TrumpetMaster - Jazz / Commercial

Randy Brecker on "Diane" - Transcribed!

gdong — Sun, 05 Sep 2010 23:54:51 GMT

Sat down all day to figure this puppy out! Diane is such a beautiful tune, taken from the Mingus Dynasty recording that has, among others, my professor and mentor James Newton (flute).

The tune is 1/4=60ish so all the 16ths and most of the 32nds are swung!

Attached is a photo, let me know if you want the PDF/sib/mp3.

-Derek

http://picasaweb.google.com/derek.ga...81974320364114

Jimm Cullum River Walk Jazz

trumpetup — Fri, 03 Sep 2010 03:30:56 GMT

If you like old New Orleans jazz you'll like Jim Cullum. He does the River walk Jazz in San Antonio TX. He is performing at Hill Collage in Hillsboro TX on Sept 21 at 7:30. The show is free (Donations Accepted)
Hill College - Performing Arts Series - Support The Arts

Entirely New Jazz Trumpet Section... help?

JazzTrumpeter63 — Thu, 02 Sep 2010 04:18:12 GMT

Hello everyone.

This year, my band director appointed me as the lead player in the Jazz Ensemble. I was appointed as lead last year as well, but I have quite a bit of a dilemma now.

My new section is exactly that: new. The kids don't have any experience in Jazz, and I'm used to leading a section with a bit of experience behind each player. They don't really understand Jazz terminology, nor do they really know how to use their instrument properly.

Two of the players are a bit addicted to pressure and have poor airstream control. The third has solid tone, but doesn't know how to play in a jazzy manner.

I've tried fixing some of these problems, but they just don't seem to understand.

Do any of you experienced veteran section leaders have any advice for me? I'm new to teaching those without a bit of past experiences. Are there any unique things that you do during sectionals that you think might help this very young section?

I'd be glad to hear of any suggestions.

Thanks very much.

Video from my band's Nick Drake tribute show!

JunkyT — Tue, 31 Aug 2010 21:50:31 GMT

I've been dreaming about adapting the music of Nick Drake to my working band, The Jason Parker Quartet, for 2 years now. This past Friday, my dream became a reality!

We played 8 of my new arrangements of tunes from Drake's album "Five Leaves Left" at Lucid Jazz Lounge in Seattle.

I've posted a video montage of some of the tunes on my blog. Check it out and let me know what you think:

Jason Parker Quartet - "Five Leaves Left: A Jazz Tribute to Nick Drake"

Thanks!
Jason

Harry, I mean really.....

A.N.A. Mendez — Mon, 30 Aug 2010 03:40:52 GMT

Pre Schmaltzy persona.... This guy a monster... I mean Boogie Woogie 1939...Dang!

YouTube - 78rpm: Boo-Woo - Harry James and the...

dolphin dance

ltg_trumpet — Mon, 30 Aug 2010 00:38:17 GMT

wow! the genious of herbie hancock. The chords on this song are just haunting. I know there is a good way to play with clean dissonance over these changes, but im curious, whats the key to playing this dissonance and being able to RESOLVE it. usually i have to just play by ear because i find i can resolve without reading chord structure, but i really wanna know exactly whats goin on!

Detroit Jazzfest...What a lineup

Solar Bell — Sat, 28 Aug 2010 13:51:43 GMT

Including Tony Kadlek on Sunday with Maria Schneider.

DJF - 2010 Lineup

Tower Of Power

Manhattan Transfer

Branford Marsalis

Terrance Blanchard

Terrell Stafford

Take 6,

Steve Turre,

Allen Toussaint,

Randy Brecker,

Gerald Wilson,

Bobby Watson,

The Bluest Eyes - Revisted

farnellnewton — Wed, 25 Aug 2010 06:40:13 GMT

I record a jazz composition of mines called "The Bluest Eyes" on my Sense of Direction release on Diatic Records back in 2006 and yesterday I had about 30 mins to spare while the family were out!

