Akhila Choudhary asked:


Jazz music is the American musical art form originated in earlier twentieth century. The African American communities of the Southern United States from the confluence of European and African music tradition were responsible for its beginning. The West African pedigree style is evident in the use of polyrythms, blues notes improvisation, swung notes and syncopation.

From the early development of jazz music until the present, it has also included music from the nineteenth and the twentieth century American popular melody. The word jazz music began in the form of a West Coast slang expression of tentative derivation. This term was initially used in order to refer to the music in Chicago in around 1915.

From its early twentieth century inception, jazz music spawned a huge variety of sub-genres from New OrleansDixieland including the early 1910’s, bebop from middle of 1940s, big band jazz music style swing from 1940’s as well as 1930’s, Brazilian jazz from 1960s and 1950s. Besides a fusion of the Latin jazz fusion like the Afro Cuban, jazz rock mixture from the late 1980’s and 1970s developments including the acid jazz that blended the jazz influences into hip hop and funk are several other melody types that constituted jazz music.

In jazz music, the trained performers interpret a tune in different individual ways and never play the same melody. Depending on the mood of the performer as well as personal experience and interactions with the fellow musicians or the totals number of audience, the jazz music performer might later the harmonies or melodies. The European classical music is said to be the composer’s medium.

Today as well, straight ahead jazz music continues to appeal a large amount of masses. The well popular jazz musicians whose career span decades like the Wynton Marsalis, Dave Brubeck, Wayne Shorter and Sonny Rollins continue to record and perform. In the beginning of 1990 and 2000 various young talented musicians emerged such as Brad Mehldau, Jason Moran, Kurt Rosenwinkel, Stefon Harris, Roy Horgrove, Vijay Iyer, Terence Blanchard and Joshua Redman. While Bugge Wesseltoft, Christian McBride, St. Germain are several other renowned names in the world of jazz music.



Jacob

Clyde Lee Dennis asked:


Not sure what’s happening with me on this one, but it seems like the more I listen to it, the better Like Someone In Love gets. Like Someone In Love put simply is one of Art Blakey’s best CDs to date.

I wish it weren’t the case but, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Like Someone In Love. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Jazz music fans will recognize some of the well known guests that have been assembled to play along with Blakey on several of the tracks. Artists like Afred Lion and Rudy Van Gelder just to name a couple.

This is a first rate CD, delivering a little something for everyone. I give it two thumbs up. It’s quite simply great listening. A must buy if you’re even mildly into Jazz music.

While the entire CD is really very good some of my favorites are track 4 – Sleeping Dancer Sleep On, track 3 – Noise In The Attic, and track 6 – Sleeping Dancer Sleep On

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Like Someone In Love. This is a great track!

Like Someone In Love Release Notes:

Art Blakey originally released Like Someone In Love on March 1, 2005 on the Blue Note Records label.

CD Track List Follows:

1. Like Someone In Love 2. Johnny’s Blue 3. Noise In The Attic 4. Sleeping Dancer Sleep On 5. Giantis 6. Sleeping Dancer Sleep On (alternate take) – (take alternate, bonus track)

Art Blakey/Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (double bass).

Recording information: Van Gelder Studios, Englewood Cliffs, New Jersey (08/07/1960); Van Gelder Studios, Englewood Cliffs, New Jersey (08/14/1960).



Lauren

Akhila Choudhary asked:


Jazz music has become universally popular as it sounds mesmerizing to the ears. It follows numerous rhythmic patterns of music, including blues, reggae as well as swing patterns. In particular, the call and response pattern used in jazz is its USP and attracts major attention of music enthusiasts. And when the entire assembly gets connoted with jazz music, it emerges into the big band jazz music. This ensemble is also referred as jazz orchestra, jazz band and jazz ensemble.

The most amazing part of big band jazz music is that music combo notes are prepared in advance and only sometimes created spontaneously. They are the rich cultural blend of African as well as American music. This is because jazz music has its origin in African nations and once experimentally it was mixed with American music themes. It ended up successfully and since then it is being used with both mixes. Thereafter, its influence spread all over the world and it became one of the most popular music bands across the globe.

Big band jazz music generally comprises 12-25 musicians in order to play different musical instruments, including trumpets, trombones, saxophones, rhythm section and guitar to name a few. Although, the jazz music was associated with interests of elite groups, but with the easy availability of jazz midi files, it has reached almost every corner of world. This is because of the fact that jazz midi files can easily be downloaded from the internet for free. Even you can buy jazz cds at a cost effective price. So, people take a full advantage of this privilege and have complete access to the music of their choice.

