby McFerrin Demonstrates the Power of the Pentatonic Scale.

More on Pentatonic Scales By John Lull

Technorati Tags: Pentatonic Scale, Bobby McFerrin, improvising

Is Rock and Roll that harmful after all?

How Rock n' Roll is perceived by the general public has certainly changed over decades. I still remember my school science class in late fifties when were supposed to listen to a recording of bird sounds. A rascal slipped a record of Bill Haley's "Rock around the Clock" to the player instead. The poor female teacher was about to get a heart attack. The advent of Rock n'Roll served as a great weapon in hands of the younger generation to rebel against the parents and authorities. Some examples of rock related Censorship Incidents in the USA in 1950s.

How was jazz introduced to Finland? The legend has it that American-Finnish musicians brought it to Finland with M/S Andania arriving in Helsinki harbor 1926. The new musical genre was immediately anathematized by the clergy. Especially they viewed syncopation as an invention by the devil.

In today's view the rebelling young generation needs more powerful tools for aggravating elders. Heavy metal and Hard Rock has certainly taken that position, because the "classic" Rock n' Roll and performed e.g. by Elvis is really "lame". I have tried a few times my hand in Rock&Blues jam nights in Bar Mendocino and enjoyed myself a lot. My thanks go to Neil Sharpe for assembling and editing the Blues, R&B, Rock Saxophone teaching resource to Sax on the Web. I have learned a lot and Rock n' Roll did not hurt my soul.

Blues/Roots Jam at Bar Mendocino

Yesterday was Monday jam night at Bar Mendocino in Helsinki. I invited Lidia from International friends meeting with me, and she seemed to enjoy herself totally. Looks like this place is a well-kept secret, I only discovered it last fall.

The bands played sturdy blues, rock and roots type music. Even Elvis Presley showed up!!
Other singers colored the atmosphere in 60s, 70s style.

I joined few pieces with my tenor sax where I could manage with blues scale and chords. Because of guitar players some songs had 4-5 sharps for me, but who cares - in blues they are flattened, anyway. :-)

From my musician friends Anders Jansson was there playing keyboard and baritone sax, excellent solos. Hannu Rantanen came later to play bass and Pekka played his trumpet.

Good time was had by everyone, thanks for the accompaniment.

---

BASICS of ROCK & ROLL for a saxophonist

Otava Jazz Camp 2008

Spent last week again at Otava Jazz Camp as I have done since 1996 missing only a couple of summers. Otavan Opisto (a junior college) is located in St. Michaels, Finland and the natives are friendly. The college personnel are very helpful and want to create a pleasant environment for jazz studies.

The student group consisted of some 50 players and singers divided into six combos. And the singers had an a Capella nonet, too. I knew most of the students from the past courses although there were some newcomers, too. There was plenty of laughing and good spirits as before.

The theme for this course was "time". The topic was competently introduced by the course leader Wade Mikkola and visiting teacher from Canada, Alan Matheson. I had a chance to talk with Alan several times. He also gave a clinic to all wind players together with trombonist Pekka Leander. Alan is a very pleasant and interesting person besides being a top-notch musician, composer and arranger.

Wade Mikkola, bass

Alan Matheson, trp and piano

I was placed in a group coached by pianist Lasse Hirvi. Lasse was new at Otava, but demonstrated his skills and experience very fast. He was a patient teacher who found ways to get his message across and get the program ready for the performance.

At Wednesday night we performed in the nearby Kissakoski restaurant three pieces:

• D.C. Farewell by Richie Cole
• Them There Eyes (with vocalist Helena Tuokkola)
• Our delight by Tadd Dameron

The performance was well received and the audience acknowledged the solos, too. In this combo we had:

Mikko Heikkinen, accordion
Matti Haatanen, vibraphone
Jouko Lahtiranta, drums
Antti Teinilä, bass
Veli-Pekka Kuuranne, trumpet
Hannu Luukannel, trombone and
Harri Rautiainen, alto and tenor sax

Overall the week was hard work, but also plenty of fun. I think that the results and standards were raised from the year before. The course secretary Tuuli Mäenpää took care of all possible and impossible requests; my thanks to Tuuli (on the left).

Did I miss something? Yes, a saxophone teacher would have been nice to have there.
Would I go next year again. You bet!