I'm doing all the trumpets and beat boxin' on this song! I hope you enjoy and let me know what you think!

YouTube - The Bluest Eyes Revisited

Hey---What Would You Call This Style???

tgl — Mon, 23 Aug 2010 02:57:42 GMT

Greetings!

Is there a technical name for when a trumpet player plays all of a songs verses originally written for voice?

Example: Miles Davis covering Michael Jackson's Human Nature.

Example: Chet Baker covering Funny Valentine.

Does this sort of playing refer to an official "style?"

Thanks in advance!

Teacher selection - anyone learn from a bassist?

Pepper — Sun, 22 Aug 2010 17:52:34 GMT

Almost two years into recovery from a 30 year estrangement, my horn progress is minimal. I need a teacher. I'm considering a music professor who plays upright bass but who formerly played trumpet and still plays well enough to cover some Miles Davis solos. My reasoning is that I need to learn the cooperation as much as I need to learn horn technique. Has anyone else made a similar choice? How did it turn out?

1967 Conn 36B
1968 Olds Ambassador (road kill) cornet

Arturo Sandoval?

Satchmo Brecker — Thu, 19 Aug 2010 22:39:40 GMT

I'd heard the name Arturo Sandoval but never listened to anything of his until i came across this on youtube. As a newbie I was blown away. Is this guy for real? What do veteran players think of him?

YouTube - Arturo Sandoval and the United Nations...

South Pacific

westview1900 — Thu, 19 Aug 2010 02:00:33 GMT

South Pacific is on PBS from Lincoln Center tonight.

"Lost" Jazz trove found......

A.N.A. Mendez — Tue, 17 Aug 2010 12:05:27 GMT

Interesting! Can't wait to hear more....

http://www.nytimes.com/2010/08/17/ar...ic/17jazz.html

Museum Acquires Storied Trove of Performances by Jazz Greats

bobd0 — Tue, 17 Aug 2010 11:38:06 GMT

While checking the headlines in the New York Times this morning, this article regarding a collection of jazz recordings from the late 1930's, known as "The Savory Collection", caught my eye.

The National Jazz Museum in Harlem has acquired the collection of almost 1,000 discs and is digitizing the music, which was recorded from radio broadcasts by an audio engineer named William Savory. Only a handful of people have ever heard even a fraction of this music -- music by some of the greatest names in jazz.

Read more:

http://www.nytimes.com/2010/08/17/ar..._r=1&th&emc=th

Quote:

Museum Acquires Storied Trove of Performances by Jazz Greats

By LARRY ROHTER
Published: August 16, 2010

For decades jazz cognoscenti have talked reverently of "the Savory Collection." Recorded from radio broadcasts in the late 1930s by an audio engineer named William Savory, it was known to include extended live performances by some of the most honored names in jazz -- but only a handful of people had ever heard even the smallest fraction of that music, adding to its mystique.

After 70 years that wait has now ended. This year the National Jazz Museum in Harlem acquired the entire set of nearly 1,000 discs, made at the height of the swing era, and has begun digitizing recordings of inspired performances by Louis Armstrong, Benny Goodman, Billie Holiday, Count Basie, Coleman Hawkins, Lester Young, Bunny Berigan, Harry James and others that had been thought to be lost forever. Some of these remarkable long-form performances simply could not fit on the standard discs of the time, forcing Mr. Savory to find alternatives. The Savory Collection also contains examples of underappreciated musicians playing at peak creative levels not heard anywhere else, putting them in a new light for music fans and scholars.

"Some of us were aware Savory had recorded all this stuff, and we were really waiting with bated breath to see what would be there," said Dan Morgenstern, the Grammy-winning jazz historian and critic who is also director of the Institute of Jazz Studies at Rutgers University. "Even though I�ve heard only a small sampling, it�s turning out to be the treasure trove we had hoped it would be, with some truly wonderful, remarkable sessions. None of what I�ve heard has been heard before. It�s all new."