Jazz music is gaining gradual prominence so much so that people are learning different forms, including practice jazz bass lines, guitars, and jazz pianos. All these popular forms have found strong ground in the hearts of music lovers and that is why they tend to learn and practice jazz bass lines to a large extent.

If you are interested in learning jazz music, you can also buy karaoke cds which have the basic essence of jazz as they play pure form of big band jazz music. So, learn your favorite band of jazz music and play it throughout your life.



Ethel

Mark Kirby asked:


The rock and roll super group – a group made of musicians who are well-known for being in other groups, or, solo stars who band together into one entity, like the comic book heroes X-men or The Avengers – has a long history in rock music. The super group Blind Faith was comprised of guitar giant Eric Clapton and drummer Ginger Baker from Cream, joined with Steve Winwood of Traffic. Clapton also joined with legendary Allman Brother Duane Allman and super drummer Jim Gordon to form Derek and the Dominoes, who recorded the classic rock album ‘Layla and Other Assorted Love Songs.’

Oftentimes in jazz, musicians from different groups (who are great solo artists in their own right) will come together and create great music. However, this is not always the case. Groups made up of great performers – those used to working alone or being the “star” – can sometimes be less than the sum of their parts, as egos clash and the group becomes like a bad basketball team, where everyone wants to score and nobody wants to pass or play defense. Koko Dozo, however, is a dream team. Each member of the group, which includes Polarity/1, Rubio and Amy Douglas, is an equal contributor, with the entire group utilizing each member’s skills and talents. Once more, there are no egos clashing. Quite the opposite occurs, as the members provide support and encouragement for one another. On the group’s debut ‘Illegal Space Aliens,’ Koko Dozo shows that individual and group expression can meld into one, and – just like a good jazz band, baseball team or this year’s Boston Celtics – can result in something even greater than the sum of its parts.

[Mark Kirby] What kind of music was played in your homes when you were growing up?

[Polarity/1] I started off with my dad’s records. My earliest faves were Cab Calloway, Tito Rodriguez and other salsa music, Elvis, James Brown, Chuck Berry, Beatles and Led Zeppelin. Then there was the radio and television shows like American Bandstand, Soul Train and the Ed Sullivan Show.

[Rubio] My parents were fundamentalists and went through this period of being afraid of having any secular music in the house, so for a while we had nothing but this old 8-track with Pat Boone and Bob Dylan’s one Christian album. No, I’m not making this up. I used to stay up nights just surfing the dial on this crappy transistor radio I had and absorbing everything I could get my ears on.

[Amy Douglas] I come from a family that played instruments. Growing up, I was fortunate to have parents that liked music quite a bit. My dad was all about jazz – Thelonious Monk, John Coltrane, Miles Davis, Brubeck, Duke, Bird and Diz, etc. – so I get my love of jazz from him and my grandparents. My mom was a huge fan of artists like Carol King, Joni Mitchell, James Taylor, Paul Simon, Jim Croce and Elton John (still one of my personal heroes to this day). She was also a huge fan of Smokey Robinson and the Miracles, The Temptations, Philly soul, and anything Gamble and Huff touched, from Harold Melvin and the Blue Notes to the Spinners and all in-between. She liked Black music in general. Also heavily on rotation in the house growing up was Aretha Franklin, who served as my initial influence into opening up my head and wailing away, and Stevie Wonder, who was one of my greatest influences of all.

[Mark Kirby] What incident or moment ignited your passion to perform or otherwise get into music?

[Polarity/1] When I was in high school I discovered Brazilian music, Appalachian folk, Eric Dolphy, 16th century Japanese court music, Bob Dylan and Mahavishnu Orchestra. My thing with Dylan got me to buy a guitar so I could express my rage over the inconveniences of life on earth. Within weeks I was writing clueless protest songs about important political issues I never bothered to read about.

[Rubio] I’ve had a passion for music as long as I can remember. I used to go nuts over it even as an infant apparently. I started taking lessons at age four. When I was 11, I formally made a decision to dedicate myself to music. I was classically trained on piano and organ as a kid. As a teenager, I started getting heavily into metal and prog rock and things like that.

[Amy Douglas] I think growing up as a child in the 1970s served as a constant source of inspiration and was a catalyst. From just listening constantly to my parents’ music, and then turning on the TV or radio, it seems like virtually EVERYTHING influenced me. But if I had to narrow it down to a few choice moments, I’d say playing Stevie Wonder’s “Songs in the Key of Life,” seeing Chaka Khan on Soul Train, seeing Bowie everywhere on TV, hearing all the Beatles’ albums, and most important, hearing Led Zeppelin, my favorite band of all time. Between the TV shows Soul Train, Midnight Special and Don Kirshner’s Rock Concert, there was no shortage of good stuff to draw on. I think the combination of hearing all this stuff as a child was like a bomb going off. Certainly, I take almost all my visual cues from Donna Summer, P-Funk and Chaka.

[Mark Kirby] Describe your musical backgrounds. Did you study formally in school? Or take lessons?

[Polarity/1] When I was 14 I bought a plywood guitar with a book of tunes that had chord diagrams, and then I starting writing my own songs. A couple of years later I took a few lessons and learned how to play major and minor seventh chords so I could add some jazz and bossa nova flavor to my songs.

I spent a semester at Berklee School of Music in Boston, which was a weird move, being that I couldn’t functionally read music and my brain isn’t wired for formal learning. But I could write notation a little bit and tried to prove that I was Berklee-worthy by hot-dogging the homework projects – like scoring an arrangement of Monk’s “Epistrophy in 7/4,” which nobody could play. I was redeemed a few years ago when I notated a 7/4 thing for Pete McCann and Gregg Bendian to play on “Munton’s Revenge” on the Polarity/1 ‘Speechless’ album. They nailed it pretty quickly. What was good about the year at Berklee was that even though I couldn’t learn in a normal way, [with] what they were throwing at me, I was able to sort of “visualize” all these concepts like chord functions and voicings. It all came in handy much later on in unexpected ways when I would create quite complex things without “knowing how” and be taken seriously. In that sense I’ve had a very real musical training.

[Rubio] I had lessons up until I was 16, mostly classical music. When I was younger, we had a deal where I got free lessons in return for performing for Kawai, showcasing their instruments in malls and conventions. Because of that, I had some performance training as well. By my 17th birthday I was playing full-time with bands and earning my keep.

[Amy Douglas] I started doing music from age six onward. I first discovered I could sing when my elementary school teacher wrote my mom a letter saying, “Ask Amy to sing for you sometime.” My grandmother taught me piano initially, and from there I took lessons. From 6th grade on, I was one of those disgusting “Music Big Concert School” kids. I started learning music theory in junior high and I got a lot of credit from the state of New York, won the Louis Armstrong and Eubie Blake music scholarships and then went to study Jazz Theory and Composition at New York University. UUUUUUGH.

[Mark Kirby] What were some of your earliest musical experiences?

[Polarity/1] My earliest gigging experiences in high school were great antidotes for bad looks and bad conversation-starting skills. Music-making has been all good except for one rough period where I got a real-world lesson about where my strengths and weaknesses were. My songs started off in folk and rock. Then they got jazzy and funky. Then I wanted to bring elements of the late John Coltrane, Mingus and Mahavishnu. So I created a band with all jazz guys instead of folk-rockers which was most[ly] cool – except that I wasn’t that kind of player with that kind of training. Since my only interest in the guitar was for songwriting, I had no chops and couldn’t contribute much on the instrumentals the other guys were writing. And they needed a serious jazz/metal guitar player. So I got fired from my own band. It triggered a move into a radically different direction, where I had to start from scratch and discover what my own creative process was, make a commitment to it and then succeed on my own terms. And with that kind of focus, I found that there were a whole lot of different things that I did really well with my own vision and method and developed big chops with it.

[Rubio] It was rough from age 11 to 16 because I basically had to disappear into a hole and hibernate in order to switch from organ to piano, and didn’t perform live at all during that time. It was a definite case of withdrawal. My first few rock bands were rough, too. I was nicknamed “Wendel” because that was Gomer Pyle’s actual first name in the TV show. I’m sorry to say that at the time the name fit perfectly. I was more than a bit naive. I’m very grateful for those times, though, because I learned a lot very quickly.

[Amy Douglas] I played my first pro gig at age 12 and did my first pro session at 13. I told my parents I didn’t want to go to school anymore. From then onwards, it got darker. My first pro gig was at a supper club on Long Island. Between dishes of steak and shrimp, I sang a combination of jazz standards and disco classics. It was a blast.

