what song did you have to master?

Discussion in 'Trumpet Discussion' started by songbook, Jan 7, 2014.

  1. gmonady

    gmonady Utimate User

    18,113
    9,264
    Jan 28, 2011
    Dayton, Ohio
    If you'd play for the conductor, you may get more gigs... the composers are mostly dead... just sayn'
     
  2. gmonady

    gmonady Utimate User

    18,113
    9,264
    Jan 28, 2011
    Dayton, Ohio
    EXACTLY which is why I have become mostly a jazz performer. I never did like being spoon-fed either, and while you won't admit to it, deep in your heart, you know that you are the instrument to the conductor. He gives you hand gestures when s/he wants you to play louder, when to play softer, to cue your entrance to cut you off. You are the conductor's tool. Common VB admit it, you ARE being spoon-fed... As a pediatrician, I much prefer promoting breast feeding.
     
  3. gmonady

    gmonady Utimate User

    18,113
    9,264
    Jan 28, 2011
    Dayton, Ohio
    This only prooves my point. This article stated Maurice was the exception. The rule stands as tradition, the rule is what most of us is faced with passively accepting. I rest my case.
     
  4. gmonady

    gmonady Utimate User

    18,113
    9,264
    Jan 28, 2011
    Dayton, Ohio
    Thank you. You are a wise man to see beyond the Moderator's bias. This IS the all important mind set that drives the passion of jazz performers.
     
  5. gmonady

    gmonady Utimate User

    18,113
    9,264
    Jan 28, 2011
    Dayton, Ohio
    What the F? You kidding me?? Who the H gives a flying F what Louis, Henderson, Dizzy, MF is trying to convey and play in the style of that time... unless of course you are trying to pass a test in the sterile classroom of a music theory course.

    When YOU are out performing, Dr. Mark, what is most important to you is "What am I, Dr. Mark< trying to convey and play in the style of Dr. Mark. You KNOW this. THAT perspective is what jazz performance is all about... Finding your own voice.

    So come out to Little E's on January 18th, bring your horn with, and lets have the two of us carry on our own PERSONAL conversation on stage... OK?:wub:



    PS: In classical, you speak in the tongue of the conductor. PERIOD.
     
  6. A.N.A. Mendez

    A.N.A. Mendez Utimate User

    6,412
    3,214
    Oct 25, 2005
    Sunny Ca.
    Master? Never mind....... :-?
     
  7. Dr.Mark

    Dr.Mark Mezzo Forte User

    920
    704
    Apr 5, 2011
    Hi G-man,
    You stated:
    "What the F? You kidding me?? Who the H gives a flying F what Louis, Henderson, Dizzy, MF is trying to convey and play in the style of that time... unless of course you are trying to pass a test in the sterile classroom of a music theory course.
    ------
    The message that is sent and the style in which that message is sent are two different things. When we sit down to music, the composer, be it (Louis, Henderson, or Diz) has a message they are trying to convey. The style of the time is the package the message is sent in. Opinions are like assholes and everyone has one and it usually stinks including mine. However, my opinion is that it is important to know the message the composer is trying to get out there and then as best we can, send that message to the ears of our audiences served up in the style of the time. If it was Dixie style, then play dixie style. If bebop then bebop, if modal, then modal, if legit then legit.
    These are not hard fast rules. If you wish to play a hot high MF version of Kinda Blue, that's okay and I like that you're willing to experiment. No wait, that's not okay, that's great that you're willing to experiment to that degree!
    But as for me, I'd rather experiment within the confines of the composer's intentions and the style that it was written.
    Sorry for the confusion and I hope this helps clear things up.
    Dr.Mark
     
  8. Dr.Mark

    Dr.Mark Mezzo Forte User

    920
    704
    Apr 5, 2011
    Hi G-man,
    You stated:
    "When YOU are out performing, Dr. Mark, what is most important to you is "What am I, Dr. Mark trying to convey and play in the style of Dr. Mark. You KNOW this. THAT perspective is what jazz performance is all about... Finding your own voice.

    -----
    I have no problems expressing my own voice within the confines of the composer's intentions (like you said earlier about the importance of knowing the lyrics) and the style of that time.
    -----
    So come out to Little E's on January 18th, bring your horn with, and lets have the two of us carry on our own PERSONAL conversation on stage... OK?
    -----
    Unfortunatley I've got a performance that night but look forward to hearing you guys soon. I like how you guys sound.
    -----
    PS: In classical, you speak in the tongue of the conductor. PERIOD.
    ------
    Thank you!!!
    Dr.Mark
     
  9. gmonady

    gmonady Utimate User

    18,113
    9,264
    Jan 28, 2011
    Dayton, Ohio
    Yeah, but when you play their stuff as your own performer, it now becomes your message to convey, though your interpretation of how you want their ideas to be expressed yet by a unique individual, yourself. That is the essence of jazz.

    I will not let you get away with such an attack on yourself. You are an amazingly, gifted and talented man, Dr. Mark, and it would be my honor to some day, get to stand down wind from you.


    I like to serve it up with a new millennium kick a$$ rhythm section that is crafted and lead by Eddie Brookshire and take the great composer's message to a fresh new level.... that, if I know the ears of the audience, will please them far more the the original composer intended. That's putting the "stink" in jazz (and I use my front end to do that)

    Then quit backing out on me and make it to one of our gigs at Little E's so we can run a few experiments on stage with our horns, and then off stage with some Bombay Sapphire and a few bar flies.
     
  10. A.N.A. Mendez

    A.N.A. Mendez Utimate User

    6,412
    3,214
    Oct 25, 2005
    Sunny Ca.
    Now boys

    [​IMG]
     

Share This Page