tag:blogger.com,1999:blog-55267046577390884062024-03-13T04:44:05.645+00:00Mostly musicA blog about creative music and music related issues (mostly!)Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.comBlogger199125tag:blogger.com,1999:blog-5526704657739088406.post-14554557569356094892021-09-11T09:02:00.001+01:002021-09-11T09:02:08.945+01:00The Art and Science of Time - New Podcast Series<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-G2aMcrtbEak/YTxhXsPnv9I/AAAAAAAAC7E/PlOlHi7i6HQWtSmFzrcIrhKr_KHGnZ53wCLcBGAsYHQ/s1440/Screen%2BShot%2B2021-09-11%2Bat%2B08.54.07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="1440" height="142" src="https://1.bp.blogspot.com/-G2aMcrtbEak/YTxhXsPnv9I/AAAAAAAAC7E/PlOlHi7i6HQWtSmFzrcIrhKr_KHGnZ53wCLcBGAsYHQ/s320/Screen%2BShot%2B2021-09-11%2Bat%2B08.54.07.jpg" width="320" /></a></div><br /> Hi Everybody<p></p><p><br /></p><p>As I mentioned in my last post, I've begun a series of Podcasts on the subject of rhythm. The series is called <span style="background-color: white; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;">The Art and Science of Time, which you can see</span><span style="background-color: white; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;"> <a href="https://www.mixcloud.com/guilfoyler/" target="_blank">HERE</a></span><span style="background-color: white; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;">. It will look at many aspects of rhythm in many different forms of music, and explore rhythm's importance in music and in life. The series will feature conversations between myself and many great musicians during the course of which we'll discuss rhythm's role across a huge range of music - jazz, Indian music, African music, Brazilian, classical, the music of the Middle East, the Balkans etc.</span></p><p style="background-color: white; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;">So far I’ve had great chats with Dave Liebman, Jim McNeely, Ramesh Shotham and the great classical percussionist Russel Hartenberger. I’ll be uploading these each week, on Fridays, and in the first episode I explain the impetus for making this series and also the form subsequent episodes will take. Please check it out - I hope you find something of interest there. </p><p style="background-color: white; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;">Stay safe!</p><p style="background-color: white; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;">Ronan</p>Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-57469577445559432192021-06-30T10:43:00.002+01:002021-06-30T10:43:49.048+01:00Negotiating The Pandemic<div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-q85VmusDiN0/YNw4sfL8XUI/AAAAAAAAC4M/3s7jqRCVjBkX53KZuFZCH8SQgTNVEAtSQCLcBGAsYHQ/s400/Marcustico%2BGarden.jpeg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="400" data-original-width="300" height="320" src="https://1.bp.blogspot.com/-q85VmusDiN0/YNw4sfL8XUI/AAAAAAAAC4M/3s7jqRCVjBkX53KZuFZCH8SQgTNVEAtSQCLcBGAsYHQ/s320/Marcustico%2BGarden.jpeg" /></a></div>
Hello Everybody
It's been a while since I've been on here, so I though I might update you with some news.
Like performing artists everywhere I’ve been trying to stay creative during the pandemic and find ways to keep moving forward. It’s difficult when it’s impossible to perform with others, and I’ve found it as challenging as everyone else in this regard. Hopefully with the new vaccines we’ll finally find our way out of this and be able to get back to some sort of normal musical life and be able to play with and for people again. <div><br /></div><div>In the meantime, I’ve been keeping as busy as I can with practice and composing, and getting involved in some other musical pursuits such as collaborating online with other artists, and making podcasts.
In late 2019 I took possession of a beautiful Marcustico bass, (pictured above), and though, due to the pandemic, I’ve not had a chance to play it with others, I have been practicing with it a lot, and have released a solo album with it on Bandcamp which I’m very happy with – it has a beautiful sound, and you can listen to and download it <a href="https://ronanguilfoyle.bandcamp.com/album/alone-with-the-marcustico" target="_blank">HERE</a>. </div><div><br /></div><div>The podcasts I’ve been making have been on the Mixcloud platform, and I’ve done one on the great Woody Shaw, one celebrating complex music, and an interview with the legendary saxophonist Pat LaBarbera, speaking to him about his time with Buddy Rich and Elvin Jones. You can hear them all <a href="https://www.mixcloud.com/guilfoyler/" target="_blank">HERE</a>. I’m working on putting together a major podcast series on rhythm with interviews and discussions with great people, so watch this space! </div><div><br /></div><div>In terms of collaboration online, I’ve done several videos with other artists which were a lot of fun to put together, and I’ve uploaded those along with some solo bass things on my Youtube Channel – you can see them <a href="https://www.youtube.com/channel/UCZExOxWMGJLsHLEx749sAAA" target="_blank">HERE</a>. Here's an example - a duo piece with the wonderful Swiss singer Kristina Fuchs playing a fun piece of mine called 'Guile' </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/f1-qsqz8940" width="320" youtube-src-id="f1-qsqz8940"></iframe></div><br /><div><br /></div><div><br /></div><div>So that's it for now, hopefully I’ll be able to let you know about some performance dates in the not too distant future, but in the meantime let’s all do our best to stay positive and creative, support music whenever we can, and of course stay safe!
Ronan</div>Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-87903841941212935832020-08-29T12:12:00.001+01:002020-08-29T12:12:19.611+01:00Bird Lives - And Always Will<div dir="ltr" style="text-align: left;" trbidi="on">
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Today is Charlie Parker's 100th birthday. So much music will be played today (unfortunately not as much as should have been played thanks to the pandemic), much will be written about him, and spoken about him. But no matter how much discussion of him there is around this centenary, it can never be enough. Parker was a towering genius - he changed not just jazz, but music forever. He created a personal musical language that spread out into the world and influenced not just saxophonists and other front line instruments, but all the rhythm section players too. After Bird, everyone had to rethink they way the played, and music was never the same.<br />
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His personal travails are unfortunately hugely focussed on, to the detriment of where the focus should be - on his music. But today at least, his music will get the attention it always deserves. <a href="https://ronanguilfoyle.bandcamp.com/album/bird" target="_blank">I dedicated an album to Bird just over 20 years ago</a> , and we celebrated his music again recently when we, (myself, Chris Guilfoyle, Conor Guilfoyle, and Chris Engel), recorded a video of the music from 'Bird' which will be broadcast online tonight - you can see it <a href="https://www.blogger.com/www.eventbrite.ie/e/3g-chris-engel-present-bird-the-music-of-charlie-parker-tickets-116121623903" target="_blank">here</a><br />
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Ethan Iverson also has a <a href="https://ethaniverson.com/charles-mcpherson-and-steve-coleman-on-charlie-parker/" target="_blank">major tribute over on his DTM website</a>, I would urge you to check that out. <br />
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There are some great books on Bird too, and it's hard to know where to start - I would recommend Gary Giddins '<a href="https://www.amazon.co.uk/Celebrating-Bird-Triumph-Charlie-Parker/dp/0816690413">Celebrating Bird',</a> and for a different approach Stanley Crouch's <a href="https://www.amazon.co.uk/Kansas-City-Lightning-Charlie-Parker/dp/0062005618/ref=pd_lpo_14_t_0/262-2854514-5313748?_encoding=UTF8&pd_rd_i=0062005618&pd_rd_r=cf83d6fe-a11b-423e-9054-3889de7ffd6d&pd_rd_w=P4Boe&pd_rd_wg=VWAis&pf_rd_p=7b8e3b03-1439-4489-abd4-4a138cf4eca6&pf_rd_r=T3YKAYQ8BCP2BSXS5RNA&psc=1&refRID=T3YKAYQ8BCP2BSXS5RNA">'Kansas City Lightning'</a><br />
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So much has been said about him and will be said about him, so all I'll say is, don't fall into the trap of taking him for granted, it cannot be overstated what a genius he was and how important he was. He rethought how melody, harmony and rhythm could be used in improvisation, and his brilliance is still unsurpassed in jazz. And to illustrate this I would point you to an amazing recording that's not widely enough known - <a href="https://www.amazon.co.uk/Washington-Concerts-Charlie-Parker-2001-04-03/dp/B00Y3YYXYI/ref=sr_1_2?dchild=1&keywords=washington+charlie+parker&qid=1598693458&sr=8-2">'One Night In Washington'</a>.<br />
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The story behind this live recording is that Bird had been previously invited to play with the Joe Timer Orchestra as a guest soloist, but hadn't turned up. They tried again, and this time he did appear, but had left his music behind and had a borrowed plastic saxophone. Now playing as a featured soloist when you have no music and don't know the arrangements, is incredibly difficult. When you have the kind of arrangements this band had (Al Cohn was among the arrangers), it gets into the realms of the impossible. But Parker's incredible musicianship comes to the fore here, unbelievably so.<br />
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Here's one of my favourite tracks from this album, 'These Foolish Things' where at first, after an obvious dominant chord, you can hear Bird think that it's time to play the melody, stop when he hears the intro is still going on, then is late when the entrance does arrive since he's now unsure of when to come in. Yet, late as he is, he telescopes the first phrase of the melody into the fewer bars he has and lands perfectly on the beat. In addition the arrangement features a 5/4 bar in the bridge which naturally catches him out, but he absorbs that immediately and flies through it the second time, flawlessly. Unbelievable...<br />
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Everything great about his playing is here - the sound the melodicism, the power, the harmonic and melodic sense, the blues-iness, and above all the rhythmic swing and complexity. It's almost impossible to represent on paper what he does with rhythm here - the staggering variety and precision of it. And all of this on a borrowed plastic horn and no music....<br />
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Bird Lives - and always will<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-263330714240908502020-07-25T08:14:00.002+01:002020-07-27T11:07:09.905+01:00Woody Shaw - A Jazz Master<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #697f95; font-family: "DM Sans", sans-serif; font-size: 14px;">Woody Shaw was not just one of the greatest trumpeters in jazz, he was also a giant of the music. Just over thirty years since his passing, </span><span style="background-color: white; color: #697f95; font-family: "DM Sans", sans-serif; font-size: 14px;">I've created a podcast that </span><span style="background-color: white; color: #697f95; font-family: "DM Sans", sans-serif; font-size: 14px;">takes a look again at this master, and I discuss his playing and compositional style. I also play some excerpts from a clinic, and a live recording of Woody that has never previously been heard by the public. </span><br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-72964281041767269142020-03-28T12:41:00.000+00:002020-07-27T11:06:51.592+01:00Bill Evans and the Juxtaposition of 3/4 and 4/4<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Times New Roman", serif;"><i>(N.B. In choosing the Youtube versions of the pieces under discussion, I was careful to only use them if they were already available for free on Spotify, or were just video performances. You should of course buy them in higher quality formats and hear them properly instead of the crappy Mp3 stuff found online)</i></span></div>
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<span style="font-family: "Times New Roman", serif;">Bill Evans is recognised and lauded for his use of harmonic colour and sense of lyricism, and it’s probably fair to say that these are the musical qualities he is most often associated with when his playing is discussed and analysed. What is less often discussed is Evans’ interest in unusual, (at least in jazz), structural devices in both his compositions and arrangements of standard tunes. He used harmony in very individual ways such as in his composition ‘Twelve Tone Tune’, where he uses Schoenberg’s serialism technique to create a jazz piece, (a twelve tone tune which is twelve bars long), and in ‘Comrade Conrad’, where the harmonic scheme works its way through all twelve keys during the course of each solo.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">He also used rhythm as a structural device, and as early as 1956, on the album New Jazz Conceptions he recorded his composition 'Five' which used quintuplets as the building blocks of a rhythm changes tune.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">Using quintuplets was a very unusual device in jazz at that time, (I don’t know of any other examples of it from this period), and they create a feeling of dragged quarter note triplets, which is intriguing to the listener, and shows that, even at this early stage of his career, Evans was aware of the possibilities of rhythm in creating unusual spatial effects in the music.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">One rhythmic device that Evans would return to again and again throughout his career, was the juxtaposition of time signatures of 3/4 and 4/4. This interest in the juxtaposition of the two meters can be seen as early as 1961 on 'Waltz For Debby', in which the melody takes the form of a stately waltz, but the meter changes to 4/4 when the improvising begins and remains there, with even the out-head being played in 4/4.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">In 1962, Evans made the first of many recordings of Earl Zindars’ composition ‘How My Heart Sings’, an AABA tune in which the A sections are in 3/4, and the bridge is in 4/4. The solos in this piece reflect the rhythmic structure and they change meter in line with the form of the melody. In 1971 he made the first recording of his own beautiful composition ‘Comrade Conrad’, another AABA tune, which reverses the meter changes of ‘How My Heart Sings’ in that the A sections are in 4/4 and the bridge is in 3/4. The version recorded a few years later on 'We Will Meet Again' with Tom Harrell, Lary Schneider, Marc Johnson and Joe LaBarbera is classic.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">However, it is in his arrangement of the standard ‘Someday My Prince Will Come’ that Evans most fully explores how the effect of adding or removing a beat, as the meters change, affects the harmonic rhythm and the melodic line.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">Someday My Prince Will Come is one of the most famous 20</span><sup style="font-family: "Times New Roman", serif; text-indent: 36pt;">th</sup><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;"> Century waltz tunes, made popular in jazz by Miles Davis on the release of the album of the same name in 1961. However Evans’ released a version of the tune a year earlier on <a href="https://en.wikipedia.org/wiki/Portrait_in_Jazz" target="_blank">‘Portrait in Jazz’</a>, and in this version, and in many subsequent live versions, Evans treats it as a straight waltz, played quite conventionally. It is in the release of ‘Bill Evans At The Montreux Jazz Festival’ (Verve, V6-8762), from 1968, that we hear a very different treatment of the tune.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">In this recording with the trio of Evans, Eddie Gomez on bass, and Jack DeJohnette on drums, Evans plays the melody in the standard 3/4, but then changes the meter to 4/4 for the first chorus of his improvisation, reverting back to 3/4 in the next chorus, and alternating between the two meters thereafter, including during the bass solo and the drum breaks with DeJohnette. When they return to the ABAC melody after the solos, they play the A and B sections in 4/4, and the second A and C section in 3/4.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">It may seem like a truism to state that the big difference between 3/4</span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">and 4/4 is one beat, but this beat, (added on in 4/4 if moving from 3/4, and removed if moving to 3/4 from 4/4), has a very powerful impact on the structure and ultimately the feeling of a piece. This can be clearly heard, and felt, in this arrangement by Evans. After hearing a chorus of the tune played in the traditional 3/4, </span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">the subsequent 4/4 meter feels very spacious. That extra beat gives the music more time to breathe and the harmonic rhythm changes from chorus to chorus. Evans’ response to that extra space can be clearly heard in the second chorus of his solo in the 4/4 meter (at 1.39),</span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">where, having played a sprightly 3/4 improvisation in the previous chorus, he unleashes a rapid cascade of notes for the whole 4/4 chorus, playing across the time, and leaving it to the bass and drums to state the pulse.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">Interestingly, in a TV recording from Sweden in 1970,</span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;"> with his trio of Gomez and Marty Morrel on drums, he plays the tune using the same arrangement and again, in the second chorus of 4/4 (at 1.29), he plays the same kind of unmetered flurry of notes for the whole chorus. While it’s clear from this that Evans responded differently to the alternately expanding and contracting meter, it’s interesting to speculate whether these rapid passages in the second 4/4 chorus represent Evans spontaneously responding to the wider spaces of the 4/4 meter, or whether it became something that Evans always did at that spot in the tune</span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">. There are no other recordings I can find of this arrangement, and in his next, and last, trio with Marc Johnson and Joe Labarbera he reverted to playing the tune as a straight waltz again.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 36pt;">Evans’ use of alternating meters while keeping the same harmonic scheme has great potential for further examination as a tool for improvisation. It is little explored, and it appears that Evans himself, while playing several pieces that alternated meters, only used that particular technique for two or three years of his career.</span></div>
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<span style="font-family: "Times New Roman", serif;"> </span><span style="font-size: 10pt;">An interesting footnote to the Montreux performance: an Irish group also played at the Montreux Festival in 1968, and the drummer from that group, John Wadham, was at the rehearsal of Evans’ trio which took place on the day of the concert recording. I knew John well, and he told me that although this was DeJohnette’s first concert with the trio, Evans produced no written music and the entire rehearsal was conducted solely using verbal instructions regarding arrangements, beginnings and endings. It's fascinating to realise that Evans, a man given to using many preconceived structures in his compositions, nonetheless preferred to demonstrate the music verbally in rehearsal. </span></div>
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-49016326669281452782019-12-17T17:18:00.000+00:002020-07-27T11:06:38.307+01:00My Mother, Music and Mortality<div dir="ltr" style="text-align: left;" trbidi="on">
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(My mother with her beloved Bobby)<br />
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Professional musicians are generally pragmatic. We get on with things, we do what we do because, well....that's what we do. In the creative music world you often have to deal with two conflicting requirements - being creative and 'doing the gig'. Sometimes the circumstances of the gig, (poor sound, long travel, less than ideal playing conditions etc.), makes being creative a challenge. But the mantra of 'the show must go on', is still strongly embedded in the psyche of musicians and we generally get on with it, and, in the creative music world, try and keep the creativity alive in all circumstances.<br />
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Recently I came face to face with a challenge which was related to the one I've described above, but which was at the same time very different, more fundamental, and one that brought the whole question of the meaning of music, and its place in our lives into sharp relief.<br />
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A series of circumstances arose in which myself, and my son Chris, had to make a decision whether to play a concert or not, knowing that my mother, (and of course, his grandmother), was slipping away from this world, and may well have left it by the time we finished.<br />
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<b>My Mother</b><br />
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My mother May Guilfoyle (née Mullarkey), passed away in April of this year. She was a great age, in her early 90s, and up to the very last years of her life had been in generally good health. She had managed to live in her own home up to her late 80s, and had then moved to a retirement home, close to her own home, where she was relatively happy.<br />
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Her life had been very challenging in many ways, especially in the first half of it. At age twelve, at the beginning of the WWII, her mother had died, leaving her in loco parentis to her three younger brothers, forcing her to grow up very quickly and take on responsibilities that no twelve year old should have to. She met my father in the mid-1950s and settled down and raised a large family, (eight children!), as was quite common in that Irish catholic era.<br />
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My father became ill in his mid-forties, couldn't work for a couple of years, and passed away, leaving my mother with eight children, ranging from university to primary school age, to look after. This she did with the toughness, pragmatism, and stoicism which was such a feature of her personality, and doubtless forged through her childhood experience of adversity. Having found herself bereft of her mother at a young age, and then bereft of her husband in middle-age, my mother just got on with it and did what needed to be done. She was an extraordinary woman in so many ways.<br />
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(My mother in her garden, which was her pride and joy)<br />
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After this second hammer blow, things slowly got better for her for various reasons - she had more income coming in, her children gradually starting leaving home and getting jobs etc. So she found herself, for the first time in her life, being able to do what she wanted to do rather than what she had to do. The things she loved were gardening, travelling, and going to classical music concerts, (and latterly, the love of a rescue dog called Bobby), and the second half of her life featured these pursuits, as well as being closely involved in the family lives of her children.<br />
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<b>The Concert</b><br />
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<a href="https://1.bp.blogspot.com/-MPrYD7fJzFk/XfjV3xHx_mI/AAAAAAAACmw/hQ-xZJBbb_kqvnKipV4f-5dICZuIFbrIACEwYBhgL/s1600/HL%2BGallery.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="408" data-original-width="550" height="237" src="https://1.bp.blogspot.com/-MPrYD7fJzFk/XfjV3xHx_mI/AAAAAAAACmw/hQ-xZJBbb_kqvnKipV4f-5dICZuIFbrIACEwYBhgL/s320/HL%2BGallery.jpeg" width="320" /></a></div>
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(The Hugh Lane Gallery)<br />
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The concert came up at relatively short notice, in the lovely Hugh Lane Gallery in Dublin. They've run a great series of free 'Sundays at Noon' concerts there for over twenty five years, and I've played them often. Usually I will write a new piece to be performed there to mark the occasion. In this instance I was asked in March would I like to perform there in April, as a previously scheduled performer had cancelled. I love to play there so I agreed, and decided, despite the short notice, to write a new piece. The room lends itself to small chamber-like music, so I decided to use a trio of myself on bass, my son Chris on guitar and the improvising contemporary pianist Izumi Kimura. I planned on having the new piece performed, and have the rest of the concert feature improvisations by all three of us. I managed to find some time free at the <a href="http://www.tyroneguthrie.ie/" target="_blank">Tyrone Guthrie Centre</a> and went there in early March for five days and started on the piece.<br />
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<b>The Piece - Modus Operandi/Modus Vivendi</b><br />
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As I drove to the Centre, I admit I had no idea of what I was going to write, other than that I would write it for electric guitar and piano. But on the car radio I heard someone use the phrase 'Modus Operandi', and it's always been a phrase I've liked - something about the sound of it. And I began to think about whether there were other Latin phrases along the same lines and the only one I could think of was 'Modus Vivendi'. And it struck me that these two phrases, which can roughly be translated as ways of working, and ways of living, could provide fertile ground for a piece.<br />
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So often our lives are divided into doing the work we have to do, and, when we can, doing the things we want to do. I set out to try and represent that dichotomy in the piece with a very busy, active, minimalistic theme which represented the Modus Operandi aspects of life, and richer more traditionally melodic Brazilian-influenced passages which represented the happier Modus Vivendi moments. I juggled these over the course of what became a twenty minute piece, and was relatively happy with how it turned out.<br />
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The piece went into rehearsal, and I looked forward to the concert, however the circumstances under which the concert would take place were to change very suddenly and we were confronted with a choice which asked many questions regarding music and its ultimate meaning in our lives.<br />
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<b>End of Life....</b><br />
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In the week preceding the Sunday concert, my mother had become unwell, and on the Thursday of that week we were told that the doctor had said she was at the 'end of life' stage. It was quite shocking how quickly this had arrived, but it became clear that the doctor was right, and by Friday it was evident that it would be a very short time before she left us. The doctor had said it was impossible to predict how long this last phase would take, it could be hours or days.<br />
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Any family who has gone through this will probably be familiar with combination of shock and grief, and yet the thinking about the practicalities of the funeral etc. are also present. With my mother hovering on the edge of life, a decision had to be made regarding the concert which was to take place on Sunday.<br />
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<b>Mortality, Music and Its Meaning For Us</b><br />
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The obvious thing to do with the concert was to get someone else to do it. I certainly know enough musicians in Dublin, some of whom could have stepped into the breach at short notice, to cover the concert. 'The show must go on' mentality was never a consideration in the thought processes that ultimately led to our decision. The show could have gone on without us.<br />
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Chris and I discussed what we should do, and by Saturday had decided that we would play the concert, come what may. This wasn't an easy decision to make and involved thinking about many different aspects of the situation, and ultimately of life and death, and what being a creative musician actually means and why we are involved with it.<br />
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(Chris performing at the concert)<br />
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Principally our discussions centred around the reasons why we should play the concert or why we should not. My mother at this point was sleeping constantly and there being eight of us, plus extended family, several of us were always with her. So we knew she would never be alone, and we lived close by and could get to her bedside in minutes. The reasons why we felt we should play the concert revolved around the nature of creative music itself and why we are involved with it. But there was another aspect to it - the piece itself.<br />
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In writing the piece I had not necessarily associated the Modus Operandi/Modus Vivendi idea with my mother's life, but on thinking about it in these new circumstances, I realised that it could have been expressly written with her life in mind. The first half of her life, the first 45 years or so, contained huge amounts of Modus Operandi as she met the challenges of looking after her brothers, and then her children in very adverse circumstances. The second half, the second 45 years or so, was much better for her and she was able to do so much of the stuff she loved to do, for herself - the Modus Vivendi era if you like.<br />
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The realisation that the piece could have been designed to represent her life so well, combined with the fact that, for us, playing creative music is not only a profession, but is how we represent a lot of the things we intrinsically believe in, decided us on playing the concert. By playing this music for my mother, we felt we would get closer to honouring her in that moment than by any other means at our disposal.<br />
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(Chris and Izumi playing the piece)<br />
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We decided that if she passed before the concert we would dedicate the music to her memory, and if she was still with us when we played, we knew we would be playing for her. I decided that I would tell the audience the background to the concert, but only after we had finished playing. I wanted to publicly acknowledge her life and what playing the music had meant to us, but I wanted the audience to experience the music without me planting any specific interpretation regarding its context.<br />
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We began the concert with three solo improvisations, and then Modus Operandi/Modus Vivendi. The performance of the piece was really outstanding. It's a technically difficult piece for the players, and it would have been a very fine performance even under far less weighted circumstances. When it was finished, I stood up and told the audience the background to the performance and we got a very touching and warm response from them, several of whom spoke to me afterwards about how moved they'd been once made aware of the background.<br />
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(Giving the audience the background to the performance)<br />
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During the concert we did not know whether my mother was still with us, and when we finished we found she was still there. We drove to the retirement home and she had passed on a couple of minutes before we got there, surrounded by all my siblings and extended family.<br />
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Six months on from these events, I'm happy that we did the right thing by my mother and by ourselves. By being able to share this momentous occasion with the audience via music and then verbally, I feel we honoured my mother's life through the medium with which we have chosen to express ourselves. This a very powerful feeling. Playing creative music in today's society is not easy, a lot of the time you're really up against it in terms of recognition of what you do and the difficulty of making a living from it. But it's at times like these that the true power of music, and of what we do becomes evident<br />
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<b>Modus Operandi/Modus Vivendi - The Performance</b><br />
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After all that background and description, here then is the piece itself - a good recording of the actual performance on the day in question. Although it wasn't originally written for my mother, I know I'll always think of her every time I hear it. I hope you enjoy it, and it has some meaning for you, in whatever way that manifests itself.<br />
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<b><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/track=2462982392/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://ronanguilfoyle.bandcamp.com/track/modus-operandi-modus-vivendi">Modus Operandi/Modus Vivendi by Ronan Guilfoyle</a></iframe></b><br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com2tag:blogger.com,1999:blog-5526704657739088406.post-39189756950449520682019-12-07T09:44:00.003+00:002019-12-07T09:44:35.244+00:00Evidence - Lulu's Back In Town<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #f9f9f9; color: #0d0d0d; font-family: Roboto, Arial, sans-serif; font-size: 14px; white-space: pre-wrap;">Recorded at Billy Byrne's in Kilkenny, Evidence is a trio dedicated to playing both the music of Thelonious Monk, and standards that he liked to play. This is one of the latter, "Lulu's Back in Town'. </span><br />
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<span style="background-color: #f9f9f9; color: #0d0d0d; font-family: Roboto, Arial, sans-serif; font-size: 14px; white-space: pre-wrap;">Monk had some in-between tempos that are difficult to get right - they're what might be called 'bright medium', and are easy to rush. I think we locked into a nice Monk Tempo on this one!</span></div>
Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-85871134758646016972019-11-28T23:06:00.000+00:002020-07-27T11:08:13.908+01:00On Being A Jazz Student - The Big Picture<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Over the course of my forty years of being a musician, I've worked with probably thousands of students. I've worked with my own students, both in the university where I teach, and with private students. I've also been a guest teacher in over seventy schools, and worked with thousands of students in that context also. And of course I would also consider myself to be an eternal student of music in my everyday life, and I feel that I learn new things all the time, both from others and from my own explorations. Wanting to learn something such as jazz, that demands a high level of craft from its practitioners, while at the same time being a challenging milieu in which to make a living, makes for a demanding life, and one that requires a certain maturity and clarity of perspective if one is to stay the course. </i><br />
<i><br /></i>
<i>What follows is some 'big picture' stuff, which I hope will be helpful to students of jazz and other high craft musicians. This is not a 'how to practice', or 'how to make a living' manual, but a piece in which I've laid out some thoughts which I find useful for myself, and hopefully, in these thoughts, you might find something useful to you too, as you study this great music, and develop yourself as a creative musician and as a person.</i><br />
<b><br /></b>
<b>1) The Big Picture - Music!</b><br />
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<o:p></o:p></div>
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What the following point has to do with being a jazz student
may seem initially obscure, but please be patient. Through this preamble I'll
get to what I believe to be a very important point for all serious musicians.<span style="font-size: 12pt;"> </span></div>
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Music in itself, scientifically, is pretty simple. A sound wave is a transfer
of energy as it travels away from a vibrating source. Sound waves are formed
when a vibrating object causes the surrounding medium to vibrate (that medium,
when we're talking about music, is usually air). A sound wave travels
through the air, enters the ear and is changed into nerve signals, which are
interpreted by the brain. So music is basically vibration of the air. <o:p></o:p></div>
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I think it's safe to say that everyone reading this post
loves music, (as indeed do most people regardless of whether they play music or
not), and are probably involved in it either professionally, or as students.
But though you may love music, and indeed may have dedicated your life to it,
or are planning on dedicating your life to it, there's a very important point
to understand about music, and it's this:<o:p></o:p></div>
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<o:p></o:p></div>
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<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
</div>
<div class="MsoNormal">
<b>Music has no feelings!</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That may seem a very strange statement to make about
something so loved, and so universal, but it's true - music has no feelings, it
just is. I first heard that statement from the great saxophonist Dave Liebman
several years ago at a masterclass, and the whole room just gaped at him when
he said it. But he's right - as we've discussed, music is simply vibration of the air. The feelings come into it when we interpret the meaning of those vibrations; and how we interpret them is dependent on a whole bunch of factors and variables that are partly about our past experience with music, and partly about who we are as people. The interpretation of the music, and creation of feelings, (both negative and positive) regarding the music, are all about us, not the music itself.<br />
<br />
To explain that a little further - the proof that the music itself has no feelings can be demonstrated by the fact that two people can simultaneously listen to the same piece of music, and have very different reactions to it. One listener might think it's one of the most moving pieces they've ever heard, while the other may believe it to be the most boring piece they've ever heard. Yet the music that created those very contrasting feelings in the two listeners was exactly the same for both of them. So the air vibrated in exactly the same way, but when the vibrations entered the ears of the two listeners, those vibrations were interpreted in very different ways. The two listeners responded in different ways to the vibrating air, but the music remained the same.<o:p></o:p><br />
<br />
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<a href="https://1.bp.blogspot.com/-DwrMOAv6UmY/XdxTE9kLwvI/AAAAAAAACh4/p63v5uSWMAA3ujk1ulu_jbNnYjaULXKRACLcBGAsYHQ/s1600/disagreement.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="500" height="211" src="https://1.bp.blogspot.com/-DwrMOAv6UmY/XdxTE9kLwvI/AAAAAAAACh4/p63v5uSWMAA3ujk1ulu_jbNnYjaULXKRACLcBGAsYHQ/s320/disagreement.jpeg" width="320" /></a></div>
<br />
<br />
Why is this important to understand? It's because it's important to understand that there are certain kinds of vibrations of the air, (i.e music), that affect you deeply. Vibrations that have value for you, that make you feel certain things. Consequently, in music, you will seek out these kinds of vibrations, as will anyone who has a relationship with music. But most people are passive receivers of these vibrations, and will simply seek out recordings and concerts that appeal to them. We as musicians, on the other hand, are active participants in the creation of such vibrations. So this makes our goal clear as students of music - we want to, via our voice or instrument, be able to vibrate the air in such a way that it engenders these powerful feelings in ourselves, and from there, outwards to others.<br />
<br />
It's really as simple as that - that's the big picture. Once you have grasped the point that you need a skill set that allows you to vibrate the air in a way that moves you, then everything else - study, listening, practice, performing - falls into place, and a lot of aspects of the study of music, that perhaps seemed like a chore, start to make sense. We need to have the ability, (or technique if you prefer), to create the kind of vibrations of the air that have meaning for you. This brings us nicely to something, the details of which are endlessly discussed, but can also be thought about in a relatively simple way - practice.<br />
<br />
<br />
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<a href="https://1.bp.blogspot.com/-8cg3V_XtOFI/XdxV1kW02GI/AAAAAAAACiE/tfUBxjPeedA4a-FXgNoIcB_kRl-BYVy5wCLcBGAsYHQ/s1600/Drums.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="500" height="213" src="https://1.bp.blogspot.com/-8cg3V_XtOFI/XdxV1kW02GI/AAAAAAAACiE/tfUBxjPeedA4a-FXgNoIcB_kRl-BYVy5wCLcBGAsYHQ/s320/Drums.jpeg" width="320" /></a></div>
<br />
<br />
<b>2) Practice Is For You - Not Your Teacher!</b><br />
<b><br /></b>
If you're a student in a jazz school you have to do a lot of practice. Similarly if you're studying privately with a teacher you will doubtless have to do a lot of practice for them too. It's very easy to get a sense in your own head that you are practicing in order to keep the teacher happy, and to be ready for the next lesson. But while it's true that a good teacher will care about your progress and should motivate you to make that progress, ultimately the person who is most deeply affected by how well or poorly you practice, is you!<br />
<br />
The teacher's life is not directly affected by whether or not you master the required skills to be a professional musician, but your life is. If you are in a school, then in a year or two, you will be finished the programme, and some other student will now be with your teacher, and your study with that teacher will become a distant memory, for him or her, as time passes. But the kind of skills your teacher introduced to you, and showed you, will have a direct impact on your life, for the rest of your life.<br />
<br />
So these skills and techniques that your teacher gives you are for you. And the practice you do to master these skills are also for you. As mentioned above, you are practicing in order to have the skills necessary to create music that has meaning for you. You should constantly be trying to get closer to the music, closer to how you want to express yourself via music, and everything you do in the practice room should be geared towards that. <span style="font-size: 12pt;">If you keep that in your mind, it helps to make sense of the repetitive tasks we often have to undertake during our practice. Follow the music - if you do that, then everything else makes sense.</span><br />
<span style="font-size: 12pt;"><br /></span>
<br />
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<a href="https://1.bp.blogspot.com/-i0Bfaflzjzs/Xd00BH0qFXI/AAAAAAAACio/ojoMmpvBhj01j-wxtlLn82sMQo35xtnzQCLcBGAsYHQ/s1600/Horowitz.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://1.bp.blogspot.com/-i0Bfaflzjzs/Xd00BH0qFXI/AAAAAAAACio/ojoMmpvBhj01j-wxtlLn82sMQo35xtnzQCLcBGAsYHQ/s320/Horowitz.jpeg" width="320" /></a></div>
<span style="font-size: 12pt;">(Vladimir Horowitz)</span><br />
<span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;"><b>3) Practice Positively - It's About Taking Care Of Business</b></span><br />
<span style="font-size: 12pt;"><b><br /></b></span>
While it's very important to know what to practice and how to practice, it's equally important that you practice with the right attitude. Practice has, in and of itself, no artistic value, it is a means to an end, a way of acquiring the technique and knowledge to create and play music that is meaningful to you. Like music (see above), practice has no feelings, it just is... And I think it's very important that you bring little or no emotion to the act of practicing, and it's certainly very important not to allow negative thinking to impede your practice and get in the way.<br />
<br />
You must be businesslike about your practice - in other words treat your practice as being the business of getting better at what you do. One of the pitfalls that's easy to fall into is ascribing negative feelings to your practice. Thoughts such as, 'I'll never get this...', or 'this is so boring...', are the enemy of progress, because first and foremost you're thinking about yourself instead of the job at hand. The ego is the enemy of practice progress, and the more you let your ego and your feelings into the practice room, the less useful techniques you will actually take away from that room.<br />
<br />
Be totally honest with yourself about the things you need to do in order to acquire the techniques necessary to play the music you want to play, at the technical level that that is required for that music. Do not berate yourself because you can't yet do them, or for taking what you feel is a long time to improve - that kind of thinking will simply hold you back since you're wasting time thinking about yourself instead of practicing!<br />
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<span style="font-size: 12pt;">I'm not going to get into what to practice, or how to practice, because that's such a huge subject, and I want to focus on the overall mentality required to practice effectively, regardless of content or style. But there is much good practice advice out there for you if you want it, and I particularly like </span><a href="http://arbanmethod.com/wyntons-twelve-ways-to-practice/" style="font-size: 12pt;" target="_blank">Wynton Marsalis' suggestions</a><span style="font-size: 12pt;">. And, of course, ask your teachers!</span><br />
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<a href="https://1.bp.blogspot.com/-8sg0QOkhlkk/Xd08nft5VKI/AAAAAAAACi4/_o8npwHuwrQCbi-9RqIp3psEmwawCh4nwCEwYBhgL/s1600/Wynton.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1000" height="213" src="https://1.bp.blogspot.com/-8sg0QOkhlkk/Xd08nft5VKI/AAAAAAAACi4/_o8npwHuwrQCbi-9RqIp3psEmwawCh4nwCEwYBhgL/s320/Wynton.jpeg" width="320" /></a></div>
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<span style="font-size: 12pt;">(Wynton Marsalis)</span><br />
<br />
<br />
<b>4) Avoid Negativity (1) - Especially Your Own</b><br />
<b><br /></b>
Over the course of the typical three or four years that it takes to get through a jazz degree, it's very easy to become negative about yourself and feel that you're always somehow short of the mark when it comes to ability. At least some of this can be laid at the door of the hothouse atmosphere of jazz programmes. In order to be able to accommodate the many, these programmes are designed to be a model in which all students are required to digest pretty much the same material in a stipulated number of weeks. While the intense nature of a jazz programme can bring useful qualities of its own, it can also lead to a feeling among students of always being a day late and a dollar short.<br />
<br />
The nature of a programme in which you have weekly lessons in many subjects can lead to a feeling of always being behind the curve. You go to class and are given something you can't do, so you go away and practice it, and then bring it back to the teacher and show them that you can now do it, and then the teacher responds by giving you something <i>else</i> you can't do! This can lead you to feel that you're always playing catch-up and are somehow a lesser musician than others.<br />
<br />
This is where overview is important. Constantly working your way through new material and mastering it is vital, and by the end of your time in school you will be a vastly better musician than when you entered. It's crucial to keep this in mind - the big picture again. Rather than focussing on weekly difficulties, try and look back to where you were at the beginning of the year, or the previous year, or the beginning of the programme. If you do that, then rather than being discouraged by constant technical challenges, you will see the positive effect of the work you are doing, and be conscious of your progress.<br />
<br />
<b>5) Avoid Negativity (2) - Don't Beat Yourself Up!</b><br />
<b><br /></b>
<br />
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<a href="https://1.bp.blogspot.com/-5qODyXR76jI/Xd5fkl_F82I/AAAAAAAACjI/643hWMimLBw0wKEL9ZQnDBHfHOT9rAEtgCLcBGAsYHQ/s1600/beat-yourself-up.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="314" data-original-width="485" height="207" src="https://1.bp.blogspot.com/-5qODyXR76jI/Xd5fkl_F82I/AAAAAAAACjI/643hWMimLBw0wKEL9ZQnDBHfHOT9rAEtgCLcBGAsYHQ/s320/beat-yourself-up.jpg" width="320" /></a></div>
<b><br /></b>
<b><br /></b>
When you make a mistake, play a wrong note in the chord, drop a beat, lose the form, or make an error in the melody, do you:<br />
<br />
A) Make a mental note to fix that for the next time, and move on with the music?<br />
<br />
or<br />
<br />
B) Make a pained face, perhaps give a little groan, lose your concentration as you dwell on the mistake, have it on your mind for a while, and feel foolish in front of the other musicians or your teachers?<br />
<br />
Unfortunately, B) is much more common than A), but it's worthwhile thinking about that reaction. If you think about the negative feelings that you ascribe to yourself on foot of making a mistake, they're often accusatory feelings, feelings of being not worthy to be playing music with the others in the band. There's often a certain amount of internal recrimination going on, along the lines of:<br />
<br />
<i>'WHY did I make that stupid mistake!? Again! Now everyone's looking at me, and they all know how useless I am....' </i><br />
<br />
There are many variations on that theme in these situations, but they all have similar forms. <span style="font-size: 12pt;">Now let's reverse the situation, and imagine that somebody else made a mistake in the music. Would you then speak to them in the way you speak to yourself? Would you say the same things to them? Would you say the following:</span><br />
<span style="font-size: 12pt;"><i><br /></i></span>
<i><span style="font-size: 12pt;">'WHY did you make that stupid mistake!? Again! Now everyone's looking at you, and they all know how useless you are....'</span><span style="font-size: 12pt;"> </span></i><br />
<span style="font-size: 12pt;"><br /></span>
<span style="font-size: 12pt;">I doubt, (and hope!), that you would not speak to anyone else like that for making a mistake. Speaking like that to someone would definitely mean you are behaving like a jerk. Yet you possibly speak to yourself like that, and if so, ask yourself why you only behave like a jerk towards yourself? The feelings of not wanting to be 'shown up' in front of others is very human - we are social animals and rarely want to be singled out or have attention drawn to ourselves. But you have to fight this impulse of beating yourself up for making mistakes. First of all it's not going to help you to fix the mistake - the moment is gone, the mistake was made. Move on. Secondly, beating yourself up is a waste of your time, and everyone else's! Instead of getting on with playing the music, in the moment, with your colleagues, you're sitting there obsessing about yourself. This serves no musical purpose at all, in fact it does the opposite.</span><br />
<br />
<i>'Do unto others as you would have done unto you'</i>, is a well known saying, well in this case we should reverse it; <i>'Do unto yourself as you would have done unto others'</i>. In other words don't treat yourself any worse for making a mistake than you would others who do the same thing. Mentally acknowledge the mistake, don't waste time with recriminations, move on, and you can come back to it in the practice room later and deal with the issues that led to the mistake in the first place.<br />
<br />
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<a href="https://1.bp.blogspot.com/-7Ne9vYiU4MQ/Xd7t2Py-ZxI/AAAAAAAACjU/5HoO3Kl5TXcN1LAeUri0aTshKQY2KBemwCLcBGAsYHQ/s1600/negativity.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1600" height="213" src="https://1.bp.blogspot.com/-7Ne9vYiU4MQ/Xd7t2Py-ZxI/AAAAAAAACjU/5HoO3Kl5TXcN1LAeUri0aTshKQY2KBemwCLcBGAsYHQ/s320/negativity.jpeg" width="320" /></a></div>
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<br />
<b>6) Avoid Negativity (3) - Acknowledge What It Is You Do Well</b><br />
<b><br /></b>
Often students tend to focus on the stuff they don't do well, but rarely acknowledge that they do certain things very well. If you're a student in a jazz school then you probably had to do an audition to get in, so I think it's safe to assume that you're a musically talented person. As a musically talented person there will definitely be things you do well in music. You must find and acknowledge these things.<br />
<br />
Becoming a better musician, and being better able to create the music that speaks to you, is a two-part process. One part is definitely concerned with working on your weaknesses and improving everything you do in the craft element of being a musician. But the other part is concerned with deepening and improving what you already do well. And it's this second part that often gets forgotten by students as they focus on remedying weaknesses. Never feel that it's a two-step process, that you have to eliminate all weakness first before you can approach music as an art. They should go side by side - yes, work hard on your technique and knowledge, and yes improve weaknesses. But also identify your strong points!<br />
<br />
A good thing to do is record yourself and then listen to it as objectively and dispassionately as you can. Listen for the issues - technical, rhythmic, harmonic, sound - whatever. Make a note of these issues and make a plan for improving them. But also listen for the things that sound good - could be a groove you get into, a sound you make, a good feeling on certain tunes or types of tunes. Make a note of this too, identify the good things, identify what it was you were doing when you sounded good, and figure out a way to make that even better, maybe by playing more of those kinds of tunes, or writing pieces that will feature that kind of playing from you etc.<br />
<br />
<b>7) Avoid Negativity (4) - Avoid The Hecklers!</b><br />
<b><br /></b>
<br />
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<a href="https://1.bp.blogspot.com/-aVoCjUD84ac/Xd7vhEiFvbI/AAAAAAAACjg/eeM1ExSR-E8r528938nQA1HmR_YUkxajACLcBGAsYHQ/s1600/Monk.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://1.bp.blogspot.com/-aVoCjUD84ac/Xd7vhEiFvbI/AAAAAAAACjg/eeM1ExSR-E8r528938nQA1HmR_YUkxajACLcBGAsYHQ/s320/Monk.jpeg" width="320" /></a></div>
(Thelonious Monk)<br />
<br />
'Avoid the Hecklers' is just one of the nuggets of <a href="https://jazz24.files.wordpress.com/2009/02/monks-advice2.jpg" target="_blank">wisdom from Thelonious Monk</a>, transcribed by Steve Lacy while in Monk's band. And nearly sixty years after Monk said it, it's still great advice. I have no doubt that every musician reading this will have had a lot of negative reinforcement, from people who are not musicians, in the form of comments and dire warnings about how it's impossible to make a living as a musician. What you need to understand about this is that these comments directed towards you only take into account one aspect of life - the economic one.<br />
<br />
While I am not downplaying for a moment the challenges of making a living as a musician, (for some very good advice on this, read Danny Barnes' article <a href="https://dannybarnes.com/blog/how-make-living-playing-music" target="_blank">here</a>), <span style="font-size: 12pt;">it's important to understand that there's so much more to being a musician than the bare economics of it - there's a richness to it which is given to so few others. If you become a serious full time musician you will have experiences which few people you went to school with will ever have. You will meet extraordinary, talented, funny, weird and fascinating people, not only in music but from other branches of the arts as well. You will travel extensively, see and play in beautiful and/or fascinating places, have access to the real word of those places in a way that tourists never do. You will experience life with an intensity given to few other professions. And it's never boring! The musical life is varied and ever-changing. Every day is different.</span><br />
<br />
<div class="MsoNormal">
These opportunities that we get are never mentioned to young
musicians when they're first deciding they'd like to have a life in music. All
they hear about is how difficult the economic aspects of being a musician are. Which
is true, but one does not take on music as a career, one takes it on as a life,
and then the career comes with it. If your only concern in life is your career,
you should should probably go and work for Facebook or Google. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One final thing to remember when you're hearing yet again, how crazy you are to be a musician - you also get to hear something like this: 'Oh, I wish I could play drums/guitar/piano/sing like you'. On the one hand you're being told not to be a musician, but on the other hand they tell you they envy you. The same people who tell you not to become a full time musician, wish they were you.....</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Think about that the next time you have to listen to the usual negativity around what it is you want to do.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Avoid the Hecklers!<br />
<br />
<b>8) Take Ownership of Your Own Learning</b><br />
<b><br /></b>
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<a href="https://1.bp.blogspot.com/-PSrXTelnyxo/XeAAHwzokOI/AAAAAAAACjs/MuuMDuO2b_scgL8sYLxLr-yu2xZ-xXFDgCLcBGAsYHQ/s1600/Onership.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://1.bp.blogspot.com/-PSrXTelnyxo/XeAAHwzokOI/AAAAAAAACjs/MuuMDuO2b_scgL8sYLxLr-yu2xZ-xXFDgCLcBGAsYHQ/s320/Onership.jpeg" width="320" /></a></div>
<b><br /></b>
<b><br /></b>
When you are in a jazz school it's very easy to acquire a subconscious feeling that knowledge is 'top down' - something that the teachers have, that they give to you, and that you do what they ask of you with. But while it's true to say that the teachers have lots of great information to give you, you should also ensure that you not only personalise the information you're given, you should also seek out other information for yourself - information that may be related to that given to you by the teacher, or information that you find completely independently of the teacher.<br />
<br />
Personalising the information you get means looking at any information you receive, not only in the way the teacher suggests, but seeing if you can do something personal with it. If it's a new scale, or new groove for example, see if there's a way you can do something creative with that, improvise with it or write a tune based on it. Listen to different versions of tunes that you are working on, not just the ones suggested by the teacher. Try and find contextual information around any piece of information - how is it used by great players of the past? What is its history? Who are the greatest exponents of using this information in a creative way?<br />
<br />
Don't just be a passive receiver of information from your teacher, see what you can do with it in order to make it part of your creative work and development. Too often students do no more than what they're required to do for the programme. But ultimately, if you're to have a long term creative and artistic life, you've got to go beyond that and find ways to continually enrich your musical life.<br />
<br />
When you're in school it may sometime feel like the programme will never end, that you've been there forever. But it will end, and in the grand scheme of things, your time in school is incredibly short in comparison to the time you'll spend in your career after you leave school. So you have to devise ways of working that are beyond strategies of simply being ready for the next lesson. When you leave school, it's <i>you</i> who will have to care about whether you practice, and how you practice and what you practice. So it's never to soon to develop creative work practices and ways of making your music speak to you and be personal to you. Treat the work you're given to do in school in a creative way, and make at least some of it yours.<br />
<br />
<b>9) The Simplicity Of Schools</b><br />
<b><br /></b>
<b><br /></b>
<div class="separator" style="clear: both; text-align: center;">
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<br />
<br />
Any jazz school, (or indeed any music school), can be thought of in very basic terms. They are repositories of information and they are communities of musicians.<br />
<br />
The bulk of the information in a jazz school resides with the teachers. There are reasons they are there as teachers, and it's mostly because they have been doing what you aspire to do, for a long time. You are there because you can get the benefit of their knowledge and experience. Your job as a student is to get as much information as you can from your teachers while you are in school. And the teacher's job is to give you as much information as they can. It's a very simple idea and if you think of it like that, it can help you to be really focussed on your time in school and help you to not get distracted by things that ultimately are not that important.<br />
<br />
Don't judge the information you get, (yet...), just take it, keep it, work with it, and later on you will have more time to sift through it and see what's of most benefit to you.<br />
<br />
So during your time in school you should go after every piece of information you can get from your teachers, and don't just confine it to what's on the course. Believe me, they know a lot more than that! Teachers are always willing to share information with enthusiastic students. So just ask.<br />
<br />
Schools are also communities of musicians. The teachers are there, and your peers and colleagues from class are there. These days schools are one of the few places where you will find a great concentration of musicians. At any given time there can be dozens, or even hundreds of creative musicians under the one roof and this gives off a very beneficial energy to everyone, both teachers and students. Your fellow students will also have information which is valuable - 'have you heard this recording? 'You should go to this gig'. 'You should check out this performer', etc. etc.<br />
<br />
Use your time well in the community while you are in school - go to gigs together, set up playing sessions, listen to music together, talk about music together, follow up on tips people give you on music that's worth checking out. Be active in the school and in school life - many of your fellow students will be people you will play with for the rest of your life and will be great contacts for you in the professional world. So don't squander your time in school - get stuck in!<br />
<br />
<b>10) The Simplicity Of Exams</b><br />
<b><br /></b>
<b><br /></b>
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<b><br /></b>
<br />
Nobody enjoys exams. Students don't enjoy taking them, and teachers don't enjoy giving them. Nerves abound, sometimes a sense of dread takes hold of the student as the exams approach. But I think it's really helpful to understand what exams are really about in a jazz school. Each year or semester, we give you, the student, a certain amount of information. At the end of that period we need to check that you're OK with the material so that we can move on to some other information that follows from that. That's all exams are - the school checking that you're cool with everything so far. They are not judgements of your moral character, or whether you're a good citizen, member of society and even the human race!<br />
<br />
We simply need to check how you're doing with the material so far, and exams are the way that is done. That's it really. So try not to put too much emotional weight on exams. Like so much else I've spoken about in this post, they're just really about you taking care of business. And if you are professional and businesslike with your practice and music during the year, you will have absolutely no issues with exams.<br />
<br />
<b>11) Finally - While You're In School, Be A Student</b><br />
<b><br /></b>
Those are words of advice given<b> </b>to some of my students several years back by the outstanding guitarist <a href="https://lionelloueke.com/" target="_blank">Lionel Loueke</a>. Your time in school, (no matter how you might feel right now), is incredibly short, yet it will have a very big impact on the rest of your life. So it's really important to make the most of it. Attend all the classes, be on time, get involved in extra-curricular stuff, get as much information as you can from both teachers and other students, be businesslike and positive about your practice, support your fellow students, personalise and take ownership of your learning, don't waste time on thinking about yourself in terms of what others think of you - focus on the music. Work towards being able to make the air vibrate in a way that is pleasing and meaningful to you.<br />
<br />
In short, while you're in school, be a student. Good luck!<br />
<br />
PS There are two great resources for students I'd like to mention and which are really worth checking out.<br />
<br />
The wonderful pianist and composer Liam Noble has a great series of '<a href="https://liamnoble68.wordpress.com/2019/10/27/advice-for-jazz-students-1-a-is-for-alphabet/" target="_blank">advice for jazz students</a>' posts on his blog. Fascinating, thoughtful, and full of great information.<br />
<br />
The original of the species when it comes to big picture stuff for jazz musicians is of course the great Kenny Werner and his classic book '<a href="https://www.amazon.co.uk/Effortless-Mastery-Kenny-Werner/dp/156224003X?tag=duc08-21" target="_blank">Effortless Mastery</a>'. His dissection of how we are often our own worst enemies when it comes to stopping ourselves from developing via bad mental and emotional habits, and ways to combat that, is indeed masterful. Essential reading.</div>
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-->Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-42108572884670299392019-11-03T22:34:00.000+00:002019-11-03T22:35:17.690+00:00In The Cracks<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://1.bp.blogspot.com/-EZhpK1tkj3s/Xb3NYsPliEI/AAAAAAAACgM/YtDE507hca4IU71aoQNi9jkBm8l1-E47gCLcBGAsYHQ/s1600/Music%2BFor%2BString%2BQuartet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="1600" data-original-width="1132" height="320" src="https://1.bp.blogspot.com/-EZhpK1tkj3s/Xb3NYsPliEI/AAAAAAAACgM/YtDE507hca4IU71aoQNi9jkBm8l1-E47gCLcBGAsYHQ/s320/Music%2BFor%2BString%2BQuartet.jpg" width="226" /></span></a></div>
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Over the years I've written a lot of music that straddles classical and jazz music, and that uses elements from both traditions. I've written orchestral, chamber and solo pieces, some of which have improvisation and some not. This is music that is truly 'in the cracks', mostly using instrumentation and ensemble formats from the classical tradition, but using rhythmic and harmonic devices that come from other areas, particularly jazz.<br />
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Recently I created an album on Bandcamp called <a href="https://ronanguilfoyle.bandcamp.com/album/in-the-cracks" target="_blank">'In The Cracks'</a>, comprised of a collection of these pieces, and downloadable for free. In this post I've written short descriptions of each piece on the album, with a link to the tracks themselves. There are some great musicians on here, both classical (National Symphony Orchestra of Ireland, Ioana Petcu-Colan, Conor Linehan etc.), and from the world of jazz, (Dave Liebman, John Abercrombie, John Ruocco etc.), and I hope you find something to enjoy. If anyone is interested in the compositions themselves, and would like the scores of any of these pieces, just <a href="mailto:ronan@ronanguilfoyle.com" target="_blank">drop me a line </a><br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/synapsis-concertino-for-orchestra-2008" style="font-family: "Helvetica Neue", Helvetica, Arial, sans-serif;" target="_blank">Synapsis (Concertino for Orchestra)</a><br />
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This is a sort of mini concerto for orchestra. Written in 2008, it features, at various stages, every section of the orchestra and really gives them something to play. It's a technically difficult piece, and the RTE NSO play it really well. The title came from a word a friend mentioned in an email, and I liked the fact that it sounded like a cross between synapse and synopsis. I imagined the idea of the orchestra being a large brain, and its synapses firing ideas from one side of the orchestra to the other. It has a lot of jazz influences, particularly in the rhythmic language, but also in the fact that the opening, fast 16th note phrase, (and much of the subsequent material), was taken from something Brad Mehldau played in a solo on a Michael Brecker album. Thanks Brad!<br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/music-for-string-quartet-2008" target="_blank">Music for String Quartet</a><br />
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A piece for probably <i>the</i> most classic of classical ensembles, the string quartet. When you're writing music for string quartet you've got one of the most outrageously accomplished musical traditions looking over your shoulder. But intimidating though it can be, it's also so satisfying to write for - so perfectly balanced and capable of so many different kind of expression. This continuous piece is in three sections - a spiky rhythmic motif, a lyrical slow section that moves between dark and light atmospheres, and a groove finale that descends into some chromatic madness.<br />
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<a href="https://1.bp.blogspot.com/-wy2GQB7e6H0/Xb3rZm_4GmI/AAAAAAAACgY/nW3K18_Df7I3AtBq_BFcIYzEjks4Kv7VwCLcBGAsYHQ/s1600/Lieb.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="327" data-original-width="500" height="209" src="https://1.bp.blogspot.com/-wy2GQB7e6H0/Xb3rZm_4GmI/AAAAAAAACgY/nW3K18_Df7I3AtBq_BFcIYzEjks4Kv7VwCLcBGAsYHQ/s320/Lieb.jpeg" width="320" /></a></div>
<i>Dave Liebman</i><br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/macrocosmos-iii-2000" target="_blank">Macrocosmos III</a><br />
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This is genuinely in the cracks, since it uses a symphony orchestra, a big band, and an improvising soloist - the great Dave Liebman. This is the 3rd movement of a large-scale piece for the Manhattan School of Music Jazz Philharmonic Orchestra (their combined symphony and jazz orchestras), and is in effect a concerto for soprano sax and orchestra. This is the largest group I've ever written for (more than 130 musicians), and it was both a pleasure to have such forces at my disposal, and a challenge to use them effectively.<br />
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<a href="https://1.bp.blogspot.com/-f6U5Ww9fFV8/Xb35DTzBnjI/AAAAAAAACgw/eudRHTpXjuckogCtffUHDO5jtDtL_iSnwCLcBGAsYHQ/s1600/michael%2Bbuckley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1067" height="239" src="https://1.bp.blogspot.com/-f6U5Ww9fFV8/Xb35DTzBnjI/AAAAAAAACgw/eudRHTpXjuckogCtffUHDO5jtDtL_iSnwCLcBGAsYHQ/s320/michael%2Bbuckley.jpg" width="320" /></a></div>
<i>Michael Buckley</i><br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/pipe-dreams-3rd-section" target="_blank">Pipe Dreams</a><br />
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3rd section of a concerto for jazz flute and chamber orchestra, written for the great flautist and saxophonist Michael Buckley and the Irish Chamber Orchestra- it features both written and improvised passages for the flute. I added a drum set to the string orchestra for this piece, and also use bass guitar in this movement.<br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/concerto-for-piano-and-orchestra-iv-2002" target="_blank">Concerto for Piano and Orchestra</a><br />
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Another daunting task for me - to write a piano concerto! In the classical tradition, as far as orchestra with soloist is concerned, there's probably no greater body of work than the piano concerto, and the greatest of the great - Bach, Mozart, Beethoven, Bartok, Ravel, Prokofiev, Rachmaninoff etc. - have written extraordinary and famous works in this idiom. So to take this on was a particularly challenging assignment for me. Although very familiar with many great piano concerti, I tried to use that tradition while at the same time bringing in elements from my own world, and influences from great pianists in that world, such as McCoy Tyner and Herbie Hancock. Conor Linehan is the wonderful soloist here with the RTE NSO, recorded live in Dublin<br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/sonata-for-solo-violin-v-2007" target="_blank">Sonata for Solo Violin</a><br />
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Writing for a solo string instrument is a completely different challenge to writing for a full orchestra. You have to balance and contrast the generally linear nature of the instrument, with chorded passages to fill out the texture. This is the finale of what is actually a very big work in five movements that takes almost thirty minutes to play. This movement features some serious fireworks for the violin and the great technical challenges are brilliantly surmounted by the violinist who commissioned this work, Ioana Petcu-Colan<br />
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<a href="https://1.bp.blogspot.com/-BakR4cczU2A/Xb3z1Rn3J6I/AAAAAAAACgk/7yGlPcDuQAIfzWte2YG8D2eHIEs6m012QCLcBGAsYHQ/s1600/Ensemble%2BAvalon.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="233" data-original-width="419" height="177" src="https://1.bp.blogspot.com/-BakR4cczU2A/Xb3z1Rn3J6I/AAAAAAAACgk/7yGlPcDuQAIfzWte2YG8D2eHIEs6m012QCLcBGAsYHQ/s320/Ensemble%2BAvalon.jpeg" width="320" /></a></div>
<i>Ensemble Avalon</i><br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/a-little-blues-2013" target="_blank">A Little Blues</a><br />
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This piece is, as the name suggests, a 12-bar blues. It's completely written, but there are some very jazz elements in it, particularly in the violin and piano writing. Performed here by the great young Irish chamber group the Ensemble Avalon, <a href="https://ronanguil.blogspot.com/2016/09/bystanders-for-solo-piano-dedicated-to.html" target="_blank">I later went on to write some music for the pianist in this group</a>, the very talented Michael McHale, and had already worked extensively with the violinist Iona Petcu-Colan (see the solo violin sonata above).<br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/groove-merchants-2000" target="_blank">Groove Merchants</a><br />
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A funk piece for Wind Quintet? Why not! Commissioned and recorded by the outstanding UK wind quintet the Aurora Ensemble<br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/sonata-for-solo-viola-iv-2001" target="_blank">Sonata for Solo Viola</a><br />
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Another piece for solo strings, this time the very underrated viola. This a four-movement piece which features a lot of rhythmic music and although the soloist for whom this was written - the notable and very accomplished Canadian violist Tanya Kalmanovitch - is a very fine improviser, and the music has many improvisatory flourishes, all of the the material is fully notated. This is the fourth movement, a groove piece.<br />
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<a href="https://1.bp.blogspot.com/-98GNa_OVX48/Xb6ibrrCedI/AAAAAAAACg8/sl9mTa6PUA8q7ItBPuIlQGwgUcNTj7fGwCLcBGAsYHQ/s1600/Ruocco.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/-98GNa_OVX48/Xb6ibrrCedI/AAAAAAAACg8/sl9mTa6PUA8q7ItBPuIlQGwgUcNTj7fGwCLcBGAsYHQ/s320/Ruocco.jpeg" width="320" /></a></div>
<i>John Ruocco</i><br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/music-for-clarinet-and-string-trio-ii-1996" target="_blank">Music for Clarinet and String Trio</a><br />
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One of my earliest 'in the cracks' pieces, this time for string trio (the Hibernia String Trio), and clarinet, (on this performance the extraordinary virtuoso clarinettist John Ruocco who is equally at home in jazz or classical). This is the slow movement built on a kind of eastern modal melody that's later reharmonised. The clarinet is required to play both written passages and improvisation. John's improvisation on this is amazing<br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/arc-2012-for-saxophone-ensemble" target="_blank">ARC - for 12 Saxophones</a><br />
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This is definitely the most unusual ensemble I've ever written for! This was commissioned by the European Saxophone Ensemble and they performed it all over Europe and recorded it. The challenge with this piece was not to make the ensemble sound like a giant accordion. The piece featured both written and improvised passages, and the instruments ranged from bass saxophone to sopranino, and rehearsals took place in a lovely small village in France - such a memorable experience for me for all kinds of reasons. I used the sound of the all the saxophonists fingering their instruments for the opening - a unique sonority.<br />
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<a href="https://1.bp.blogspot.com/-4SFrP99u78Q/Xb9QUGlGpiI/AAAAAAAAChM/R8rt4UnTxSMKzNttA4RU0o7R3igmc272gCLcBGAsYHQ/s1600/Abjohn.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="690" data-original-width="1000" height="220" src="https://1.bp.blogspot.com/-4SFrP99u78Q/Xb9QUGlGpiI/AAAAAAAAChM/R8rt4UnTxSMKzNttA4RU0o7R3igmc272gCLcBGAsYHQ/s320/Abjohn.jpeg" width="320" /></a></div>
<i>John Abercrombie</i><br />
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<a href="https://ronanguilfoyle.bandcamp.com/track/stillness-movement-2005" target="_blank">Stillness/Movement (from Renaissance Man)</a><br />
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Music for string quartet and electric guitar - the first movement of 'Renaissance Man', a suite I wrote for jazz guitar trio and string quartet. This was written in memory of my father who had passed away thirty years earlier, and this movement was written based around a memory I had from my boyhood, walking in the forest at dawn with him, and the birds beginning to sing, quietly at first and then building to a cacophony of beautiful sound. In having this suite played I was privileged to have the guitar legend John Abercrombie play the guitar part - in this section he improvises in between the written passages for the strings<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com2tag:blogger.com,1999:blog-5526704657739088406.post-15762152369450615552019-06-21T20:35:00.000+01:002020-07-27T11:08:29.721+01:007 Cheers for the 70s!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11pt;">It is a received wisdom that there
was not much going on in jazz in the 1970s. This somewhat revisionist history
first appeared in the 1980s with the advent of the 'Young Lions', with people such
as Wynton Marsalis and his cohorts. While this generation of musicians’ focus
on such traditional values as blues and swing was welcome, and possibly even
timely, their blanket dismissal of what went on the 1970s was inaccurate and
did a disservice to much great music that came out of the jazz tradition in
that decade. In this post I’m going to revisit music of the 1970s, and
highlight seven fantastic recordings performances that are really worth
checking out, and will show the richness of the music in that decade.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11.0pt;">The 1970s was a musical
decade that was both influenced by what had happened in the 1960s via rock music
and free jazz, but also looked to the future, and set the ground work for so
much that came afterwards. The music often displayed the intensity with which both
free music and rock music were played, yet also fostered the environment in which
a distinctly European jazz dialect could emerge. In addition, many great
figures from the previous decades were still active and producing great music.<o:p></o:p></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11.0pt;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11.0pt;"><span style="font-size: 14.6667px;">Here then are seven great pieces from the 1970s</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11.0pt;"><i>In choosing the music I’ve
been conscious not to breach copyright. I’ve used material from YouTube from
albums long out of print, or/and from Spotify. I still think Spotify sucks but
since ECM gave up their entire catalogue to Spotify I’ve decided to give up the
struggle!</i><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11.0pt;"><b>1. Shakti</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 11.0pt;">While what are known as ‘world music’
projects are very common these days, in the early 70s they were rare, and often
not very good. The great guitarist John McLaughlin however put together one of
the earliest, and by far one of the best bands in this genre in the mid 70s.
Shakti was a band heavily influenced by Carnatic music but also used techniques
from the jazz world. Highly virtuosic, Shakti’s incorporation of the various
elements into a very convincing whole created some spectacular music which set
the standard for these kinds of collaborations, and remains one of the benchmarks of how to work with Indian music if you’re a jazz musician. One of the
reasons these projects often fail is because of the lack of in-depth knowledge by the jazz musicians of the music that they are incorporating into the genre. McLaughlin
however did an in-depth study of the Veena and really understood both Indian
ragas and rhythmic constructs. Because of this, he could interact seamlessly
with the percussionists and the other musicians in the band. Here is a
blistering performance of joy from the Montreux festival in 1976.<o:p></o:p></span></div>
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<b style="font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b>
<b style="font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. Joanne Brackeen</span></b><br />
<b style="font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Brackeen cut her teeth back
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male dominated world of 60s jazz. She was also well known for stints in the
bands of stellar players such as Stan Getz and Joe Henderson. In the mid-70s
she began releasing her own albums as a leader and I first became aware of her
from the duo album ‘New True Illusion’, with the great bassist Clint Houston. She
is a very powerful player with definite influences from both McCoy Tyner and
Chick Corea, but with a looseness and a way of unleashing great bursts of notes
that’s all her own. She’s also a very interesting composer, writing pieces that
were more involved and developed than those of a lot of her peers at the time. Here’s a
typically personable Brackeen tune, ‘Off Glimpse’, from the album ’Keyed In’
with Eddie Gomez and Jack DeJohnette , (one of my favourite bass and drum
teams). After the very characterful melody we get a typical Brackeen burn!</span></div>
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<b>3. John Abercrombie</b><br />
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<span style="font-size: 11.0pt;">The 1970s produced a rich
crop of great guitarists. John Scofield, Pat Metheny, John McLaughlin, (though
he was active in the late 60s too), Ralph Towner, and John Abercrombie. In a
way the 70s was the decade where the guitar came into its own as a major jazz instrument.
Of course there had been great guitarists before<span style="mso-spacerun: yes;"> </span>- Wes, George Benson, Jim Hall, Grant Green,
and the father of it all, Charlie Christian – but in the 70s - post-Hendrix and
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<span style="font-size: 11.0pt;">John Abercrombie was a
singular voice on the guitar, influenced by both rock and jazz, he could really
burn with the best of them, but also had a crafty improvisational approach to
everything he played, redolent at times of a very electric Jim Hall. His first
album ‘Timeless’, with Jan Hammer, and Jack DeJohnette, (on his first ECM
album), became an instant classic, due in no small part to the extraordinary
opening track ‘Lungs’ which leaps out of the speakers at you. It’s completely
no prisoners music – organ trio, yes, but not as we know it!<o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">(You’ll have to go to Spotify
for the complete track – or, even better, buy the album!)<o:p></o:p></span></div>
<br />
<iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/track/2Xzj98dVbsafbaGdxXcwmv" width="300"></iframe><br />
<br />
<br />
<br />
<b>4. McCoy Tyner</b><br />
<br />
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<span style="font-size: 11.0pt;">Of course McCoy is a product
of the 60s and produced so much great music then, both under his own name and
of course with Trane. But there’s something about his 70s music that is just
extraordinary. All of the qualities he had in the 60s are there, the incredibly
swinging right hand, the restless left hand, the rhythmic drive, the unique
harmonic approach etc. But in the 70s he added something else to that – massive
power. He was always a powerful pianist of course, he had to be playing with
Trane. But in the 70s it was if he had, musically speaking, bulked up even
further, and achieves a relentless physical power that has perhaps never been
equalled, not even perhaps by Cecil Taylor in his pomp.</span></div>
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<span style="font-size: 11.0pt;">He also started to compose
very simple pieces based off modal vamps, and then expanding on that by sheer
power and drive. The complexity of his playing at this point, the torrent of
notes and never ending harmonic movement, is unprecedented both in his own
playing, or in anyone else’s. Here’s ‘Ebony Queen’ from 1972 which is a classic
example of his music at this period. With a powerhouse quartet of Sonny Fortune,
the mysterious bassist Calvin Hill, and Alphonse Mouzon on drums, they take
McCoy’s simple theme and deliver nine minutes of raw power, rhythmic drive and sophisticated
musical science. The piano solo on this is a wonder of the musical world.<o:p></o:p></span></div>
<br />
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<br />
<br />
<b>5. Enrico Rava</b><br />
<br />
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<span style="font-size: 11.0pt;">One of the major developments
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divergence of approach by many European musicians and the music more reflected
a European aesthetic, with less swing rhythms, and much less echoes of the blues.
The rise of the ECM and ENJA labels did a lot to promote this other approach,
and gave a home to many European heavyweights such as Jan Garbarek and Bobo
Stenson, not to mention Jarrett’s ‘European Quartet.’<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
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<span style="font-size: 11.0pt;">At this point there was a
preponderance of Scandinavian musicians represented on ECM, but not all were
northerners and the great Italian trumpeter Enrico Rava made many fine
recordings for the label. Rava, despite his obvious admiration for Miles, is
very much his own man, with a genius for making the most out of very simple
material. His composition ‘Tribe’, from the album ‘The Plot’ from 1976 ,is a
classic example of this. He takes a simple, almost banal 16 bar melody, and,
with the aid of his very creative cohorts John Abercrombie, and the legendary
bass and drum team of Palle Danielsson and Jon Christensen, slowly works it up
to an intense maelstrom via collective improvisation, rather than through a
series of solos. This is a classic piece of European jazz, and its slow burning
brilliance still shines more than 40 years later<o:p></o:p></span></div>
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<span style="font-size: 14.6667px;">(You’ll have to go to Spotify for the complete track – or, even better, buy the album!)</span></div>
<br />
<iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/track/7CP3JAELEPQL3NfzdE1x7p" width="300"></iframe><br />
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<span style="font-size: 11.0pt;"><b>6. Woody Shaw</b></span></div>
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<span style="font-size: 11.0pt;">Shaw of course emerged in the
60s playing and serving his apprenticeship, from a very young age, with some of the
legends of the music. He was a very individual trumpet player from the very
beginning but really came into his own in the 1970s with a series of
outstanding albums under his own name and the perfecting of his unique approach
to the trumpet and to music. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">Woody Shaw was an
extraordinary trumpeter with a rich, burnished, full sound, and a very unusual
intervallic approach on the instrument. Lots of 4<sup>ths</sup> and wide
intervals, which are very difficult to play accurately and affectively on the
instrument, made him stand out among his peers. When you add to that a complete
immersion in the jazz tradition, and tremendous physical strength and
intensity, (more echoes of the 60s…), you are confronted with one of the
greatest soloists in jazz in the modern era. He was at his best in live
performance, (I had a life changing experience seeing him at the Vanguard in the
early 80s), and ‘Stepping Stones’ from 1978 is one of the best recorded
examples of Shaw in full flight. Here’s ‘In A Capricornian Way’ a Shaw original
in which all the trademarks are on display – the burnished sound with vibrato
at the end of phrases, the brilliant outside/inside harmonic approach, and
blistering intensity. Truly one of the greats.<o:p></o:p></span></div>
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<span style="font-size: 14.6667px;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="480" src="https://player.vimeo.com/video/89854215" width="640"></iframe></span></div>
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<span style="font-size: 14.6667px;"><a href="https://vimeo.com/89854215">Woody Shaw - In a Capricornian Way</a> from <a href="https://vimeo.com/user19689578">rcapmusic</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></div>
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<span style="font-size: 14.6667px;"><b>7. Kenny Wheeler</b></span></div>
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<span style="font-size: 11.0pt;">A very different trumpeter to
Shaw, (and indeed Rava), Kenny Wheeler is nevertheless a musician who also came
into his full maturity in the 1970s. Active in the 1960s, and becoming known as
a big band writer and composer of lyrical and somewhat poignant tunes, as well
as a very individual soloist, Wheeler’s sound and harmonic approach matched
perfectly the way he wrote. Canadian, but in the UK since the 1950s, Wheeler
was very well known on the UK jazz scene, and in certain parts of the European
free scene. But the announcement to the world of the arrival a major new
trumpet and compositional voice came via his first ECM album ‘Gnu High’ in 1976.
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<span style="font-size: 11.0pt;">The stellar quartet of
Wheeler, Dave Holland and Jack DeJohnette was completed by Keith Jarrett, in his
last ever appearance on a recording as a sideman. The importance of Jarrett’s
presence on this recording can’t be overstated, he brings all of his improvisational,
technical, and harmonic brilliance to bear on Wheeler’s beautiful compositions,
and when listening to this recording it’s difficult to believe that the one and
only time they played together as a group was on this recording. Kenny told me
that Keith was a reluctant participant in the session initially, and didn’t
really look at the music before the recording. So what you’re hearing is him basically
sight reading the music. This is extraordinary given how much Jarrett contributes
to the greatness of this recording, plays brilliantly with the others, and negotiates
Wheeler’s challenging pieces with ease. Here’s a great example, <span style="mso-spacerun: yes;"> </span>‘Smatter’, with its classic descending ¾ tag
which traps lesser players into a rhythmic and harmonic straightjacket. Not
here. A Desert Island Disc.<o:p></o:p></span></div>
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<span style="font-size: 14.6667px;">(You’ll have to go to Spotify for the complete track – or, even better, buy the album!)</span></div>
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
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<span style="font-size: 11.0pt;">This just a tiny sample of
the huge amount, and wide variety of wonderful music which came out in the
1970s. I could have easily tripled the examples here, there is so much stuff –
Billy Harper, <span style="mso-spacerun: yes;"> </span>Weather Report, Joe
Henderson, Freddie Hubbard, Headhunters, Mahavishnu Orchestra, Charles Tolliver,
Bob Degen, John Surman, and on and on…. Ignore the naysayers, creatively, the
70s were great for jazz – check it out.<o:p></o:p></span></div>
<!--EndFragment--><br />
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-->Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-19971096468711381362019-05-30T15:36:00.000+01:002019-05-30T23:20:51.065+01:00Unusual Subdivision in Jazz Improvisation - a Step By Step Guide<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://1.bp.blogspot.com/-d4CQ3TNnYDE/XO_nTFwjeZI/AAAAAAAACdY/q-gQ8qF2uWkInhS2IjXQ4tUnmNnzCZ7IQCLcBGAs/s1600/Subdivision.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-d4CQ3TNnYDE/XO_nTFwjeZI/AAAAAAAACdY/q-gQ8qF2uWkInhS2IjXQ4tUnmNnzCZ7IQCLcBGAs/s320/Subdivision.jpg" width="320" /></a></div>
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Finding a way to use unusual subdivisions in an effective way in jazz is challenging. Especially if you're using the traditional jazz language of swing over changes. And if you're trying to do this, it's important that you should be doing this for musical reasons - i.e these subdivisions are being used for expressive purposes, rather than it being some kind of science project - a trap many fall into. The reason I use these kinds of unusual subdivisions in improvising is because they feel different to the more conventional subdivisions - not better by the way, just different. No subdivision is of itself better than any other - it's how they're used that gives them their value.<br />
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Bearing that important point in mind, it is true to say that using 5s (quintuplets), or 7s (septuplets), or indeed triplets in unusual groupings (4s or 5s for example), does give a different feel to the music. And this is the reason why they are worth exploring and incorporating into your language - they can give you a greater variety of expressive possibilities if used creatively.<br />
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So this is the aesthetic and musical reason for exploring this world. The challenge is then how to work with these unusual groupings and to make them sound, and indeed be organic.<br />
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The first step is to just get used to the different subdivisions and, like most things in music, the best way to do this is to be able to 'sing' them. By sing I mean recite them, over a fixed pulse. The best way to do this in my opinion, is to use Konnekol - the South Indian rhythmic solfege system, where syllables represent numbers.<br />
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Konnekol</h2>
The system is very simple - it consists of five syllables, each one representing a number:<br />
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Ta = 1<br />
Taka = 2<br />
Takita = 3<br />
Takadimi = 4<br />
Tadigenaka - 5<br />
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All other numbers are created using combinations of these syllables, for example 7 could be Takadimi/Takita, or 9 could be Taka/Takita/Takadimi<br />
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In this first video, I divide the clapped beat from 1 up to 9, and back down again. This a great exercise on its own, as it really shows you how accurate you are with regular subdivisions such as 4 or 3, as well as the more unusual ones<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/fkjRKO1a3G4" width="560"></iframe><br />
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So once you're comfortable with that, (and be honest with yourself on this - this kind of thing usually takes weeks to become second nature, and patience is definitely a virtue in this instance!), you can look at putting it on your instrument in some way. And a good way to do that is to combine scale practice with rhythm practice<br />
<h2 style="text-align: left;">
<br />Combining Scale and Rhythm Practice</h2>
In this next video I combine playing a scale (in this case Bb Dorian Minor) with using different subdivisions - 1 through 8 over a slow metronome beat in 4/4. In this case I am playing up to the 11th, so each subdivision needs to be played a set number of times in order to align the beginning of each new subdivision with the downbeat of the bar. Apart from being a good exercise for your subdivisions, this is a good rhythmic relationship exercise too, as you have to hear how the pattern relates to the 4/4 cycle<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/2APDt9tUydg" width="560"></iframe><br />
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Once you can do that accurately and comfortably, I would suggest trying to play and improvise over a static chord or scale (a major key is fine for this), using different subdivisions. Maybe set up a drum groove in a sequencer, (or use an app such as the great <a href="http://www.projazzlab.com/" target="_blank">Drumgenius</a>). Once you're comfortable with that, you can move on to playing over changes.<br />
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<h2 style="text-align: left;">
Using Different and Unusual Subdivisions Over Swinging Changes</h2>
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<span style="font-family: inherit;"><span style="background-color: white; color: #1c1e21; font-size: 14px;">Using unusual rhythmic devices for improvising becomes a completely different animal when played over changes, and in the swing idiom. It's definitely more challenging - that's probably why so many avoid it. In suggesting you try this I'm assuming two things: 1) You're comfortable playing over changes in a conventional setting (if not you've got some basic work to do before trying this!), and 2) You really have practiced the earlier exercises and they are second nature to you.</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #1c1e21; font-size: 14px;"><br /></span><span style="background-color: white; color: #1c1e21; font-size: 14px;">So, assuming that, what I'm doing here is using four different subdivisions over four choruses of the great standard 'Alone Together':</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #1c1e21; font-size: 14px;"><br /></span><span style="background-color: white; color: #1c1e21; font-size: 14px;"><b>1st Chorus:</b> Behind the beat - a classic feel from the jazz tradition, but one that requires great rhythmic control to bring off successfully - it must be behind the beat, but must not slow down!</span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="background-color: white; color: #1c1e21; font-size: 14px;"><br /></span><span style="background-color: white; color: #1c1e21; font-size: 14px;"><b>2nd Chorus: Quintuplets</b> - 5 over 2. These really have the feel of lazy triplets</span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="background-color: white; color: #1c1e21; font-size: 14px;"><br /></span><span style="background-color: white; color: #1c1e21; font-size: 14px;"><b>3rd Chorus: Sextuplets</b> - 6 over 2. Not such an unusual subdivision in itself, but when they're regrouped into groups of four as they are here, then they take on a very different feeling.</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #1c1e21; font-size: 14px;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="background-color: white; color: #1c1e21; font-size: 14px;"><b>4th Chorus: </b>Septuplets - 7 over 2. These have the feel of 8th note triplets after a lot of coffee</span><span style="background-color: white; color: #1c1e21; font-size: 14px;"><br /></span></span></div>
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UGdMuuzQU8Q" width="560"></iframe><br />
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So these then are some possibilities for jazz improvisation using unusual subdivisions. Of course in the video I am exaggerating them for demonstration purposes, I would not play a whole chorus with any one subdivision in the real world! But I think they have great expressive possibilities and when you get them in your ear and under your fingers they definitely open up some new and exciting vistas for the improviser. </div>
Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com1tag:blogger.com,1999:blog-5526704657739088406.post-85848272985507252452019-05-04T08:41:00.000+01:002019-05-04T14:30:21.883+01:00Salt, Sugar, Fat: Food, Music and Things We Like<div dir="ltr" style="text-align: left;" trbidi="on">
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There's an artist whose music I believe to be hugely overrated - definitely a case of recognition deserving of wider talent - but who is very popular with a certain section of the listening population. Although a newcomer to his music would probably hear nothing remarkable in the heard-a-thousand-times chord progressions, simple melodies and stock song forms that make up his oeuvre, he has nevertheless built a mythology around himself, a mythology that suggests his music represents some kind of deep genius, despite this same music providing no evidence to back this up. But because he has been deified by lazy critics, by people who believe lazy critics, and by nostalgia buffs, it's a given that if you express an opinion suggesting that said artist is not at all the genius he is made out to be, you will receive blowback. And I have, many times. Most recently it was pointed out to me by a defender of this god-like artist, that if I was right, and he wasn't very good, then how come so many people liked him?<br />
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I have a one-word riposte whenever I'm presented with that line of argument - McDonalds<br />
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<a href="https://3.bp.blogspot.com/-1VJm0S1gdg8/XCNaOsnJNfI/AAAAAAAACZE/Y6GRj49AfwUd5d8jKuGGk5xP8cY8Xrf5ACLcBGAs/s1600/McDonalds.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="210" data-original-width="240" src="https://3.bp.blogspot.com/-1VJm0S1gdg8/XCNaOsnJNfI/AAAAAAAACZE/Y6GRj49AfwUd5d8jKuGGk5xP8cY8Xrf5ACLcBGAs/s1600/McDonalds.png" /></a></div>
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The idea that the popularity of something must have a direct correlation with the quality of that something, is an idea that not only doesn't hold water, but leaks like a sieve. McDonalds - the fast food chain that the word ubiquitous could have been created to describe - is the biggest individual retail seller of cooked food in the world. It trounces everyone else in terms of the sheer volume of food it sells, and the popularity of its brand. But even the people who eat McDonalds would be unlikely to argue that it is the greatest food in the world. It is mass produced, has no variation, is made to a formula, and requires no culinary input from the individual sellers working in the McDonald's restaurants that sell the food. So why is this mass produced, bland food so popular all over the world?<br />
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<b>Salt, Sugar, Fat.</b><br />
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Human beings are hardwired to like salt, sugar and fat, and Mc Donalds' food is loaded with all three. We have a fairly primal positive response to all three of those food elements, and food that is high in salt, sugar or fat content is an easy sell for the purveyor. One or more of these constituents is an integral part of all processed food in general and that, along with the ease of mass production, (and the concomitant cheapness that goes with that mass production), explains the popularity of such food, despite it having no nuance, subtlety or variety. Eating such food provides an instant hit to receptors that are primed to welcome them.<br />
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There is a correlation to this in the music world, certain musical constituents that evoke an almost immediate response in most people. These responses and why they have this effect on people is extensively detailed in <a href="https://www.amazon.com/Music-Instinct-Works-Cant-Without/dp/0099535440" target="_blank">'The Music Instinct (how music works and why we can't live without it)' by Phillip Ball</a>, a wonderful book that goes into evolutionary history, psychology and many other aspects of how we're wired towards certain musical responses and resist others.<br />
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In the book Ball shows how there are musical elements that could be described as being the equivalents to salt, sugar and fat - consonance, repetition, simplicity and predictability. He shows how popular melodies are nearly always contained within the intervallic scope of a fifth, contain ascending and descending scale steps, have very little dissonance and are structurally simple. Now even a limited observation of very popular music can see that simplicity and predictability are the stock in trade of this genre, but what Ball shows is how these elements are not just the product of taste, but have evolutionary origins - in other words we are hot-wired to respond to these things, in the same way that we are to the food elements mentioned earlier. You'd really have to read the book in order to get a fuller explanation of these musical responses, but it's fascinating to read for example how wide interval leaps are generally not positively responded to by most people, and Ball shows how very few hit songs have had any wider intervallic leap than a major sixth, and how intervals such as the tritone or minor sixth, (which flirt with dissonance), are rare in popular music.<br />
<br />
So the obvious lesson from this is that the more you load your music with the elements that fire the receptors in the average listener, and keep away from the elements that are not universally appreciated, the more likely it is that your music will be popular with large numbers of people. In fact, the analogy that can be made between global commercial fast food and global commercial pop music are very striking.<br />
<br />
As an example, I'm going to take the third paragraph of this post and repeat it, but replace salt, sugar and fat, with consonance, simplicity and predictability, and replace the word food with music, and McDonald's with commercial pop music -<br />
<br />
<i>Human beings are hardwired to like consonance, simplicity and predictability, and commercial pop music is loaded with all three. We have a fairly primal positive response to all three of those music elements, and music that is high in consonance, simplicity and predictability is an easy sell for the purveyor. One or more of these constituents is an integral part of all commercial pop music in general and that, along with the ease of mass production, (and the concomitant cheapness that goes with that mass production), explains the popularity of such music, despite it having no nuance, subtlety or variety. Hearing such music provides an instant hit to receptors that are primed to welcome them. </i><br />
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The music of Justin Bieber, Britney Spears, Spice Girls, Ed Sheeran etc. are all loaded to the gunwales with enough musically consonant saccharine to give you diabetes, are as predictable as night following day, and are devoid of all but the most simple structures. In fact their music meets all the criteria for attaining the kind of mass following that they have. Of course there can be other factors in play in deciding why a listener might choose one over the other, but the bottom line with all their music is that they follow the simple recipe of consonance, simplicity and predictability,<i> </i>that guarantees they will alienate as few listeners as possible.<br />
<br />
Thankfully there are people who don't want to eat a diet completely comprised of sugar, salt and fat, and there are people who want more from music than constant consonance and bland predictability. I was lucky enough to be brought up on a nuanced musical diet, and in the same way that someone is brought up eating a wide range of foods, it has remained with me for the rest of my life. I do enjoy sugar, salt and fat in food, and I do enjoy consonance in music and simplicity, but in both food and music, those naturally endearing elements have to be balanced, contrasted, and even contradicted by different elements at various times. Sometimes those elements have to be absent for a considerable time in order for them to be all the more welcome when they do return.<br />
<br />
And to be fair to the artist I mentioned at the beginning, he's not the musical equivalent of McDonald's. More like a Domino's Pizza perhaps.....<br />
<i><br /></i>
<i><br /></i></div>
Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com4tag:blogger.com,1999:blog-5526704657739088406.post-82298134608275657652019-03-20T20:35:00.000+00:002019-03-20T20:35:27.928+00:00The Blog Is 10 Years Old Today!<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://4.bp.blogspot.com/-Cyba8uGm0Nw/XJIpBj_OlbI/AAAAAAAACcM/8scOeX-aWDoui2GO5EOLra6sHua6qheJgCLcBGAs/s1600/For%2BBlog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://4.bp.blogspot.com/-Cyba8uGm0Nw/XJIpBj_OlbI/AAAAAAAACcM/8scOeX-aWDoui2GO5EOLra6sHua6qheJgCLcBGAs/s320/For%2BBlog.jpg" width="320" /></a></div>
<br />
<br />
<br />
It's hard to believe, for me anyway, but this blog is 10 years old today. In that time I've covered a lot of ground musically, learnt a lot about the online life - both positive and negative - connected with some great people, got a chance to interview many great musicians, and had the opportunity to write about many more. The act of writing about music has meant that I've had to distil my thoughts on many subjects and tease things out in my own mind before putting it into electronic print. I've learned about the power of words, how they can be empowering, and how, in the online world, they can be used against you by people who do not wish you well. I've been touched by the generosity of people who have contacted me, and sometimes been repelled by the cowardly malice of anonymous commentators.<br />
<br />
So it's been a steep learning curve, but overall a very positive experience for me.<br />
<br />
I started it having read Ethan Iverson's great blog <a href="https://ethaniverson.com/" target="_blank">'Do The Math'</a>, (still the gold standard of jazz blogs in my opinion). Seeing how well he wrote about music, I felt that it was important that more musicians wrote about what they do, rather than leaving it all to the critics, many of whom, however well intentioned, often knew little or nothing about the realities of making music and playing jazz. So this prompted me to start writing, and once I got going I found that I really enjoyed it, and it also had a beneficial musical effect on me, making think deeply about things before committing to write about them.<br />
<br /><span id="goog_762463032"></span>
I think what surprised me the most was the interest people had in reading the blog. I thought it would be read by a handful of people, and though it's all relative, (I wouldn't be in the same universe as some bloggers in terms of readership), it never ceased to surprise me just how many people <i>did</i> read it. Looking at the stats as I write this, I can see that people have accessed and read the blog 611,816 times, which probably means that somewhere between 250,000 - 500,000 people have read it. That staggers me! I would never have thought that it would have had that kind of reach, and am pleased and of course flattered that it has.<br />
<br />
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<a href="https://2.bp.blogspot.com/-WSxU0tM2v7M/XJKfVkkmM6I/AAAAAAAACcY/A87Itmxf2YYlzJZFECoPZ_OWcuookY4pACEwYBhgL/s1600/Kieb.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="177" data-original-width="285" src="https://2.bp.blogspot.com/-WSxU0tM2v7M/XJKfVkkmM6I/AAAAAAAACcY/A87Itmxf2YYlzJZFECoPZ_OWcuookY4pACEwYBhgL/s1600/Kieb.jpeg" /></a></div>
<br />
<i><b>Dave Liebman</b></i><br />
<i><b><br /></b></i>
I've written about many things in the jazz sphere, from technical things to composition, from stuff that is out and out <a href="https://ronanguil.blogspot.com/search/label/Jazz" target="_blank">jazz</a>, to thoughts about <a href="https://ronanguil.blogspot.com/search/label/Music%20and%20Society" target="_blank">music and societ</a>y, <a href="https://ronanguil.blogspot.com/search/label/Composition" target="_blank">composition</a>, and <a href="https://ronanguil.blogspot.com/search/label/interview" target="_blank">interviews </a>with great musicians such as Dave Liebman, Kenny Werner, Steve Coleman, Eric Ineke, and Jim McNeely. I've looked back at the music of my heroes, and great figures in the music, and speculated on the future of the music.<br />
<br />
I can never predict which posts are going to attract the most attention - sometimes I think a piece will be of interest to many people but it attracts relatively few viewers, and other times something I casually put up there takes off. If I look at the stats, these are the top five posts according to the number of views:<br />
<br />
1. <a href="http://ronanguil.blogspot.com/2017/05/21st-century-bebop.html" target="_blank">'21st Century Bebop?'</a> - the relevance of teaching the music of the jazz tradition in the 21st century<br />
2. '<a href="http://ronanguil.blogspot.com/2013/06/six-reasons-why-i-love-jazz.html" target="_blank">Six Reasons Why I Love Jazz</a>' - no explanation needed<br />
3. '<a href="http://ronanguil.blogspot.com/2013/03/steve-coleman-on-rhythm-part-1.html" target="_blank">Steve Coleman on Rhythm'</a> - again, no explanation needed<br />
4. '<a href="http://ronanguil.blogspot.com/2015/06/the-singer-and-song.html" target="_blank">The Singer and the Song</a>' - some thoughts on the position of the singer in contemporary jazz<br />
5. '<a href="http://ronanguil.blogspot.com/2009/10/when-drums-stop-big-trouble.html" target="_blank">When Drums Stop, Big Trouble!</a>' - on bass solos!<br />
<br />
I have had my ups and downs with keeping up with regular posting, and sometimes when things are very busy in the rest of my life I find it hard to find time to write. And there are definitely fewer jazz blogs these days than there were ten years ago, and some discussion about the continued relevance of blogs. But for me, I do enjoy writing about music, and hopefully people still enjoy reading about music, so I'll keep going.<br />
<br />
A very sincere thanks to all who have read the blog and especially to those who have taken the time to comment in an engaged and constructive way. Here's to the next ten years!</div>
Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-78192438855074926582019-02-03T22:45:00.000+00:002019-05-04T14:30:48.093+01:00Rhythm Geekery 1<div dir="ltr" style="text-align: left;" trbidi="on">
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In this post I’ll show some of the structural underpinning
of an improvisation I did on the old standard ‘There Will Never Be Another You’.
I made a video of this improvisation and explained a little of what I was doing
at the beginning of the video. However I’ve been asked several times to explain
in more detail what is going on, so for those who like to be able to have a look under the hood, here is a score of the structure of the subdivisions
I used for the improvisation. This gets a little bit rhythm geeky, so if you’re
interested in that kind of thing then read on, and if not then just have a
listen to the video performance and hopefully you can enjoy it on pure musical
terms.<o:p></o:p></div>
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<div class="MsoNormal">
In this improvisation I set out to use asymmetric structures
of 5 and 7 and layer them across the very symmetric structure of this well
known standard. This creates constant movement of tension and release as the asymmetric structures cross the changes which are grouped in the conventional 4s and 2s. </div>
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The challenge is two-fold:<o:p></o:p></div>
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<br /></div>
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1. To hear the relationship between the 5s or 7s and the underlying 4, and hear how they move around each other</div>
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<br /></div>
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2. To make the voice-leading work over the changes while using the asymmetric groupings</div>
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<br /></div>
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Here's how the groups of 5 work over the tune. If you do the maths, the two patterns meet every five bars of the 4/4 meter. But of course the changes are based on eight-bar groupings, and the tune is thirty two bars long - a number not divisible by five without using decimals. So your ear has to be attuned to the many different ways the 5s relate to the changes as the tune goes on.</div>
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<br /></div>
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For example the form of this tune is ABAC, both A sections having the same changes. Well because of the asymmetry of the 5s, the subdivision will be different for the two A sections. Here's a comparison of the first four bars of both A sections:</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-ailz45Vub5g/XFdlA-feZKI/AAAAAAAACbU/jXijJfI13WIFqkmRqRzcli3RyvK1pIr8wCEwYBhgL/s1600/Never%2BBe%2BAnother%2BYou%2B5s%2B%2528xcpt%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="621" data-original-width="1600" height="155" src="https://2.bp.blogspot.com/-ailz45Vub5g/XFdlA-feZKI/AAAAAAAACbU/jXijJfI13WIFqkmRqRzcli3RyvK1pIr8wCEwYBhgL/s400/Never%2BBe%2BAnother%2BYou%2B5s%2B%2528xcpt%2529.jpeg" width="400" /></a></div>
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So here is the full tune, with the subdivisions of 5:</div>
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And here is the same tune, and same principal, this time with groupings of 7:<br />
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And here is the video I made which explains this a little and then demonstrates it. I want to stress that this is an improvisation, the notes I chose were not worked out in advance, I just practiced this a lot to enable me to hear the voice leading. I intersperse the 5s and 7s, with regular choruses and finish by improvising various combinations of 5s and 7s. Big fun!<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-21832488855744651722019-01-19T15:08:00.003+00:002019-01-19T15:16:54.649+00:00Jazz Shorts 3 - Billy Harper<div dir="ltr" style="text-align: left;" trbidi="on">
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In an era where globalisation is cutting a swathe across everything, including culture, uniqueness is a scarce commodity these days, both in life and indeed in music. Billy Harper is one of those unique treasures, a sui generis master who is not even close to getting the type of recognition he deserves. He has that quality of uniqueness and genuine individuality which is at a premium in contemporary jazz. Like all great tenor players before him, he can play just one or two notes and you know it's him.<br />
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Harper is from Texas and he has the sound that defines the Texas tenor. Listen to Arnett Cobb and especially Booker Ervin and you will hear the classic sound of Harper's antecedents, a dark, powerful wail, the signature tenor sound of a sonic tradition for which he has been a flag bearer for more than fifty years.<br />
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In addition to his sound, Harper is a saxophonist of formidable power and technique, and one who plays with the kind of intensity only found in players of the generation who came to the fore in the late 60s, and were around New York when the post-Coltrane ferocity was at its height. But another thing I love about Harper's playing is the soulfulness and indeed spirituality of it. There's a powerful cry in all his playing and he writes extremely direct and grooving pieces, perfect vehicles for his blend of power and passionate forward motion.<br />
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One of my favourite Harper albums, one I bought on LP as a Japanese import many years ago, and long unavailable, is 'Soran Bushi', and here he is on the opening track "Trying To Get Ready" where, after the typical Harper declamatory melody, he hurtles into a ferocious solo, riding the crest of the waves created by TWO great drummers - Horacee Arnold and Billy Hart. Check out the 2nd solo where he takes on both drummers single-handedly, and wins!<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com1tag:blogger.com,1999:blog-5526704657739088406.post-6042536759468423712019-01-06T08:21:00.000+00:002019-01-07T09:44:35.562+00:00Jazz Shorts 2 - Andrea Keller<div dir="ltr" style="text-align: left;" trbidi="on">
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I'm guessing that any Australian reading this will know who Andrea Keller is, and others from elsewhere may not. If you don't know her music, then getting to know it will be one of the better things you will do this year. Andrea is a pianist and composer, living in Melbourne, who is rightfully lauded in her own country as being at the forefront of jazz and creative music in Australia. Her output is prodigious and encompasses many different formats from conventional quintet, quartet and trio formats, to more unusual instrumentation and various solo piano approaches, including looping.<br />
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I first met Andrea in an almost accidental way on a gig in Scotland in the early 2000s where she was part of a collaborative project put together by two jazz resource organisations, and I loved playing with her and playing her compositions. I asked her to send me a recording of her music and she sent me <a href="https://andreakeller.bandcamp.com/album/thirteen-sketches" target="_blank">'Thirteen Sketches'</a>, which blew me away and I've been a diehard fan ever since. A couple of years ago I had the good fortune of having her play on my 'Shy-Going Boy' project, and again it was a great experience.<br />
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Andrea's music is multi-faceted and multi-layered. Her playing and writing has a freshness about it that shines through in every project she undertakes. As a pianist every note she plays is genuine and musical, and there is not one lick or superfluous gesture. She makes a beautiful sound on the piano, is lyrical and her music is both completely informed by the jazz tradition while moving outward from that into all kinds of other sound worlds.<br />
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It's great for Australia that they have her as part of the scene there, but while showered with awards there, it's a shame, due to the geographical distance between Australia and the other major jazz scenes in the world, that her music is not better known elsewhere. Her output is quite prodigious, so it's hard to suggest a place to start (you could start anywhere frankly), but as a taster I could suggest the <a href="https://www.amazon.com/Footprints-Shorter-Project-Andrea-Keller/dp/B07BSRZLQV" target="_blank">sublime solo piano album of Wayne Shorter's</a> music that she made, or the 'Thirteen Sketches' album I mentioned earlier. Here's 'Blue Arsed Fly' from that recording.<br />
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Check her out!<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-32684554936974123492019-01-02T16:58:00.001+00:002019-01-07T09:54:14.954+00:00NHØP - Still A Giant<div dir="ltr" style="text-align: left;" trbidi="on">
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Niels Henning Ørsted Pedersen, NHOP, passed away in 2005. With that passing the jazz world, and indeed the wider music world, was deprived of one of the greatest players of the double bass who ever lived. That last statement is not hyperbole, it's just a simple statement of fact. NHOP played the instrument at a technical level that has perhaps never been equalled. His intonation, finesse, speed, lightness of touch, sound - all were of the very highest level. In addition to that he had fantastic time, harmonic knowledge and could swing as hard as anyone. Yet these days, among the younger generation of jazz musicians in particular, he's often a forgotten man. How could it be that such a giant of the instrument, who performed at the very highest level with some of the greatest jazz musicians of all time, have so soon become almost a marginal figure?<br />
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Niels was born in Denmark in 1946 and became that rare thing in jazz - a child prodigy. He began playing and studying the bass at the age of thirteen, but only two years later, at the age of fifteen, was already playing professionally on the Danish jazz scene, accompanying great players from that scene, as well as with leading visiting jazz musicians. In terms of a teenager playing with the very greatest players, and more than holding his own, perhaps only Tony Williams is comparable in jazz. Here is Niels, at the remarkably young age of 16, playing with one of the greatest ever jazz pianists, Bud Powell. Although there is no solo in this, the great note choice and time feel is already there. Hard to believe that Niels was only playing for three years at this point!<br />
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It's worth taking a look at this point at a particularly Danish aspect of bass technique that undoubtedly helped Niels to become the virtuoso he was, and to play the way he did. One of the giant figures of Denmark's jazz and broader music scene was the extraordinary bassist, producer, and force of nature, <a href="http://isbconnect.org/erik-moseholm-bassist-jazz-strategist/#.W1w17NhKiV4" target="_blank">Erik Moseholm</a>. I was lucky enough to get to know Erik in his later years and he was an amazing man, and someone who studied bass with a legendary Danish bass pedagog called Oscar Hegner. Hegner had a method that involved unorthodox left hand fingerings, using a cross-stringing technique that was closer to modern bass guitar technique than to traditional classical double bass techniques such as Simandl. Erik Moseholm adapted this technique for jazz playing and when Niels' father was looking for a teacher for his prodigy son, rather than take him on himself, Erik recommended he study directly with Hegner. Hegner's method undoubtedly contributed to the stream of wonderful bassists who came from Denmark and Scandinavia (Jesper Lundgaard, Mads Vindig, Anders Jormin etc.) and there's no doubt that Niels benefitted from this revolutionary teacher.<br />
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Here's NHØP three years after the Powell video, age 19, in very heavy company - with Sonny Rollins and Alan Dawson, soloing on Oleo and already showing the beginnings of the ability that was to go on to make him one of the greatest bass soloists in jazz.<br />
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At this point his right hand technique is more conventional than it later became. Shortly after this video was made, he adopted a very unusual three-finger approach for pizzicato, starting phrases with the ring finger, followed by the middle and then index finger. It's a technically difficult technique to master, especially in trying to have a good time feel and give equal weight to each note. But it's one he mastered early on, and here he is again with Rollins, (with Kenny Drew and Tootie Heath - more heavy company!), just two years on from the previous video, and the three-finger technique is in full flow.<br />
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At this point, at the age of only 21, he was probably the pre-eminent bassist in Europe in the field of playing with great American masters of the tradition, the number one call in Europe for such giants such as Rollins, Ben Webster, Art Farmer, Lee Konitz, etc.<br />
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Given his virtuosity and comfort with the standard tradition, it was probably inevitable that he would end up playing with the biggest public name in that traditional world, Oscar Peterson. Originally hired as a last minute replacement for Ray Brown he played as a regular member of Peterson's trio from 1974 till 1987, and given the kind of marquee gigs that Peterson commanded, his time with Oscar gave him his greatest public exposure.<br />
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Although the music created by the meeting of two such virtuosi could become a little glib at times, in this next video, from 1974, you can see how suited Niels' technical brilliance and great time feel was to Peterson's world. Oscar doesn't even give him a chance to warm up, and Niels barely has the bass in his hands before Oscar launches into the quicksilver arrangement of 'Just Friends'. I don't think there was any other bassist of that time who could have played something this difficult, this relaxed. Check out the great walking time too<br />
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<span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">Around this time he also formed a duo partnership with Joe Pass and this was also a very popular pairing ensuring a lot of representation on Norman Granz' Pablo label, and copper-fastening him as one of the leading mainstream jazz bassists in the world.</span></span><br />
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<span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">And this was where his musical world was largely situated - in the standard repertoire, with swinging tunes and great players from that idiom. He made several albums under his own name, mainly for the Steeplechase label, and they did show some other sides of him, but he never strayed far from his traditional swinging jazz roots. Apart from his gifts as a straight ahead bassist, he also showed himself to be a great melody player and could play beautifully on ballads and Danish folk songs, (which he liked to play from time to time)</span></span><br />
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<span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">Here he is playing an exquisite version of 'Old Folks' with Joe Pass - his delivery of the melody is sublime in its lyricism, and the whole performance shows two masters playing as only masters can</span></span><br />
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<span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/w3xcVDyaj_w?start=386" width="560"></iframe></span></span><br />
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<span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;"><br /></span></span><span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">So since he was such a giant of the instrument and the music, how is it that he is such a marginal figure now? When I was young, myself and all the bassists of my generation would have named him immediately if asked to name the top five bassists in the world at that time. If you did the same today with young bassists, not only have many not heard him, but have never even heard <i>of </i>him!</span></span><br />
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<span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">In thinking about this I've come to the conclusion that his chronological situation in arriving when he did acted against him when it comes to the view of him for jazz posterity. Niels came to the forefront at an amazingly young age and was immediately playing with the great masters of jazz, all of whom were in their late maturity while Niels was in his teens. He played with them extensively as a sideman, but over the next twenty years or so they all passed away, leaving him playing more with his peers. But by the time this happened, in the late 80s/early 90s, the music itself had changed hugely, and Niels was not someone with the experience, (or probably desire), to play in more free environments, (though he did play with both Archie Shepp and Albert Ayler), in the post-Miles electric/fusion world, in the ECM leaning European jazz scene, or in the more complex rhythmic music that was gaining a toe-hold in the early 90s. He was in some ways a man out of time with his age.</span></span><br />
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<span style="color: #282828; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">If we look at the age group of other prominent bassists who came up around the same time we can see that many famous bassists were around the same age as Niels but played completely different music. Niels was born in '46, and here are the birth dates of other prominent bassists who dominated and developed contemporary bass playing for many years in the same period that Niels was most active:</span></span><br />
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Dave Holland ('46), Miroslav Vitous ('47), George Mraz ('44), Eddie Gomez ('44), Stanley Clarke ('51), Jaco Pastorius ('51)<br />
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This is a list of great contemporary bassists who covered a huge range of music between them, and even the most straight ahead of them - George Mraz - played with John Abercrombie's Quartet and with Dave Liebman's groups. Niels on the other hand played in a narrower stylistic area, and when the great figures of that music passed on, in some ways his role as the super sideman to the giants disappeared too and I think he struggled to find something new and relevant to do in his latter years. If you've played blues and rhythm changes with Sonny Rollins, Bud Powell, Oscar Peterson, Dexter Gordon, Ben Webster and Count Basie, how do you keep your interest and motivation playing that same material when they've all gone?<br />
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And his association with these great players as a sideman meant that he never really got involved in the contemporary jazz of his own time, nor recorded a groundbreaking album of his own, nor was part of a groundbreaking recording in the way that the other bassists mentioned above were. So when he passed at the shockingly young age of 59, his legacy passed with him in some respects. And since his recorded legacy is mostly as that of a sideman, his phenomenal playing is unfamiliar to those who weren't lucky enough to see him play while he was still around.<br />
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That's my theory for what it's worth.<br />
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But he should never be forgotten, because he still is one of the greatest jazz bassists of all time and played the instrument at a technical level, in the tradition, in a way that still hasn't been surpassed.<br />
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To finish, here he is in a casual masterclass situation, playing that hoariest of old chestnuts, 'Autumn<br />
Leaves' - the intro alone would be enough to ensure his place in the pantheon of the greatest instrumentalists in jazz<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-79035035056946615522018-12-28T07:47:00.000+00:002019-01-06T10:48:39.582+00:00Jazz Shorts 1 - Jimmy Hopps<div dir="ltr" style="text-align: left;" trbidi="on">
Jazz Shorts - a series of short posts about various jazz things<br />
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I wonder how many people reading this know who Jimmy Hopps is? Not many I'd guess, and it's a pity. Hopps was a great drummer who was very active in the late 60s and early 70s with people like Pharoah Sanders, Roland Kirk, Stanley Cowell, and later with Sun Ra. But I know him particularly from the albums he made with Charles Tolliver, the great trumpeter, who is still performing today.<br />
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My favourite recordings from this 60s/70s period are 'The Ringer' and 'Live at Slugs', both of which also feature Cowell, and either Steve Novosel or Cecil McBee on bass. Hopps' playing is so dynamic and forceful, he drives the music onwards and deals the cards throughout. There's nothing slick about his playing, but it has the drive and raw power typical of this period in jazz, and an intensity that's sadly missed these days. Both of the aforementioned albums are hard to get, but worth the effort.<br />
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Considering 'The Ringer' was recorded in '69, and given the normal lifespan of jazz musicians of this period, it's amazing that all are still alive and, with the exception of Hopps, still playing. Hopps withdrew from music and was last heard of traversing the Sahara with the Bedouin. How's THAT for a career change!<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-65417413099215838012018-07-28T13:03:00.000+01:002019-01-06T10:48:56.466+00:00Beautiful Aberration 2 - Coltrane Again<div dir="ltr" style="text-align: left;" trbidi="on">
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The more we know a musician's work, the more fascinating it can be to hear them do something they don't normally do. A musician stepping outside the area they normally inhabit is a risky undertaking, and these efforts are not always crowned with success - in jazz, think of the many dreadful attempts by musicians from an earlier era to make fusion albums in the 70's in an effort to catch a zeitgeist that they had no real feeling for and probably didn't even like.<br />
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Changes in musical direction are always risky, but one is usually on safer ground with changes in repertoire or changes to approach in your own repertoire. In a previous post <a href="http://ronanguil.blogspot.com/2011/09/miles-and-trane-two-beautiful.html" target="_blank">"Miles and Trane - Two Beautiful Aberrations'</a> I wrote about two instances in which both Miles and Trane played repertoire which they normally didn't play, both recorded in live performance situations. In these situations it's always interesting to speculate as to why they might suddenly play something different. And now I find myself speculating on another of these intriguing moments, again involving Coltrane.<br />
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It's no news to anyone in the jazz world, and many outside it, that a new, never before issued studio album by Coltrane's legendary quartet has just been released. Of course I bought it immediately - the version with the alternate takes - and have been listening to it a lot. Apart from hearing a new Trane original, which is fascinating in itself, the track that stood out for me is 'One Up, One Down'. And the reason it stood out for me is because it is arguably the only time, at least with the quartet, that Coltrane did what can clearly be seen to be an arrangement in the traditional sense.<br />
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Now of course Coltrane did arrange his pieces, with intros, altered changes (in the case of standards), and occasionally bass lines etc.. And he did create larger structures such as 'A Love Supreme', but in general his music with the quartet was largely developed through the improvising. In general the melody is played and then the quartet improvises. It could be argued that an earlier album, "Africa Brass", is also arranged, but it is a large group and the arrangements were apparently done by Eric Dolphy. With ''One Up, One Down', we are listening to a very unusual piece in the Coltrane recorded canon, a piece in which what will happen, and what order these things will happen, has clearly been decided by Coltrane in advance.<br />
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The first thing to notice on this track is that there are drum breaks. This is very unusual in the quartet's recorded output, in fact I thought it might have been unique, but the great drummer and true jazz scholar Eric Ineke pointed out to me that this was done on 'Blues to You' on Coltrane Plays the Blues, recorded three years previously. The second thing you notice is that rather than the breaks occurring at the end of the piece in the traditional way, they occur throughout the tune. And when you listen to how this works, you can quickly hear the arranging logic in how it's done.<br />
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Coltrane doesn't improvise for the drum break sections, he has created a little motif, a kind of shout chorus, to set up the breaks, and he uses the breaks passages themselves to set up the next solo. The breaks happen before the piano, bass and drum solos respectively, and again after the drum solo to set up the melody. So the structure of the piece is as follows:<br />
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1. Melody<br />
2. Tenor solo<br />
3. Shout chorus with drum breaks (3 cycles)<br />
4. Piano solo<br />
5. Shout chorus with drum breaks (2 cycles)<br />
6. Walking bass solo<br />
7. Shout chorus with drum break (1 cycle)<br />
8. Drum solo<br />
9. Shout chorus with drum break (1 cycle)<br />
10. Melody<br />
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I find it fascinating to speculate on the way the number of shout/break chorusses diminishes as the piece goes on. Was this accidental or deliberate? A function of improvising, i.e just the way it happened on the day, or part of a predetermined plan on Coltrane's part? Knowing what we know now about Trane's meticulousness and interest in numbers and structures, I would be very surprised if the reduction in the number of cycles was not predetermined. But if it was a deliberate plan, then what was the underlying reason for it? Fascinating to speculate.<br />
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Another speculation of course, is why did Trane decide to do this quite elaborate arrangement, and why only this one time?<br />
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A further speculation, where did he get the drum break interlude idea from? Here's some speculation on my part - from an album released in 1962 under Elvin's name called <a href="https://www.allmusic.com/album/elvin%21-mw0000180674" target="_blank">'Elvin!'</a> This is one of the few albums with the three Jones brothers on it, and Thad's arranging fingerprints are all over it. Thad is of course known for his big band writing, but I love small group recordings under his name or in which he has a hand in arranging, they demonstrate that brilliant arranging can enliven recordings of any band, regardless of size.<br />
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On two tracks on this album, 'Lady Luck' and 'Pretty Brown' the drums are used in many different ways - for intros, and also interspersed between melody statements and solos. I don't think it's too much of a stretch to imagine that Trane with his insatiable musical curiosity, and respect for other musicians, checked out the albums of his sidemen. Could he have perhaps checked out Elvin's album and made a mental note of how Thad used the drums in the arrangements, and a year later used that idea himself in his own piece? We'll never know, but I think it's a decent guess. Here are the tracks I mentioned from Elvin's album (which is all great by the way!)<br />
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And here is 'One Up, One Down'. The arrangement really works and creates a concise piece with a powerful forward motion. And of course the playing.... Elvin is just incredible on this - the power, the fearlessness, the swing! I wish Trane had tried this experiment a few more times, but I feel lucky to have had the chance to hear it at all.<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-5343749798847011932018-01-28T15:36:00.001+00:002019-01-06T10:48:56.462+00:0011 Great Bass Solos!<div dir="ltr" style="text-align: left;" trbidi="on">
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Several years ago I wrote a post <a href="http://ronanguil.blogspot.ie/2009/10/when-drums-stop-big-trouble.html" target="_blank">about bass solos</a>, called 'When Drums Stop, Big Trouble', which referenced a well known joke about bass solos and got into some discussion of bass soloing. I more recently wrote about the electric bass culture of virtuosity that has appeared in more contemporary times. To complete the now stereotype/cliched trilogy, here's a post which just simply celebrates great bass solos. I chose them in no particular order, and there are of course many more, both by the people mentioned here and many other great players.<br />
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Because it's a piece about bass solos, I've started some of these tracks at the solos themselves. But I would of course encourage you to listen to the pieces in full.<br />
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<b>Eddie Gomez</b> - Autumn Leaves<br />
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One of my favourite recorded bass solos. Gomez' style of playing is somewhat out of favour these days (though not with me...) - a lot of high register playing, and a low action. But I love his lyricism and the individuality of his sound - you'd know him anywhere. On this track he displays a ferocity of attack that's not often associated with him, but was a feature of his earlier playing with Evans. This track is a tour de force. Drummer Marty Morell's accompaniment is model of how to accompany a bass solo - intense, swinging, but not too loud.<br />
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<b>Renaud Garcia-Fons - Baja De Guía</b><br />
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Renaud Garcia-Fons has created a bass language and sound all his own. Playing a five-string double bass, combining Spanish and Middle-Eastern influences in a very personal way, and applying his ideas to a superhuman technique on the instrument (the intonation!), he really is a one-off. Here he gets into a full blown Buleria for solo bass. Just extraordinary - listen to how he keeps the Buleria clave with his feet.....If you don't know him check out his music - he has some other great videos on Youtube.<br />
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<b>Paul Chambers</b> - Softly as in a Morning Sunrise<br />
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The difficulty with PC solos is which one to pick... Every solo he played defined bebop bass soloing. The time feel, the lines, the articulation. In my mind he is to bebop bass soloing what Sonny Stitt is to bebop saxophone, representing a kind of perfection that distils all the qualities of the genre into every solo. I could have picked any of the dozens of recorded PC solos and had as good a representation of great jazz bass soloing as is represented by this. One of the all time greats.<br />
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<b>Dave Holland - </b>Mr PC<br />
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One of my biggest influences and of course one of the greatest living jazz bassists. The list of his achievements in bass playing and music in general is really phenomenal. Among those achievements would be the development of the idea of solo bass performance - both live and on record. <a href="http://ronanguil.blogspot.ie/2009/03/listening-again-to-emerald-tears.html" target="_blank">I wrote previously about 'Emerald Tears' </a>, the ground breaking solo album he made in 1977 - it demonstrated a whole new concept of the bass as a solo instrument in its own right, one that didn't have to mimic a saxophone in order to have credibility in soloing. This is a live performance of 'Mr. PC' a piece dedicated by Trane to Paul Chambers and here given a classic Dave Holland workout where the whole instrument is used, the time is flawless and technique is pushed to the limit. Another giant.<br />
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<b>Anders Jormin</b><br />
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Anders Jormin is another giant - literally and figuratively. Yet though he's a big man who plays a big instrument, he does it with extraordinary delicacy and finesse. His technique on the instrument is effortless and his playing has such an elegance to it. You can see it here, taken from this wonderful concert in the forest with Bobo Stenson's trio, where from the opening false harmonics to the beautiful chordal passages and deep lyricism, he sets up the following waltz beautifully. And what a sound.....<br />
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<b>Michael Pipoquinha - </b>Incompatibilidade De Gênios<br />
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If you've read my post about current trends in electric playing you'll know that while I admire the extraordinary technique that's been developed by the younger generation of bassists, I'm often left wishing they'd play some decent music in which that technique is put at the service of the music. The young Brazilian bassist Michael Pipoquinha is someone who does exactly that. A phenomenal technician he also is a great improviser whose playing always reflects joy in every note he plays. I love this video, taken at a soundcheck somewhere, with the great Romero Lubambo, playing a classic Joao Bosco song. Incredible bass playing in every sense.<br />
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<b>Niels Henning Ørsted Pedersen - </b>Oleo<br />
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NHOP redefined what was possible technically on the bass when soloing in the traditional swing idiom. When he developed his right hand, three-finger technique he raised the technical level of upright bass soloing to undreamt of heights. In this video, recorded with Sonny Rollins and Alan Dawson, in 1965, NHOP more than holds his own with these two giants despite being only 19 years of age! He hadn't developed the three-finger technique yet and in a way I prefer this period where his youth and exuberance was allied to an already incredible technique, but not to the point where the technique distracted from the music. Completely burning!<br />
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<b>Jaco Pastorius - </b><u>Havona</u><br />
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There's not much more to say about Jaco that hasn't already be said. In his tragically short career he created a completely new way to play the electric bass and created great music to go with it. 'Havona' is one of the classic tracks where the instrumental playing and the subsequent music are of the highest calibre. It's a track known by pretty much every electric bassist worldwide for the past thirty years. All Jaco's great qualities are here - the sound, the groove and the fluid technique. Allied to these qualities are the lyricism which he so often displayed, (and is often unremarked upon), and his sense of humour. I've always loved the sneaky Stravinsky quote at the beginning of the solo.<br />
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<b>Ray Brown </b>- Things Ain't What They Used to be<br />
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Like Jaco - there's not much new you can say about Ray Brown at this stage. And when he's playing something like 'Things Ain't What They Used To Be', there really is nothing to say - it's all here in the music - the sound, the swing, the groove, the power......... (I said it anyway!)<br />
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<b>Linda May Han Oh</b> - Power Ranger<br />
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One of a clutch of great bassists on the contemporary jazz scene, I saw her play live recently for the first time, playing with Pat Metheny, and was blown away by the completeness of her playing. She really is the complete package for a modern jazz bassist and is a particularly strong soloist. What I love about her solo here is the way she deals with rhythmic motifs. The bass in jazz is ultimately a rhythm instrument and to use this aspect of it in soloing should be more common than it is. I really admire the way she takes this element and runs with it to create a really powerful solo. I know, having been lucky enough to have had the experience myself, that Joey Baron is one of the greatest drum accompanists to a bass solo, and you can hear that here too.<br />
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<b>Mingus - </b>Tensions<br />
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This may seem an odd statement, but I do think that Mingus is underrated as a bassist. His achievements as a composer and his notoriety as a controversialist has I think distracted from his incredible bass playing. I think the album 'Blues and Roots' has an unparalleled collection of great bass solos on it - these are in my opinion not just some of Mingus' finest solos, but some of the finest jazz bass solos ever recorded. Particularly the solo on 'Tensions' which has so many extraordinary features, like the way he pulls the string off the neck in the intro, accompanies his own solo, and finished with that great series of glissandos. Mingus was a bass giant, and let's never forget it!<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com1tag:blogger.com,1999:blog-5526704657739088406.post-76102935631619155142018-01-07T09:40:00.000+00:002019-01-06T10:49:34.990+00:00The Beauty of Ambiguity<div dir="ltr" style="text-align: left;" trbidi="on">
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I love ambiguity. I love it in art of all kinds and in most situations in life. Looking at something, or listening to something that can be preceived in more than one way is something that's very attractive to me. I would much rather have my perception challenged rather than constantly confirmed, would rather be made to think about what I'm seeing, or listening to, or sometimes even what I'm eating, (food can be as ambiguously multi-layered as music or theatre, or literature), than knowing about it in advance. Certainty has its attractions of course - one doesn't want any ambiguity when one is getting on a plane for example, certainty wins hands down in that case, every time.<br />
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In general humans are more comfortable in a known environment than in an unknown one. There is a feeling of safety in the known, and in finding your comfortable place in any social situation. This is an evolutionary facet of our humanity and is a construct of our pack animal instincts. This also manifests itself in music, where the known is in general much more popular than the unknown. For much more on this subject, you can read this fascinating book - <a href="https://www.amazon.co.uk/Music-Instinct-Works-Cant-Without-ebook/dp/B005VQGH1Y/ref=sr_1_1?ie=UTF8&qid=1514649327&sr=8-1&keywords=ball+the+music+instinct" target="_blank">'The Music Instinct: How Music Works and Why We Can't Live Without It'</a>, by Phillip Ball.<br />
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Much music that's popular around the world has little or no ambiguity in it. What you see, or in this case what you hear, is what you get. Which is fine for those that want that, but music which is not obvious gets a very raw deal these days. To some degree it always has, but currently the marketplace has such a stranglehold on popular music that even the limited amount of ambiguity and nuance that previously existed in popular music, has been eradicated as the A&R men and record labels of old have been replaced by institutions that have zero interest in the quality of the product that they host - such as Apple and Spotify. Never has the lowest common denominator been lower than it is now. When something as bland, predictable and dull as Ed Sheeran's music is feted by multitudes, then you know we are definitely in the era of the ordinary, where the obvious is lavishly consumed, and music that has any individuality and danger to it is resolutely pushed to the margins.<br />
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But despite its current unpopularity, ambiguity in music should be defended, and resolutely defended! Nuanced thinking, and listening is important, perhaps never more important than it is in these days of lies, spin, mindless consumerism and addiction to technology.<br />
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There are so many examples in art of ambiguity, features that make you think, that leave it up to your own imagination and personal outlook and experience as to the meaning of something. Neither in nor out, black nor white, happy or sad - it's this in-between world that is the most fascinating to me. When something can be seen in many different ways. Think of Kubrick's '2001', or David Mitchell's '<a href="https://www.amazon.com/Cloud-Atlas-Novel-David-Mitchell/dp/0375507256" target="_blank">Cloud Atlas</a>'. Or any art in which allegory is used. In any true world of ideas, ambiguity has to play an important role.<br />
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I was raised listening to modern jazz, and classical music written around 1880 and onwards, and I was exposed to ambiguous music from an early age, and I didn't hear pop music until I was 13 or so. I've been primed since a young age to appreciate music that could be heard in many different ways. Music can be ambiguous in several ways, but the most common would be harmonically or rhythmically.<br />
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Western art music has had ambiguity as part of its makeup even in its earliest manifestations as church music, and some of the harmonies from medieval times can be startling to the ear accustomed to the later codification of harmony in the baroque and classical periods. In the late 19th century the use of dissonance and clouding of key centres came to the forefront of contemporary classical music via Debussy, Ravel, Stravinsky and Bartok. I'm not sure about including someone in this list that might seem to fit the ambiguous bill - Schoenberg. For me Schoenberg's most celebrated works move outside tonality to such an extent that the ambiguity is lost. In the same way that relentlessly consonant music can become cloying after a while, constant dissonance can become aurally monochromatic. For my taste you need the contrasting worlds of both consonance and dissonance in order to allow ambiguity full play in the music.<br />
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Here's a fantastic example of the unsettling effect that ambiguous harmony, and in this case tonality, can have on the listener. This is Bela Bartok's 'Boating' from Volume 5 of his <a href="https://www.naxos.com/catalogue/item.asp?item_code=8.557821-22" target="_blank">Mikrokosmos</a>. The naive childlike three-note figure of the opening is immediately questioned when the right hand plays in a completely different tonality to that of the left. Suddenly we are in a different world, where nothing is certain and one can hear the music in many different ways.<br />
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The nursery rhyme opening quality of the opening is challenged almost immediately and the result is unsettling. Of course this kind of ambiguity has long been used by film composers for horror and suspense soundtracks - a childlike song given ominous overtones by the use of dissonance in conjunction with consonance. Film composer's are no fools and have always appreciated the effectiveness of using musical ambiguity to create emotional nuance.<br />
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In this next example Coltrane takes the simple song 'Chim Chim Cheree' from Mary Poppins and takes it into a world never envisaged by the Sherman brothers who composed it. The opening see-sawing chords played by McCoy, and the polyrhythmic carpet created by Elvin set the scene for a glimpse of a much darker aural landscape than is the norm for this piece. And in blending the familiar with the unfamiliar in this way Trane allows us to experience a mysterious atmosphere that is just not available in the <a href="https://www.youtube.com/watch?v=k_mpaF5-SlU" target="_blank">very consonant original</a>.<br />
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As Trane's music evolved in the 60s he moved further and further away from any form of traditional consonance and again, for me, the ambiguity and mystery gets lost as the dissonance increases. We move from a world of either/or, to one of certainty - though admittedly the certainty that Trane was proclaiming in his final years was far from traditional.<br />
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Another aspect of ambiguity that is found in this piece is that of rhythmic ambiguity. Elvin is suggesting an underlying pulse of two and three simultaneously, while placing a triplet based tattoo on top of that. This polyrhythmic ambiguity is one that originates in much West and North African music, and is a feature of nearly all African-American music. But it is not always as explicitly stated as it is in 'Chim Chim Cheree', and this rhythmic nexus provides the listener with an additional enigmatic musical landscape to explore.<br />
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The three and two polyrhythm can be extremely unsettling at times. Here for example Karim Ziad - a drummer originally from Algeria, now living in Paris - performs 'The Joker', a piece based on the dance rhythms of North Africa and which uses this 3/2 contradiction to great effect, both in the underlying groove to the melody, (which itself always has a slightly off-kilter relationship to the groove), and in the drum breaks that open the piece and punctuate the melody. As listener you are constantly torn between the two rhythm and the three, and the way the three rhythm is subdivided and accented adds to the tension between both rhythmic poles.<br />
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Miles Davis was of course the king of mystery and ambiguity. And I think this reached its apogee in his music in the second great quintet, with Wayne, Herbie, Ron and Tony. And in the recordings of that group, 'Live at the Plugged Nickel' probably represents the pinnacle of this way of playing. But I'd like to use an example from one the studio recordings that ably demonstrates how well they used both rhythmic and harmonic ambiguity. This is 'Footprints', now of course a classic tune, almost cliched in how often it's played, and often badly played at that. But here it's at its freshest, and is creatively light years away from the usual repetitive, boring versions we are condemned to hear so often at jam sessions. It is after all a simple 3/4 minor blues, (albeit with a haunting melody), but here the quintet not only, via Herbie's comping and Miles and Waynes' solo lines, show a huge range of harmonic colour and contour, but also move between a three pulse and a four pulse with great agility, and sometimes are playing both at the same time, in a spectacular demonstration of how imagination can creatively expand even the simplest material<br />
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This period of jazz, with Trane and Miles, and others from this time, is for me the era where the full flowering of the use of ambiguity in both harmony and rhythm was at its peak. The fierce contradictions so often found in this kind of music became less pronounced in later decades, 80s fusion music definitely had a deadening harmonic effect on it, and the Young Lions movement harked back to the Hard Bop era where the music was perhaps more obvious. Perhaps the harmonic and rhythmic tensions in the music of the 60s and 70s was more appropriate to the political and social ferment of those times, and is less representative of the control freakery of our times. I must admit that I do find that a lot of contemporary jazz, while it has explored rhythm in new ways, is often very dull harmonically - lots of static melodic minor harmony or else indie-rock influenced two or three-chord plodding. In the 70s we seemed to be at a point where harmony was pushed to chromatic breaking point, and sometimes did get broken and explode into the atonal. That moment where the tension between tonality and atonality, and between seemingly competing rhythms, becomes almost unbearable, this is where the beauty of ambiguity shines through the most.<br />
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I'm very conscious of this in my own music and here is an example of that. This is a through-composed piece, with no improvisation, based on a Chorinho - a Brazilian song form which is very consonant and based on typical cyclic chord movement. Performed here by <a href="http://izumikimura.com/" target="_blank">Izumi Kimura</a>, the Chorinho melody is repeated over and over, while a commentary takes place in whichever hand is not playing the melody. This commentary is completely at odds with the bouncy diatonic melody. The counterpoint to the melody is both rhythmically and harmonically at variance with the main theme throughout, and ones ear is drawn in different directions all the time.<br />
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That pull between the two polarities of consonance and dissonance, between the various rhythms, is the quality of ambiguity that appeals to me so much in music. Either or, this or that - we need more mystery in our lives, in our art, and definitely in our music - I'm searching for it all the time.....</div>
Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-9261140403308139312017-06-10T00:21:00.001+01:002019-01-06T10:49:48.084+00:00The Music of John Adams (for Jazz Musicians!)<div dir="ltr" style="text-align: left;" trbidi="on">
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I have a feeling young jazz musicians don't listen to classical music as much as did previous generations. In talking to young musicians I find a lack of awareness of classical music which is quite different from people of my generation and earlier. Jazz players have traditionally had a good knowledge and relationship with great composers. 20th Century music particularly appealed to the modern generation of players, Bird loved Stravinsky, Miles admired many composers, everyone loved Bartok.... You can hear the piano music of Ravel, Debussy and others informing the pianism of Bill Evans, Herbie Hancock and Chick Corea. etc. etc. And of course there was the so-called 'Third Stream' which attempted a fusion between the modern wings of both musics.<br />
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So it's an interesting phenomenon to see the relative lack of awareness of classical music among young jazz players these days. Of course some are listening to it, but in general I've found there to be a downturn in the classical listening habits of young jazz musicians in recent years.<br />
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Which is a pity, because there is so much great composed music out there, ready to inspire and elevate anyone who cares to listen. The purpose of this post is to introduce people, particularly jazz musicians, who care to check it out, and who may be unaware of it, to the music of the great American composer <a href="https://www.earbox.com/" target="_blank">John Adams</a><br />
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Adams is an incredibly successful contemporary composer with a vast output, and one that happily is increasing every year. He has a huge expressive range, from taut minimalism, to opulently orchestrated pieces, many operas and oratorios, concertos, and chamber music of various kinds, the latter having been greatly expanded in recent years.<br />
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In 2007 I had the good fortune to be asked to be Artistic Director of that year's RTE Living Music Festival and had the wonderful task of programming a weekend of music whose main theme was Adams' music. I listened extensively to his output at that time and put together a programme that featured many of his works paired with jazz pieces. I felt this was particularly apposite given the nature of his music and the overtones, particularly rhythmic, of so many contemporary music styles which are contained within his compositions. Adams is a completely equal opportunities guy when it comes to the influences he welcomes into his music, and I can hear jazz sensibilities in much of his music along with other vernacular American styles.<br />
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This is not to say that Adams composes jazz music - he doesn't. Nor does he compose those dreadful hybrid pieces which stick what the composer imagines to be 'jazzy' passages onto his or her 'serious' work. These pieces are usually a dog's breakfast, with none of the rhythmic vitality of jazz or any of its improvisational flair. To me it always feels like the composer is slumming it, or 'letting their hair down' for a minute, and putting the serious work away in order to get down with those dissolute jazz guys. It always smacks of tokenism and condescension. And the music is usually dire too.<br />
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But Adams is different. In 2007, as part of that festival AD gig, I got to meet him and hang out with him for an hour or so. In talking to him, (and in reading his autobiography later), it became clear that here was someone who genuinely listened to, and had a knowledge and admiration of jazz, and rock, and bluegrass and many other American musics, as well as music from other parts of the world, and this widespread listening found its way into his music in many ways, and always in a very organic way. I admire him hugely as a composer and as a person - he is one of the most erudite musicians I ever met and if you look at any interview with him you will see someone who is both witty and knowledgeable about all kinds of things, not just music. His music is all of a piece with him as a person, and this clear connection between the man and the music is one of the characteristics that one so often finds in jazz. Despite the immense control of the music and the technical detail that he has, the music somehow always feels natural and organic and with an air of spontaneity about it. I think the reasons for this relate to how he has absorbed all his influences both from classical music and the many other musics he enjoys, and fused all of that into a personal language that is immediately identifiable.<br />
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As I said, he has a huge output, but I wanted to focus on some pieces that I know, as a jazz musician myself, will appeal to other jazz musicians. I've trawled Youtube to try and find good examples of these pieces and have not used the original recordings in order to stay on the right side of copyright law, and to stay on the right side of my own beliefs. If you see something here that you enjoy, please do buy the commercially available recording, it will help the serious music industry at least a little, will support the work of a great composer, and of course the sound will be one hundred times better than on the crappy Youtube compressed version you're listening to here!<br />
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<b>Lollapalooza</b><br />
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A massive groove piece for orchestra! As a bassist I love the deep riffs he uses throughout this piece. Check out the typically brilliant orchestration too.<br />
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<b>Eros Piano</b><br />
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This is an interesting piece, not one of his better known ones - composed after a hang with the great Japanese composer Takemitsu and the discovery of their shared love for the music of Bill Evans. It's a very reflective piece with some gorgeous voicings in the piano and beautiful textures in the orchestral writing.<br />
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<b><u>John's Book of Alleged Dances - Dogjam</u></b><br />
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This is a movement from his composition for string quartet and pre-recorded prepared piano accompaniment. Although this clip isn't great visually, it had the best balance I could find between the recorded accompaniment and the live playing. Great off-kilter grooves in this composition and great string writing. I listen to this work a lot!<br />
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<b>Saxophone Concerto - 2nd Movement, arranged for piano and saxophone</b><br />
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To be honest I find classical saxophonists' tone difficult to live with aurally. It always sounds closer to some form of oboe than the extraordinarily expressive instrument we know from jazz, and with the huge range of tone of its great players. The video here is of the 2nd movement of Adams' Saxophone Concerto arranged for piano and saxophone, and although the saxophone sound is the aforementioned classical one, there's much here to enjoy for the jazz musician - for example the sheer virtuosity of the playing and the very hip rhythms that inhabit the piece throughout.<br />
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<b>Gnarly Buttons - Clarinet Concerto, 2nd movement</b><br />
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Another example of Adams' brilliance at coming up with titles for his pieces, and another favourite of mine - fantastic writing for a very unusual instrumentation that includes electric keyboard and banjo! This clip is good, but do check out the commercially available recording for a proper listen to the intricate detail of the orchestral writing and the properly gnarly clarinet part! Adams was himself a clarinetist at one point and you can hear the knowledge of the possibilities of the instrument shine through in the writing<br />
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<b>Scratchband</b><br />
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And finally a piece that has, as far as I know, not been commercially recorded. This audio comes from the concert given at the 2007 RTE Living Music Festival by the London Sinfonietta. I deliberately programmed this piece because I think it's a fantastic piece, full of groovy rhythmic complexity and I know jazz guys will recognise the kinds of things that go on in contemporary jazz these days in that netherworld between funk, jazz and mathematics. And check out those electric guitar and bass parts - killer! I've only included a minute or so of this, because it's probably not legal to have it on here, but hopefully RTE and Adams and the Sinfonietta will forgive me for my 90 second transgression - as I said the work is not commercially available (I wish it was....), and I do it with the best possible motives!<br />
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There's so much more great music from Adams, not all as immediately connected to jazz as these pieces, but always brilliantly written and very profound in so many ways, and if this is your first exposure to his work, I hope it will serve as the gateway to many happy hours of listening pleasure and inspiration<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0tag:blogger.com,1999:blog-5526704657739088406.post-39537737709970485242017-05-31T23:02:00.000+01:002019-01-06T10:50:24.598+00:0021st Century Bebop?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "times" , "times new roman" , serif;">A jazz schools question - should we be teaching traditional jazz skills and repertoire in the 21st-century? This is an endless subject of discussion wherever jazz educators foregather. In February last I was asked to give a short talk on this subject at the Association of European Conservatoire's Pop and Jazz Platform conference in London. This post is an extension of some of the ideas that I talked about on the day.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">In a musical world which has moved away from traditional jazz repertoire, at least as far as the vast majority of the general public is concerned, what is the relevance or otherwise of these skills - playing standards, playing changes, playing common repertoire, the swing idiom etc. etc. ? Why, the question is often asked, should we spend so much time teaching a type of music that hasn't been popular for over 60 years? What is the relevance of standard repertoire in the 21st-century, and are we holding onto this type of teaching out of some misguided sense of loyalty to the past? The question is particularly asked in Europe, and other schools outside of the USA. The vast bulk of traditional jazz repertoire comes from the music and the experience of the African-American community in the United States. As Europeans, (or Asians or Australians etc.), why should we learn this music, that grew out of a set of social circumstances a long time ago, in a far away country, and from a society of which we are not part? What is the contemporary artistic relevance of learning music created by people from a different culture, from a different period in time? What is the professional relevance of teaching students rhythms and repertoire from music that has little currency on the contemporary professional music scene?</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">I used the word 'bebop' in the title here, and this word was also used in the title of my talk at the AEC, but in using that word I don't mean to limit the music under discussion to the period of the 1940s, but rather to look at the broader field of the jazz tradition - the one that contains both Broadway songs and jazz standards, the music of Charlie Parker, Miles Davis, John Coltrane, Thelonious Monk, Wayne Shorter etc. etc.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">For myself, I really do believe in the relevance of teaching this music, and the importance to any programme, that uses the word 'jazz' in its title, of giving the students access to the skills and ethos required to play music from the jazz tradition. I don't think there is any one reason to continue to teach this repertoire in jazz schools, but many reasons. I would list the value of working with this repertoire for aspirant professional performers under three headings - as a portfolio of skills, as a connection to a musical tradition, and as exposure to some of the highest levels of musical thinking and musical philosophy of the past hundred years.</span><br />
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<b><span style="font-family: "times" , "times new roman" , serif;">As a Portfolio of Skills</span></b><br />
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<span style="font-family: "times" , "times new roman" , serif;">The traditional skill set required to play jazz contains many varied yet interconnected skills that are of immense benefit to any aspirant young musician who wants to learn the craft of music performance. This skill set is eminently transferable - skills acquired in the study of jazz are, in one way or other, of use in almost any music you care to name. In order to improvise over changes, in an ensemble, in the jazz idiom, you need a command of a wide variety of skills. You need a very good technique on your instrument, you need a thorough knowledge of harmony, you need to be able to read music, (notation and chord symbols), you need really good ears and an ability to identify and process aural information in real time. You need very good time, a thoroughly developed sense of rhythm and rhythmic nuance, and an ability to create rhythmic phrases that make instant sense both to you and to your bandmates. </span><br />
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<span style="font-family: "times" , "times new roman" , serif;">In order to improvise convincingly over the progression you need to develop a sense of form, to know where you are in the tune at all times. Allied to this is the ability to develop musical memory, to be able to keep large amounts of musical information in your mind and spontaneously use it to create music of the moment. You need to be able to listen deeply and respond instantly to musical cues and information created by your ensemble colleagues. Allied to the learning of these skills are the tangential skills often taught as part of a jazz programme - arranging, theory, transcription, composition etc.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">So - technique, aural training, harmonic knowledge, rhythmic skills, reading skills, musical memory, deep listening, understanding of form and the ability to instantly create melodies over moving harmony. All of these are necessary in order to able to be able to play standard jazz material. This is a serious set of skills for any musician venturing into the professional music world, and some or all of them are transferable into any kind of musical situation you may be find yourself in.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">If a jazz school were to remove the requirements to learn this repertoire, then, from a professional skill-set point of view, what would they replace it with? I cannot think of any other form of musical training, including classical training, that provides such a range of transferable skills.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Sometimes the question is asked, 'why are we training students to be bebop players when the music has changed so much?'. Well the answer to that is - we're not! Four years in a jazz school will not turn you into a bebop musician - like any deep tradition, the skills necessary to become a master of this idiom require many years of training, experience and immersion. Four years of jazz school will only allow you to scratch the surface of what it takes to be a convincing bebop player. Anyone who thinks that teaching bebop skills to students will turn them into bona fide bebop players within the time span of an undergraduate programme has a complete misunderstanding, and probably lack of respect for the jazz tradition. What we can give them, via bebop, are the tools for the professional performance world, we can't turn them into convincing bebop players - the decision to undertake the years of extra work needed to achieve that is completely the students' decision, and will happen after school, if at all.</span><br />
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<b><span style="font-family: "times" , "times new roman" , serif;">It Connects Students To A Tradition</span></b><br />
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<span style="font-family: "times" , "times new roman" , serif;">The argument is often made that if you're playing improvised music influenced by jazz, but are not American, or not African American, or weren't born in the USA between 1930 and 1970, you can claim to not be part of the jazz tradition. I've heard this, or variants on it, so many times - 'I wasn't born in Chicago in 1950/I'm from Berlin/I don't play standards' - all used to explain why the jazz tradition, as commonly understood, has no longer any relevance for the musician making the statement. However, to imagine that because you were born outside the USA, or at a different time to the common practice period of jazz, means that you stand outside the tradition is an argument that doesn't stand up as far as I'm concerned. If you're playing in a group that has bass and drums in it, and the group improvises, you are fundamentally connected to the jazz tradition, since the concept of the rhythm section (i.e. at least in its most pared down form - bass and drums), evolved in jazz groups. That alone connects you, as does improvising over moving harmony in a rhythmic format influenced by the African-American rhythmic tradition - i.e grooves of any sort. The social nature of group improvisation is also predicated on jazz traditions and practices - when the band are collectively improvising, you are connected to the traditions and practices of jazz.</span><br />
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<i><span style="font-family: "times" , "times new roman" , serif;">(John Adams)</span></i><br />
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<span style="font-family: "times" , "times new roman" , serif;">I think there's a corollary to this argument about whether a non-American can be connected to the jazz tradition, and that's in classical music. Although classical music is an art form that developed and evolved in Europe, American composers have created a huge body of work that is immediately identifiable as having a vernacular all of its own. Aaron Copland, Samuel Barber, Steve Reich, Elliott Carter, Conlon Nancarrow and John Adams have all produced music that is quintessentially American, and that would never have been written by European composers. Yet their music is unimaginable without the great tradition of European classical music that preceded it. Their music is resolutely American, yet part of the larger classical music tradition. In a similar way a European musician (or a musician from any other non-American country), can produce jazz music that is representative of their background and culture yet remain connected to the jazz forms that preceded it.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">And what is the benefit to the student of being part of that tradition - of feeling part of it? Well first of all, let's face it, the desire to play improvised music in contemporary society makes you almost an automatic outsider. Contemporary society is a very hostile environment in which to try and be a creative improvising musician. Isn't it reassuring for a young person coming into this music to feel part of something bigger, that stretches back into the past, encompasses some of the greatest musicians of the 20th century and provides a context in which they can feel that they are contributing to a continuum? I grew up in Dublin in the 1960s yet feel completely connected to the jazz tradition and its something I'm proud to be part of. I find it reassuring that the work I do has a connectedness to the work of other musicians spanning a hundred year period and across many countries, races and nationalities. To put it simply I feel very fortunate to work in an idiom that contains giants like Thelonious Monk and Charlie Parker, as well as Europeans such as Django Reinhard and Jan Garbarek, Canadians such as Oscar Peterson and Paul Bley, Abdullah Ibrahim from South Africa and Danilo Perez from Panama.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">It Exposes Students To Deep Musical and Philosophical Thought</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-SnmxU08FfyA/WS8x2rX-sxI/AAAAAAAACPs/I0pFdC-c5dM9m2YIfSR7EglG1TXrI4UKwCLcB/s1600/philosophy1small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="403" data-original-width="1000" height="128" src="https://2.bp.blogspot.com/-SnmxU08FfyA/WS8x2rX-sxI/AAAAAAAACPs/I0pFdC-c5dM9m2YIfSR7EglG1TXrI4UKwCLcB/s320/philosophy1small.jpg" width="320" /></span></a></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="background-color: white; color: #333333; font-size: 14.16px;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: small;"><span style="background: white; color: #333333; font-family: "times";">I often think that jazz
schools spend too much time explaining jazz history as a linear construct, ('and
then in 1945.... etc.), and not enough time exploring, with students, the
aesthetic and philosophical thought that underpinned some of the greatest music
created in the 20th Century. The men and women who created the jazz tradition
were largely an underclass, second class citizens in their own country, and yet
they created one of the great musical art forms and shared it with the
world. Sometimes, unfortunately, there is an unspoken belief that these
musicians were producing this music without any analysis or
musical/philosophical underpinning for what they did. However, even cursory
research, reading of interviews etc. reveals people for whom the aesthetic and the seriousness of what they were doing was all-important. The giants of the music
were deep thinkers and full of wisdom about music and its importance in their
lives, and by extension, in the wider world of thought, art and ideas. Over the
years there has been so much great thinking expressed by these musicians that
is both inspiring for young musicians to read, and extremely helpful to them in
charting their own course in the bumpy ride that is creative music. The
way the ideas are put are sometimes mysterious and sometimes opaque, but this
adds to value of these utterances since the reader is called upon to make their
own judgement of what is being expressed. In order to interpret some of the utterances delivered by the jazz greats, critical thinking is called upon - another valuable process for the young musician to be involved with.</span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-size: small;"><span style="background: white; color: #333333; font-family: "times";">Here is a sample of some of the musical wisdom imparted by some of the great
musicians of the jazz tradition over the years - very
valuable thoughts which all young creative musicians should be exposed to as
part of any jazz programme</span><span style="color: black; font-family: "times";"><o:p></o:p></span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-size: small;"><span style="background: white; color: #333333; font-family: "times";"><i>'Invest yourself in everything you do. There's fun in being serious'</i> - John Coltrane</span><span style="color: #333333; font-family: "times";"><br />
<br />
<span style="background: white;"><i>'A note can be as small as a pin or as big as a
universe - it depends on your imagination'</i> - Thelonious Monk</span></span><span style="color: black; font-family: "times";"><o:p></o:p></span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-size: small;"><span style="color: black; font-family: "times";"><i>'It's not
what you play, it's how you play it'</i> - Mary Lou Williams</span><span style="color: #333333; font-family: "times";"><br />
<br />
<span style="background: white;"><i>'There's wrong notes that sound good, and then
there's wrong notes....'</i> Thelonious Monk</span><br />
<br />
<span style="background: white;">'Don't play the saxophone, let it play you' - Charlie Parker</span><br />
<br />
<span style="background: white;"><i>'Don't play what's there, play what's not there'</i> - Miles Davis</span><br />
<br />
<span style="background: white;"><i>'I'm not in the nostalgia business'</i> - Wayne Shorter</span></span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-size: small;"><span style="color: #333333; font-family: "times";"><br /></span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">
<span style="font-size: small;"><span style="color: #333333; font-family: "times";">But I'll leave the last quote to someone who was not a jazz musician, but this great quote sums up the reasons why any jazz programme should help young musicians towards an awareness of the richness of the jazz tradition......<br />
<br />
<span style="background: white;"><i>'Tradition is not worshipping ashes, it's
preserving fire'</i> - Gustav Mahler</span></span><span style="color: black; font-family: "times";"><o:p></o:p></span></span></div>
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<!--EndFragment--><div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com14tag:blogger.com,1999:blog-5526704657739088406.post-90530394957165650932017-01-26T23:50:00.000+00:002019-01-06T10:50:59.828+00:00'I Dare You' - Innovation Versus Tradition, The Perennial Jazz Struggle<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;">'</span><span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;">To me the word jazz means: '</span><i style="background-color: white; box-sizing: border-box; font-family: TeleGroteskNormal; line-height: 28px; margin-bottom: 0px; margin-top: 0px;">I dare you</i><span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;">.'</span><br />
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;">Wayne Shorter</span><span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"> </span><br />
<span style="font-family: "telegrotesknormal";"><span style="line-height: 28px;"><br /></span></span>
<span style="font-family: "telegrotesknormal";"><span style="line-height: 28px;"><br /></span></span><span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-DzZBIkgy1Yw/V6HZ6oEHG0I/AAAAAAAACIs/XsDDNQfIDesyOvpnW7ZthheY2RocBA6PgCLcB/s1600/WayneShorter_1_byRobertAscroft-1360190728.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-DzZBIkgy1Yw/V6HZ6oEHG0I/AAAAAAAACIs/XsDDNQfIDesyOvpnW7ZthheY2RocBA6PgCLcB/s320/WayneShorter_1_byRobertAscroft-1360190728.jpg" width="320" /></a></div>
<br />
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><i>Wayne Shorter (photo - Robert Ascroft)</i></span><br />
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><br /></span>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="background: white; color: black; font-family: ""telegrotesknormal"","serif"; font-size: 13.5pt;">There
is a New York musician with whom I'm friends on Facebook. He is a very fine
player, is well known in the scene there, and has played with lots of legendary
figures in jazz, many of whom are now passed on. His most common Facebook posts
take the form of admonitory messages to the younger generation of jazz
musicians, whom he sees as being deficient in true jazz virtues and as being
disconnected from the tradition. A posting of a Youtube video of a great past
master will usually be accompanied by a comment highlighting the inability of
younger musicians to play in the style and tradition of that master, and the
admonition to these young musicians will often include a dismissive remark
about odd metres or 'weird' scales. The message is - 'you young guys think
you're great with your complex scales and rhythms, but you have no right to
value your work as highly as you do because you can't play the real shit, don't
know the tradition, and haven't served an apprenticeship with the masters, as I
have'.</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; widows: 2; word-spacing: 0px;">
<span style="background: white; color: black; font-family: ""telegrotesknormal"","serif"; font-size: 13.5pt;">There is a subtext to this, that insists that unless
you can play the tradition, (whatever that means to different people, though
it's usually applied to the playing of the swing idiom and to the playing of
standards), to a level that is comparable with past masters, then you can't be
taken seriously as a jazz musician.</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; widows: 2; word-spacing: 0px;">
<span style="background: white; color: black; font-family: ""telegrotesknormal"","serif"; font-size: 13.5pt;"><br />
On the other side of the coin is the argument that playing standards in 4/4
swing reached its sell-by date 40 years ago, and that playing in this idiom is
only undertaken because jazz schools insist upon it, and that it has no meaning
in the 21st Century. In Europe in particular, this is a commonly held view by
young musicians. The message is, 'I'm a young musician who came up listening to
much different music to that of earlier generations. I have no affinity or
connection with the standard repertoire or swing idiom, so why should I waste
any time trying to emulate something I have no connection with or belief in?'</span><span style="color: black; font-size: 13.5pt;"><o:p></o:p></span></div>
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<!--StartFragment-->
<br />
<div style="margin-bottom: 0.0001pt; margin-top: 0cm;">
<span style="background: white; font-size: 13.5pt;">This
tension and conflict between musicians who see themselves as upholders of a
great tradition and musicians who see themselves as trailblazers with no need
for genuflection to the past has been around in jazz for at least 70 years. It
may have existed before that, but it is very evident in the Bebop era, when
Swing era, (and earlier), performers were sometimes commercially, (and
sometimes critically), swept aside by the bebop revolution. Louis Armstrong, himself
one of the greatest innovators in jazz, scornfully described Bebop as 'Chinese
music'. Here was a man who had been a trailblazer himself, a giant of the
music, feeling threatened by, or at least feeling very uncomfortable with a
music that he saw as having no connection to the tradition with which he
identified.</span><span style="font-family: Times; font-size: 13.5pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 0.0001pt; margin-top: 0cm;">
<span style="background: white; font-size: 13.5pt;"><br />
For me, the idea that you must play the tradition to show your jazz bonafides,
or the idea that to play the tradition is to make yourself automatically
redundant, are both too simplistic and not nuanced enough to encompass the vast
range of personal expression jazz is capable of. I was raised listening to jazz
that was based on swing rhythms and standard forms, and that's the material I
covered when I was learning to play - playing with older musicians, playing
tunes, having to learn loads of standards, knowing the classic recordings,
immersed in the tradition of the music. But I also have interests in other
music, and as I began to bring these interests into the music I was playing and
the music I was writing, I experienced at firsthand the kind of derision and
suspicion that is so often engendered when older musicians are faced with the
different tastes and interests of younger musicians - musicians whom they don't
consider to have earned the right to be different.</span><span style="font-family: Times; font-size: 13.5pt;"><o:p></o:p></span></div>
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<br /></div>
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-XZNHxHqGhkY/WIpyUZALQbI/AAAAAAAACMU/dcp-qQQoXpc0omAgOObLy_Ut-9WGiYIrwCLcB/s1600/jelly%2Broll.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-XZNHxHqGhkY/WIpyUZALQbI/AAAAAAAACMU/dcp-qQQoXpc0omAgOObLy_Ut-9WGiYIrwCLcB/s1600/jelly%2Broll.jpeg" /></a></div>
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><br /></span>
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><i>Jelly Roll Morton</i></span><br />
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><i><br /></i></span>
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Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
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the tradition of jazz and its core values - swing, blues, standard repertoire,
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innovation and the development of new ideas as also being a core value of jazz.
From its inception jazz has been resolutely modernist. The players who were
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who did something different. This tradition of innovation, of individuality, on
the idea of moving the music forward has been a highly prized facet of jazz
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<!--StartFragment--><span style="background: white; font-family: telegrotesknormal, serif; font-size: 13.5pt;">And this forward looking psychology was dominant in
jazz right up to the 1980s when the 'Young Lions' became the first real
movement in jazz in which younger musicians expressly set out to copy their
musical ancestors. Spokesmen for this cohort were very outspoken about what did
and didn't qualify as jazz, right down to how the music should be recorded, and
there were even officially approved methods of playing certain instruments (no
pickups allowed on the bass....). This conservative outlook, while very prominent
for a while, did eventually recede somewhat, but also left a lasting mark. A
valuable one in my opinion in that it did bring the 4/4 swing tradition into
the conversation of where jazz was, or should be going. Having said that, the
ideological doctrine of this movement was far too narrow for me and while
admiring their respect for one aspect of the great tradition - swing - their
rejection another aspect - innovation and change - makes them ultimately, (and
ironically) myopic in their view of very tradition they seek to uphold.</span><!--EndFragment-->
<br />
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innovation argument, I think there's another important value that is overlooked
very often and which to me is key to judging any jazz performance - the idea of
personal expression. Authenticity and personality, rather than style, are the
most important qualities that need to be on display in any performance in jazz
for it to have any meaning. It's interesting to me that both camps see
themselves as being radically different from each other, yet make the same kind
of stereotypical accusations against each other - that the opposing camp's
music is 'all the same'. For the traditionalists the music of the younger
generation is marked by bloodless complexity, cleverness for its own sake, and
lack of groove. For the non-traditionalists the music of the traditionalists is
marked by cliched forms, licks and expressive devices trotted out ad nauseam.
But either of these accusations is only true if the music that's being played
is being played really badly! If the music is played well and with real
personality, the means of expression, whether it's traditional swing or not, is
immaterial. Vibe and personality is everything - style is a matter of the
listener's taste and personal history.</span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
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<a href="https://2.bp.blogspot.com/-QSLNPyD0YUo/WIp8zLa6OzI/AAAAAAAACMk/kmw6cCJeVbQAW-pj0Yy2kaBkRvLiSRPegCLcB/s1600/Roman%2BSchwaller.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-QSLNPyD0YUo/WIp8zLa6OzI/AAAAAAAACMk/kmw6cCJeVbQAW-pj0Yy2kaBkRvLiSRPegCLcB/s1600/Roman%2BSchwaller.jpeg" /></a></div>
<span style="background-color: white; font-family: "telegrotesknormal";"><br /></span>
<span style="background-color: white; font-family: "telegrotesknormal";"><i>Roman Schwaller</i></span><br />
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of the jazz spectrum. Firstly here's a track from an album I listen to a lot by
the great Swiss tenor player Roman Schwaller (reproduced here with his
permission). It's from an album called '</span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href="https://www.cede.ch/de/music/?view=detail&id=534014" target="_blank"><span style="color: blue; font-family: "telegrotesknormal","serif"; font-size: 13.5pt;">The
Thurgovian Suite</span></a></span><span style="background: white; color: black; font-family: "telegrotesknormal","serif"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">' and it
features a group of players from Australia, Europe, and America (showing the
universality of the swing idiom), playing original tunes by Roman. The music is
resolutely in the modern swing tradition with very typical values associated
with the best swing playing being on display - the very burning groove, great
solos, tight ensemble playing and true interaction between the rhythm section
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
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<span style="background-color: white; font-family: "telegrotesknormal";"><br /></span>
<span style="background-color: white; font-family: "telegrotesknormal";"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/f0dJA4UtMAM" width="560"></iframe></span><br />
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believe in a future jazz music. I am not trading in nostalgia'. He is in a way
the perfect link between the two viewpoints - a player who has played at, and
emerged from the highest levels of the tradition, yet has always been a
trailblazer and innovator. In this excerpt from a concert with his by now
classic quartet, he's playing a piece that has a backbeat rather than a swing
groove, has collective rather than individual solos, yet is bursting with jazz
energy and vibe. This music has one foot in the traditional camp of playing
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<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JeY6hWEOKYU" width="560"></iframe></span><br />
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the New York saxophonist </span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href="https://www.johnogallagher.com/" target="_blank"><span style="color: blue; font-family: "telegrotesknormal","serif"; font-size: 13.5pt;">John O'Gallagher</span></a></span><span style="background: white; color: black; font-family: "telegrotesknormal","serif"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> based on the compositions of the iconic classical 20th
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mso-hansi-theme-font:minor-latin;
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal">
<br /></div>
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><br /></span>
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/eZjDLdvqixU" width="560"></iframe></span><br />
<span style="background-color: white; font-family: "telegrotesknormal"; line-height: 28px;"><br /></span>
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'real shit' should be more centred on the mastery of the language that the
improviser has chosen to express themselves in rather than the style itself.
Playing swing does not automatically make you old fashioned, nor does eschewing
swing make you inauthentic in the world of jazz. It's all about the vibe, the
sense of the personal in the players. In the end it's about playing good music
- so let's concentrate on that and give up these by now redundant arguments
about style. Tradition is great in the right hands, so is innovation - there is
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com2tag:blogger.com,1999:blog-5526704657739088406.post-70570328143984081872016-09-24T12:42:00.001+01:002019-01-06T10:51:15.169+00:00Bystanders (for solo piano) - dedicated to civilians caught up in war<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://4.bp.blogspot.com/-eQOFqnHxaJE/V-ZeA19b8NI/AAAAAAAACKU/E4JHpBOelbgbMrXYt8YJJmT3FJ4Y6BB2gCLcB/s1600/Michael%2BM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://4.bp.blogspot.com/-eQOFqnHxaJE/V-ZeA19b8NI/AAAAAAAACKU/E4JHpBOelbgbMrXYt8YJJmT3FJ4Y6BB2gCLcB/s320/Michael%2BM.jpg" width="320" /></a></div>
<br />
(Michael McHale)<br />
<br />
I've recently written a new piece for solo piano called 'Bystanders' that was premiered in the National Concert Hall in Dublin, performed by the great young classical pianist <a href="http://www.michaelmchale.com/" target="_blank">Michael McHale</a>. The genesis of the piece came when I was was doing research about my Grandfather Joe Guilfoyle, and his part in the 1916 Rising, for the <a href="https://www.youtube.com/watch?v=eUkpjXdhH0Y" target="_blank">'Shy-Going Boy'</a> project. In reading more about that extraordinary event in Irish history, I was struck by the fact that so many civilians were killed in the rising, and that this fact is mentioned so little in the retelling of that week. More civilians were killed than Volunteers, or Policemen or British army members. And this lead me to think about how civilians always suffer the greatest casualties in war. Caught up in catastrophic situations not of their own making, they suffer horribly and if they survive they are traumatised and their lives are never the same again. The current disaster in Syria is a contemporary example of the tragedy for these innocent civilians. And so the piece became more than just being about 1916 specifically, and more encompassing of this situation wherever it occurs.<br />
<br />
I rarely write programmatic music, and when I do I don't tend to be very specific in my thoughts, as in, 'this represents this, and this passage represents that'. I tend to to try and find an overall vibe or feeling that I want to represent and then write with that in mind. In this piece I'd say turbulence is the predominant characteristic. It has both quiet and loud passages, some slow moving parts and some frenetic activity. But even the slower, quieter passages have an uneasy feel to them. I felt this was apposite for such a subject which really has no bright side to it.....<br />
<br />
The piece itself is very technically demanding and I was lucky to have such a brilliant pianist as Michael to play it. I first heard Michael play my music in a trio setting (classical trio, not jazz!) and was struck by how idiomatically he dealt with the rhythmic aspects of the music. Specifically by how good his time was - in a jazz musician sense. A lot of the music I write really loses power and meaning unless it's played absolutely in time, and the rubato approach taken by many classical musicians to any given piece of music doesn't really work with a lot of what I write. This piece is no exception, it demands a strong sense of pulse in most of the piece and all the technical fireworks only make sense if the rhythm is really secure. Michael demonstrates here again what great time he has, and I was delighted to have him agree to learn and premiere the piece.<br />
<br />
As usual with my composed music, I'm accepting of any and all influences and I don't differentiate between jazz approaches and classical ones depending on what I'm writing. A classical influence can just as readily appear in a piece I'm writing for jazz musicians as a jazz influence can in a piece I'm writing for classical people. I just write what I hear at any given moment. In this piece there are lots of contemporary jazz piano traits used in the writing, as well as colours and textures from more typically contemporary classical language.<br />
<br />
So this is the background to the piece, but as always, music is better listened to than spoken about. So here it is.<br />
<br />
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Ronan Guilfoylehttp://www.blogger.com/profile/02668316692753726447noreply@blogger.com0