[Mark Kirby] Describe your individual musical journeys from the first bands to Koko Dozo.

[Polarity/1] I started off writing songs until I hooked up with the SIM (Studio For Interrelated Media) department at Mass Art (Massachusetts College of Art) when I was discovering Cage, Xenakis, George Crumb, Joan LaBarbera, Steve Reich and others. I made a decision to not use melody, harmony or rhythm in any way that resembled songs or jazz. And since I was also a visual artist at that time, the art scene provided venues for this new direction. So my visual stuff, music and lyric-writing got re-channeled into performance art and composing for choreographers and experimental theater. I also formed a group called Vocal Repercussions that did totally improvised vocals-only performances, where abstract vocal sounds morphed into words, free-associated texts, rhythms and harmonies. Then I moved to NYC and got obsessed with groove. I studied African drumming, played in samba bands and had a hip-hop thing with rapper D.A.V. called Medicine Crew. Hip-hop was an easy transition because I was already into looping and collaging, but in an abstract mode, and my performance poetry worked in a rap format. I was always into groove since I was little – funk, salsa, African drumming, calypso, samba and reggae. A couple years later I got back into songwriting and all that stuff merged into songs and electronica when I became Polarity/1. And that led to film scoring and collaborating with Rubio on Audioplasm, which led to Koko Dozo. And recently I circled back to the art scene, scoring for Battery Dance Company and Quorum Ballet from Lisbon.

[Rubio] My very first band I was in was ruled with an iron fist by this absolute tyrant and it was a real wakeup call. Those were also very fun times, of course. After a couple years in my hometown of Winnipeg, Canada, I moved to Toronto for six years before coming to NYC in 1997. I’ve done just about every kind of gig you can think of in that time, both live and in the studio.

[Amy Douglas] I had been gigging steadily in my own bands, ranging from funk to rock. I was part of a group of downtown artists known as the “Homocorp” scene. I was [also] a part-time member of the Squeezebox Band – the same Squeezebox they recently released a film about at this year’s Tribeca Film Festival – and basically spent my 20s either gigging, doing sessions or hanging with drag queens and getting into trouble.

[Mark Kirby] How did the three of you meet and get together?

[Rubio] I had met Polar in 2003 through a mutual friend, a drummer called Curtis Watts, with whom we had a mutual interest in samba. We hit it off and started working together sporadically. In the fall of 2005 we decided to completely redesign Polar’s studio with my help and work on each other’s projects. That blossomed into us working together on some production stuff, mainly soundtracks for documentaries, and an instrumental collaboration called Audioplasm.

[Polarity/1] Rubio and I were working on the Heavy Meadow album at the same time he was working with Amy in her “Red Hot Mama” show. He suggested the three [of us] get together to see if we could come up with something interesting.

[Amy Douglas] I had a show called “Red Hot Mama,” which was a rock vaudeville show, and I had hired Rubio as the keyboardist, and we really hit it off. When the show folded, he introduced me to Polar, the two of them having done a project called Audioplasm. I am way happier in Koko Dozo than I’ve been in just about anything I’ve ever done. We got together on a super hot summer day in 2007 and realized we had a great capacity to make incredible music based on our collective musical passions and influences, which also include a group devotion to Brazilian music, Afrobeat, and Latin music, so we really had quite a stewpot brewin’ by the time we started to write songs.

[Mark Kirby] How did you arrive at the name Koko Dozo?

[Amy Douglas] At the risk of hurting myself by patting myself on the back, I have to take the credit for it. My ex-boyfriend had mentioned wanting to do an avant-garde project and he threw out Koko Dozo as a trial name. When we were thinking about names, I threw it out there, and the guys liked it. I think it’s fab. [My ex-boyfriend] did so little for me while we were together, [so] at least he gave the band a great name.

[Mark Kirby] What is the musical concept of the band?

[Amy Douglas] It’s a really huge one. First and foremost it’s to virtually force people to have to really listen to what we do, and to help audiences that have been pandered to and been reduced to some sort of lowest common denominator grow some brain cells back. The music is obviously a ton of fun, it puts you in the mood to do some serious dancing and there’s more than a healthy dose of silly swirling around in the mix. But really listen to the words and you’ll hear that we have some deep issues we’re struggling with and we do address them in our songs, ranging from our distrust of our government, to the polarization of culture in our home of New York City and a whole bunch of other things. Our musical concept is to shrink the globe as well; the internet has made the world a smaller place and we wanted to find a way to fuse cultures, languages, styles and influences together in a way that reeks of New York City life, but will appeal to an audience that is truly global.

[Rubio] Generally, Polar handles the arrangements and the drum and percussion elements. I come up with harmonic ideas, play most of the keyboard/bass-type things and mix the tracks. Amy is the voice of the project and handles melodies. Obviously, there is a lot of overlap. There is one song I arranged and produced (“Boomchi”). Polar and I each do one lead vocal (“Kokodozonomics” and “The Heart,” respectively). There are songs where Amy did the chord structure and played keyboards. Polar is very avant-garde and always pushing the envelope. Amy is very melodic and tends to create things that are catchy and mass-appealing. I’m kind of in the middle.

[Polarity/1] We have an open source attitude about music. Between us, we’ve worked just about every genre category there is and we don’t feel any compulsion to restrict where we go. Each song has a strong identity of its own but they all sound like Koko Dozo. Conventional wisdom dictates that our way of working will guarantee that we’ll never find an audience. But we know that’s bullshit. The post-corporate online music business has made it okay for people to trust their intuitions about the music they discover. An amazing variety of people are responding. We’re reaching young electro heads, world-beaters, dance-clubbers, boomers, electronica geeks, and po-po-pomo gonzoid hairy-backed noiz gimps living in the basement of the basement on diets of sticky buns and ***** butter and toe jam sandwiches. The parents and the kiddies like us too. And we write in different languages (English, Spanish and Portuguese) which reaches out even further. Also we have this whole bargain-basement-space vibe that makes things really fun.

[Mark Kirby] What is the story behind the Sun Ra-esque (a new word!) dress and alien mythology?

[Polarity/1] Here’s the story: we came from outer space and landed on Earth to exploit its resources – and for other reasons that we’d rather not discuss. We’re from the low-rent part of the universe where you wear whatever is lying around in the alley on garbage pickup day. That, coincidentally, is the same galaxy where Sun Ra came from.

[Amy Douglas] {Laughter} Well…the word “alien” permeates much of what we do and we like to riff on the term. Alien, as we mean it internally, is the feeling of not being comfortable in one’s skin, feeling out of synch with the world around you, feeling like the constant outsider. And we decided to really play with the word, and we decided that a space age “alien” theme would suit us wackos pretty well! Besides, it gives me an excuse to wear wigs and glitter, which I feel I was born to do.

[Rubio] We really wanted to put the fun and craziness back in music. Too many projects take themselves too seriously these days, which is BEYOND ironic.

[Mark Kirby] Describe the writing, recording and producing process for this CD. Were you all in the same studio at the same time?

[Polarity/1] Since we work in my studio, I’m there for the whole process. Generally, I show Amy and Rubio a track that I think would work for Koko Dozo. It might be just a sketch, almost complete, or anything in between. I might have complete lyrics as well (“Face On The Dancefloor,” “Kokodozonomics”) or just a rough idea for lyrics that Amy and I will collaborate on (“Shine”). Or Amy and/or Rubio will take one of my tracks and turn it into a song (“Second Time,” “The Heart”). Sometimes Amy has a song and I build a track around her chord changes, melody and vibe and help with the lyrics (“Down”). Rubio and Amy wrote “Boomchi” together and Rubio produced that track.

Rubio is the guy with the engine-ear. He comes in when a track is pretty much laid out and starts tweaking things. Then he’ll add his keyboard solos, sometimes bass and the more harmonically dense keyboard stuff. I do keyboard parts that don’t require big chops. Then Amy comes in and we track vocals. Rubio and I finish the mixes with Rubio in the big chair. Joe Lambert masters everything at Trutone Studios. He’s done all the Polarity/1 stuff and Heavy Meadow too. Lately Amy has been playing some keyboard parts.

[Rubio] As far as recording, we were generally all there. I personally NEVER record final voices without someone else in the room to give me a sense of perspective. Polar did a lot of editing on his own but often that job fell to me as well. The mixes were generally done with Polar and me, and we would send roughs to Amy for her input.

[Mark Kirby] What is your live show like? Is there a full band?

[Amy Douglas] It’s a full-on brigade of madness! We operate as a trio, currently using our tracks and the addition of live keys and guitar, bass and percussion.

[Rubio] I would love to have a live band, but right now circumstances and logistics just don’t allow it. The three of us do perform live, though. Polar plays electronic drums, guitar and hand percussion, I play keyboards live and we all sing. We use versions of the tracks that are customized for live shows, so what you hear on stage is not necessarily exactly what you’d hear on the studio version.

[Polarity/1] Our shows are fun for us, and I suppose audiences love to watch grown people making funny noises up there and bouncing around like homeless space mutants. Amy’s wigs and Rubio’s Viking helmet are worth the price of admission. And gazing at my psychedelic death-ray yarmulke is a life-affirming way to blow off shabbos.

http://www.kokodozo.com

http://www.myspace.com/kokodozo



Tonya

Akhila Choudhary asked:


Jazz music is a kind of popular music that is mostly liked by well established or the elite class. However, it has now become a popular taste for all kind of listeners. Big Band, a popular musical group, is widely known for its jazz music. From early 1930s to late 1940s, the group was one among the most famous jazz bands and has offered some of the best touching music pieces loved by everyone till date. Big Band Jazz music was played by musicians ranging from 12-25 in number.

One of the specialties of Big Band is that the group utilizes all the musical instruments that are required in composing a jazz music. Whether it saxophone, trumpets, rhythm section or the trombones, Big Band jazz music group has some of the most renowned players.

Moreover, jazz midi files can easily be downloaded via Internet or CDs can be purchased that are available in markets at an affordable rate. Some people who have interest in singing can also get karaoke CDs that consist of only jazz music. By buying such CDs, the music lovers can enjoy the Big Band Jazz Music as well as sing with the famous beats composed by them.

Many offline and online stores provide Jazz midi files of Big Band and they offer maximum numbers of files with excellent quality. One could also practice jazz bass lines using these jazz midi files offered by Big Band. Walking jazz bass lines are the most melodious and the neatest sounding parts being offered. One can practice jazz bass lines by studying original music beats composed by Big Band.

There are also many sources that distribute pirated CDs and popular music files of Big Band illegally. So, jazz lovers should check the copyright and the authenticity certification in order to get the original version. Jazz, as a form of musical art, has expanded beyond its genre definition and it keeps on transforming to remain in tune with the changing era. It originated as a moody music from the African American communities residing in the southern part of America. Formerly, the jazz music forecasts the moods and the struggle of the African American living in New Orleans. Around 1920s jazz music spread over the northern part of US and most of the jazz bands perform before the common society.



Levi

Sam Bateman asked:


One of the reasons that people devote their time to learning the guitar is that they love the idea of making up their own songs and music. Simply by sitting down at an inspired moment, a guitarist might come up with a great song in only one session. Some guitar styles differ greatly from another, but it is by learning the jazz guitar that many musicians have experienced the liberty it brings. The deviations in styles that somehow hold to one rhythm and work together in the name of improvisation are why jazz musicians are said to be filled with “soul”.

When training your ear or your mind to learn how the jazz guitar fits into an entire ensemble of musicians, it is important to first know how jazz music works, at the root level. Much like an athlete prepares for a race, a jazz musician also prepares for a performance. The jazz musician needs to warm up, have an introduction, and be allowed to have some time to get used to the atmosphere of a place and an audience. Some musicians, however, especially those who have played a long time together will jump right into a tune without warming up, giving listeners an awakening into what’s about to take place.

A jazz guitarist in a band may or may not lead the group through a melody. Many jazz performances may not have a singer, but instead a trumpet, or some other horn instrument will take this lead. If a horn isn’t present in the ensemble, then the guitar or piano might work to lead a session. Since jazz music is made up of a band, each person in the band has a certain role to fill before they begin their improvisational role. The jazz guitar tends to hold the players together within a certain chord so that other band members can stick to what’s being played. A jazz guitarist in this role, will not necessarily strum a rhythm such as in other forms of music, but will instead move rhythmically with the rest of the players involved.

In the game of jazz music, improvisation is key. If you know how to play another instrument, learning the jazz guitar might be a little easier. And, if you love improvising on the piano, for example, then you might love it on the guitar. “Improv” as it is sometimes referred to, is one way music can be highly addictive and liberating. When that liberation happens with a group who is playing together, the soul and reaction from the audience involved can be magical. Overall, learning to play the jazz guitar will be rewarding on many levels. Learning to play the necessary chords and knowing when and how to strum to the rhythm of others in the group takes time and practice. Give yourself plenty of time and dedicate yourself to listening to and learning how jazz music works and you’ll be on your way to playing along with a jazz group in no time.



Johnathon

Clyde Lee Dennis asked:


The exceptionally talented Jazz artist Bobby Hutcherson has released him CD entitled Oblique. I am very confident and happy to announce that I believe Bobby Hutcherson fans, and Jazz fans alike will be pleased with this one. With the release of Oblique Bobby Hutcherson’s artistic excellence is on full display as Hutcherson has once again delivered a brilliant collection of tracks that could very well be him best work to date.

It’s a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I’m more than happy to announce that’s exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all.

Refreshingly, this was one of those CDs I was able to just pop in and comfortably listen to from beginning to end. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Jazz music fans will recognize some of the well known guests that have been assembled to play along with Hutcherson on several of the tracks. Artists like Alfred Lion and Rudy Van Gelder just to name a couple.

If you’re a Bobby Hutcherson fan, or just a fan of Jazz music this is a CD your collection simply should not be without.

While the entire CD is outstanding some of my favorites are track 2 – My Joy, track 4 – Subtle Neptune, and track 6 – Bi-Sectional

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Til Then. What a nice track!

Oblique Release Notes:

Bobby Hutcherson originally released Oblique on August 2, 2005 on the Blue Note Records label.

CD Track List Follows:

1. Til Then 2. My Joy 3. Theme From “Blow Up” 4. Subtle Neptune 5. Oblique 6. Bi-Sectional

Personnel: Bobby Hutcherson (vibraphone); Herbie Hancock (piano); Albert Stinson (bass instrument); Joe Chambers (drums).

Recording information: Van Gelder Studios, Englewood Cliffs, New Jersey (07/21/1967).



Adam

Victor Epand asked:


What is sheet music? Is it a magical piece of writing that only musicians can read and that allow them to play their instruments like experts? No, sheet music is just a form of musical notation, be it written by hand or printed. Normally sheet music is like its other printed kin in that it is usually found printed on paper. Before paper was a readily available medium parchment was the medium of choice. Now in the computer age “sheet” music is also readily available online as well. One of the reasons that sheet music is called “sheet” is so that it can easily be differentiated from standard music which is a presentation.

When used in everyday language the term sheet music simply refers to a printed piece of music whether it be intended for use on a show, an album, or for a movie. Another rather generic name for sheet music is score. There are several different of sheet music which can be used in many different ways. Whether it is meant to act as a means to perform a piece of music or is just a record of this music sheet music is not meant to actually replace the performance itself. It is merely intended to be used as a way to help study the music itself so that it can be performed to its utmost.

By doing so musicians can elicit responses from their audiences that would never have been possible had the piece been played straight through. By studying the different sketches and notes that a composer has created before the finished product can help one to understand the creative process that the composer was going through. Some of the notes that may be used for this are the many proofs as well as any marks left behind on printed scores.

There are some special skills that are necessary for reading sheet music. This is the ability to read musical notation. While it is not so for all people to be able to do so the majority must still be able to read thusly. Those who do not have to depend on reading sheet music have the ability to learn a piece of music just by listening to it. This is usually called “playing by ear.” There are very few people who can do this however.

The ability to read and play a piece of sheet music the first time through is called sight reading. This ability is expected of skilled musicians as well as serious beginners who will be playing both classical and contemporary music. There are a few very talented individuals who have the ability to look at a piece of written music and hear all the parts played out in their head. This can be a very handy skill for musicians that are aspiring to write their own pieces.

Sheet music is normally carried to all performances by classical musicians. With so many different movements and key changes it could get extremely difficult trying to memorize a whole symphony. Solo performances however are usually right the opposite. The musician following this route will often memorize the pieces they will be playing. Another form of use would be jazz players. They will often have a basic piece of sheet music. This might indicate chord changes and melodies but will still be able to improvise the piece.



Rhonda

Akhila Choudhary asked:


Big Band Jazz Music became popular around 1930s, also called as swing era, when it was played in the music concerts held at hot spots, such as New York and Chicago. Radio stations throughout the world begun to play this music thereby becoming the top choice of youngsters and adults who craved for intermediate jazz tools so as to learn and practice jazz piano.

Historical facts suggest that jazz grew popular when the touring musicians started singing songs based on themes of big band jazz music among the natives of America especially on the streets of New Orleans from where the touring musicians started their jazz tour in America. The modern style, steady rhythm and bluesy feel of jazz music got shape in New York and Chicago. Gradually jazz became so popular that the era of 1920s is still called as “jazz age” when people attended coaching so as to know how to play and practice jazz piano. By 1930, jazz emerged as the strongest and most popular mainstream music, and standard jazz songs got composed by the popular jazz musicians of that era.

One of the most common reasons for popularity of Big Band Jazz Music is that the musicians play all intermediate jazz tools in it thereby giving audience more time to dance. Another reason which led to the popularity of jazz is that the Lindy Hop dance introduced in 1930s by Charleston promoted solo dance thereby allowing jazz musicians to play for a long time.

Gradually Big Band Jazz Music became the popular choice of almost all the premier dance clubs throughout the America. The syncopated rhythms and blue notes of jazz emerged through usual waltzes and foxtrots.

Radio was one of the most popular sources by which Big Band Jazz Music became extremely popular. The era of 1930s and 1940s witnessed sky high popularity and huge demand of Big Band Jazz Music. Some of the common Big Band legends of that era include Glenn Miller, Tommy Dorsey and Count Basie.

Till date, the Big Band jazz music is considered as a favorite of many youngsters and that is why modern bands like Squirrel Nut Zippers and The Brian Setzer Orchestra performs new and standard songs from Big Band Jazz Music. Youngsters who are passionate about jazz music opt for intermediate jazz tools so as to practice jazz piano.



Kimberly

Thomas Cutler asked:


Widely considered to be one of the top cabaret venues in the country, The Colony’s Royal Room has scheduled another audience-pleasing line-up of performers.   Tony DeSare with Bucky Pizzarelli will perform on November 7-8 as well as November 14 – 15.

The Colony Hotel – which The Palm Beach Post has hailed as “probably the best cabaret on the planet” – plans another sizzling, song-filled season at the hotel’s celebrated Royal Room, featuring some really hot headliners straight from Manhattan’s most sophisticated nightspots and Broadway – including, in fact, a Royal Room regular who was a 2008 Tony Award nominee.

“The Colony’s 2008-2009 Cabaret Season will be our biggest and best ever. Instead of having to fly up to New York City to see major cabaret stars at the Algonquin’s Oak Room, the Carlyle or Feinstein’s at the Regency, fans of the Great American Songbook now can enjoy many of the same extraordinary performers within the cozy confines of the Royal Room. I can guarantee the quality of these performers because I personally reviewed each one,” promises Roger Everingham, general manager of Palm Beach’s favorite boutique hotel, which has repeatedly earned the highly coveted “4-Diamond Rating,” from AAA.

Coming to The Colony directly from New York’s Carlyle Hotel is swinging singer/pianists Tony DeSare, an elegant, young crowd-pleaser whose singing style ranges from dreamy pop standards to boogie-woogie and R&B. Appearing with DeSare at The Colony will be the great jazz guitarist Bucky Pizzarelli.

Reviews of Tony DeSare include The New York Times: “A lean baby Sinatra with burning brown eyes and flashing teeth…his sly performance establishes the kind of connection to a younger generation that has helped make Michael Bublé a heartthrob among upscale women in their teens and early 20s…his intonation and enunciation are impeccable.” USA Today reported, “DeSare belongs to a group of neo-traditional upstarts stretching from Harry Connick, Jr. to Michael Bublé and Jamie Cullum. But this singer/songwriter/pianist’s approach is refreshingly instinctual, blending Connick’s smooth virtuosity with a rugged, relaxed quality… DeSare covers old and newer pop and jazz standards without smothering or over-thinking the material. And on a few classic-style originals, he exhibits a similarly breezy charm as a tunesmith.”

During the Fall cabaret season each of the cabaret performers will do an 8 p.m. show on Friday and Saturday — except for The Four Freshmen, which will perform Wednesday through Saturday, December 17-20.

During January through April 2009, the 8 p.m. shows will run Tuesday through Saturday, with a 10 p.m. late show on Friday and Saturday – except for Jack Jones (February 24 – March 7) who is not scheduled to perform any late shows.

For all Royal Room evening performances, the doors open at 6:45 p.m. for dinner and the show starts around 8.  To make reservations, call the hotel box-office at 561.659.8100 or send an email to robrussell@thecolonypalmbeach.com.



Jamie