After making the recordings, Mr. Savory, who had an eccentric, secretive streak, zealously guarded access to his collection, allowing only a few select tracks by his friend Benny Goodman to be released commercially. When he died in 2004, Eugene Desavouret, a son who lives in Illinois, salvaged the discs, which were moldering in crates; this year he sold the collection to the museum, whose executive director, Loren Schoenberg, transported the boxes to New York City in a rental truck.

Part of what makes the Savory collection so alluring and historically important is its unusual format. At the time Savory was recording radio broadcasts for his own pleasure, which was before the introduction of tape, most studio performances were issued on 10-inch 78-r.p.m. shellac discs, which, with their limited capacity, could capture only about three minutes of music.

But Mr. Savory had access to 12- or even 16-inch discs, made of aluminum or acetate, and sometimes recorded at speeds of 33 1/3 r.p.m. That combination of bigger discs, slower speeds and more durable material allowed Mr. Savory to record longer performances in their entirety, including jam sessions at which musicians could stretch out and play extended solos that tested their creative mettle.

"Most of what exists from this era was done at home by young musicians or fans, and so you get really bad-sounding recordings," Mr. Schoenberg said. "The difference with Bill Savory is that he was both a musician and a technical genius. You hear some of this stuff and you say, �This can�t be 70 years old.�"

As a result, many of the broadcasts from nightclubs and ballrooms that Mr. Savory recorded contain more relaxed and free-flowing versions of hit songs originally recorded in the studio. One notable example is a stunning six-minute Coleman Hawkins performance of "Body and Soul" from the spring of 1940; in it this saxophonist plays a five-chorus solo even more adventurous than the renowned two-chorus foray on his original version of the song, recorded in the fall of 1939. By the last chorus, he has drifted into uncharted territory, playing in a modal style that would become popular only when Miles Davis recorded "Kind of Blue" in 1959.

Glimpsing the Jazz Hierarchy

Asked if the Savory recordings were likely to prompt a critical reassessment of some jazz musicians or a reordering of the informal hierarchy by which fans rank instrumentalists, Mr. Morgenstern responded by citing the case of Herschel Evans, a saxophonist who played in the Count Basie Orchestra but who died early in 1939, just before his 30th birthday. Evans played alongside Lester Young, who was one of the giants of the saxophone and constantly overshadowed Evans on the Basie group�s studio recordings.

"There can never be too much Lester Young, and there is some wonderful new Lester Young on these discs," Mr. Morgenstern said. "But there are also some things where you can really hear Herschel, who is woefully under-represented on record and who, until now, we hardly ever got to hear stretched out. What I�ve heard really gives us a much better picture of what he was all about."

The collection has already shed new light on what is considered the first outdoor jazz festival, the 1938 Carnival of Swing on Randalls Island. More than 20 groups played at the event, including the Duke Ellington and Count Basie orchestras, and though newsreel footage exists, no audio of the festival was believed to have survived -- until part of performances by Count Basie and Stuff Smith turned up on Mr. Savory�s discs.

Other material consists of some of the most acclaimed names in jazz playing in unusual settings or impromptu ensembles. Goodman, for example, performs a duet version of the Gershwins� "Oh, Lady Be Good!" with Teddy Wilson on harpsichord (instead of his usual piano), while Billie Holiday is heard, accompanied only by a piano, singing a rubato version of her anti-lynching anthem, "Strange Fruit," barely a month after her original recording was released.

That's the first page of the article. There are two more pages at the link. I believe you must be a Times subscriber to access the article online.

Have You Met Miss jones

Raw_Brass_Kicks — Mon, 16 Aug 2010 03:53:04 GMT

are there any versions of this tune by modern players like Roy Hargrove or Ryan Kisor? Im doing the tune for an audition and hope theres some modern vibe i can put into my playing (i love chet bake's version, but you can never have enough variety)
thanks
RBK:play: