Category: Jazz Band

BLOW TILL YOU KNOW

BLOW TILL YOU KNOW cartoonCLICK HERE TO WATCH VIDEO.

Are you struggling to develop a personal improvisatory style or to find your unique compositional voice?  Well, you’re not alone!  Many musicians grapple with these dilemmas.

Perhaps my own story will help you unearth your path to musical originality.

I started playing because I love the way music sounds, the way playing the horn feels, the exhilaration of working with a great band of like-minded musicians.  A couple years later, I began writing songs, just so we’d have originals for gigs and recordings.  I didn’t think twice about trying to be original.  On the contrary, emulating the masters was satisfying.  It seemed to legitimize and validate my work.

However, about 10 years into my career, I suddenly faced an existential crisis, when nagging questions like these began keeping me awake at night:

“Is this composition any good?  Is it too long?  Which sections are valid and which need to be scrapped?  Should that note be a Bb or an F#?  Do my solos stink?  What right do I even have to compose music or play the horn, when there are so many musicians out there who are way better?”

Continue reading “BLOW TILL YOU KNOW” →

Practice Joy-Subconscious Symmetry

How’s your practice routine feeling lately?  Are you practicing joy?  If you practice joy, your audience will hear joy in your performance, and that lively winsomeness in your playing will win you way more fans than all the chops in the world.

Students ask what I mean by “practice joy.”  Of course, it goes without saying that you need to develop your technique.  But music is way more than just chops. 

It may help to think of your practice session like a lavish banquet.  …(we didn’t have many of those in 2020!)  Think of it in 3 parts.

Your banquetYour practice session
1.  Introductions, greetings, catching up, small talk, hors d’oeuvres, drinks1.  Your warm-up, settling in, loosening up, getting in the groove
2.  The main course2.  Working intentionally through an idea or challenge
3.  Coffee, dessert, farewells, hugs or hand shakes3.  Reward yourself with a fun little jam!

Doesn’t that approach sound more doable, more inviting, more intriguing than staring forlornly at a closed horn case, wondering how to drum up energy to open that case and start playing boring scales?

Those 3 parts of your practice session remind me of Oliver Wendell Holmes’s comment about how a simplistic idea develops into a complex struggle but then resolves into a simple but elegant design.

Slide8

So how about let’s design a practice routine  so enthralling — so much fun — that you just can’t wait to pick up your axe and blow! As one typical example, here’s a practice session from a couple days back which was both productive and immensely enjoyable. Every day isn’t exactly like this.  Sometimes the focus is on long tones, sometimes it’s reading through transcriptions, etc. But – on this particular late evening session – I followed Sonny Rollins’ advice.  Sonny said, “just start playing the horn.  Listen to the sound.  Feel your breath and the keys of your axe.  Play a blues.  Play a tune.  Play any old licks that come to mind.”  Rollins called them “clichés,” but he didn’t mean that as an insult.  They’re the bread and butter of learning.  Don’t evaluate, don’t judge, just relate to your axe and enjoy how it sounds, how it makes you feel. After I blew for awhile, this lick just popped out. 

I kind of liked it, so I kept repeating it.  Maybe I tweaked it as I went along, I can’t remember.  After getting it smooth in one key, I ran it down in all 12 keys.  Then I wrote it down in my journal, knowing full well I’d forget it otherwise. After a day or two, I looked back at the transcription and discovered an inner logic — the thing that makes a phrase seem natural and organic – that I hadn’t noticed before.  Up to that point, I’d just been blowing, without a sense of compositional coherence, or any of that theoretical stuff.  But there it was, the musical logic, just waiting to be discovered…

Subconscious Symmetry  

Below is a recording of me playing this phrase in all 12 keys along with a chart.   After that, I discuss the logic hidden within this unusual phrase.

Continue reading “Practice Joy-Subconscious Symmetry” →

How Sonny Rollins Practices

How has the quarantine impacted your chops?  This no-gigs lock down has been absolutely disastrous for many working musicians financially.  But our chops don’t have to take the same hit our wallets are taking, if we’ll explore innovative approaches to practicing.

My practice strategy is similar to what Sonny Rollins described when asked how he practices.  Sonny said:

“I start out playing things I know to get the blood flowing.  Those things are often described as ‘clichés.’  You begin with the cliché so you can get the process in motion.  Once the process is in motion, ‘thinking’ gives way to ‘playing.’  At that point, you get out of the way and let the music play.”

Over the past decade, I’ve written down over a thousand licks I keep in a notebook, each of which I woodshed in all 12 keys.  Some of these ideas come from transcribed solos of the masters, but most simply emerge as I’m connecting with the horn.  Practicing joy.  I encourage you to try this technique, as it supercharges your chops, strengthens your improvisatory muscle, and turns you into a composer.

Here’s a lick you can play with, in order to get started down that path.  The tonal center of this phrase baffled my friends and me at first.  Eventually, I settled on a basic ii-V-I progression, which perfectly fit the melodic contour.  If you want more background, leave a comment at the bottom of this post.

To see a chart, click on “CONTINUE READING” below.

Continue reading “How Sonny Rollins Practices” →

Stan Getz: A Brief History, An Appreciation

The vast recorded legacy of legendary tenor saxophonist Stan Getz still astounds the jazz community.  Here it is in words and music.  From his earliest days with Jack Teagarden, Stan Kenton, Benny Goodman, and Woody Herman to the phenomenal smash hits “Desafinado” and “The Girl From Ipanema” (which sparked the 1960’s bossa nova craze), to his sublime later work with pianist Kenny Barron, Stan Getz continued to galvanize the musical world with his unparalleled technique, unmistakably unique sound,  and gorgeous lyricism.  Take a tour with us of this amazing 40-year jazz odyssey.

Click on this link to see and hear more:   https://youtu.be/pIDS5x7leYI

STAN GETZ POSTER

The Chord Committee

Many, many thanks to everyone who volunteered for The Chord Committee.    Numerous excellent solutions have been proposed.  In order to avoid discord, I have combined all of your suggestions into one beautiful, majestic chord.   In hopes you will find the solution acceptable, the chart and recording are presented here for your approval.  (Click on “continue reading” to view the complete chart.)

Continue reading “The Chord Committee” →

Hanon 61 For Piano

Although i am just a lowly jazz saxophonist, it is important for all of us musicians to have a working knowledge of piano.   So i found an excellent teacher, Dawn Martin, who is really excellent at helping undo my bad habits which cause muscle strain.  Two areas that particularly stymie me are:

  • Skips of an octave or a major seventh
  • Quickly returning the five fingers into the new position after a large skip

The 60 Hanon exercises are awesome, as is working through the 12 major scales, two hands, three octaves.   I wrote the exercise below to help with the problems described above.   For lack of a better name, i call it “Hanon 61.”   Maybe it will help you as well.  (Press “CONTINUE READING” below to see the chart.)

Continue reading “Hanon 61 For Piano” →

Fats Waller & Arpeggios

FATS WALLERMastering arpeggios gives you yet another tool to use (in moderation) in your improv solos.

Have you ever tried playing Fats Waller’s great tune “The Jitterbug Waltz”?  Find it on Rahsaan Roland Kirk’s “Bright Moments” album.   Mastering arpeggios will make that tune much easier to play.ROLAND KIRK

Here’s a challenging and interesting way to master arpeggios.  The idea for this exercise was suggested to me by a warm-up my talented friend Al Thompson often uses.

Click on “continue reading” for a complete chart.

Continue reading “Fats Waller & Arpeggios” →

Learning to Play by Ear: A 1958 Perspective

DOWNBEAT 10 2 58 COVERHow does a musician learn to perform thousands of songs in any key without looking at music sheets?  How can you improvise over a set of “changes” you’ve never heard or seen before in a live performance?  “New Ears Resolution” has made this a daily reality for me during a 40-year career of recording dates and live performances.   But I cannot claim to have created this revolutionary approach to ear training.  I learned it during high school while studying with Alvin L. “Al” Learned, founder and president of Hollywood’s legendary Westlake College of Music “one of the most important educational institutions for the study of jazz in the post-World War II era.” Continue reading “Learning to Play by Ear: A 1958 Perspective” →

“Remember” Hank Mobley’s “Soul Station”?

HANK MOBLEY SOUL STATIONThe road to dynamic, expressive improvisation is paved with practice and listening.  Hank Mobley’s near perfect solo on Irving Berlin’s “Remember” from his classic LP “Soul Station” is filled with profound lessons on phrasing, rhythm, tone, melody, pacing, and development.  Here is just one of the great ideas you will encounter when studying this wonderful recording.

HANK MOBLEY REMEMBER BARS 15 AND 16As always, we recommend learning the phrase in all 12 keys.  Practice with the audio file found below. Continue reading ““Remember” Hank Mobley’s “Soul Station”?” →

Try This One in All 12 Keys!

Here is an interesting phrase I’ve been practicing in all 12 keys.  As always, follow Kenny Werner’s cue to “play effortlessly” in order to get a relaxed, flowing, swinging feel.    Try playing along with the background track provided below.  If you need a chart, it is also provided below.   Better yet, download “New Ears Resolution” and learn how to play in all 12 keys by ear with ease.

TRY THIS ONE IN ALL 12 KEYS page 1

TRY THIS ONE IN ALL 12 KEYS page 2

Noted Guitarist Praises “New Ears Resolution”

This review of the Second Edition of “New Ears Resolution” was posted by the wonderful guitarist, singer, and educator Trevor Hanson http://trevorhanson.com/trevor/ .  Trevor is highly respected for his work in both the jazz and classical fields and has a large following in Western Washington State.

  1. Basic concept: great.  The basic concepts and the way you have organized their presentation are very useful.  You have many good insights and analogies to help get students on board, even if they have had little formal training.  There’s no question that moveable-do solfege is a tremendous learning aid, and you’ve done a good job at making it accessible and understandable.  The early parts of your presentation assume that the reader has little or no background in music theory.
  2. Combining essential skills in small lessons.  By combining ear training, scale/harmony theory, and repetition and presenting the material in small, easily manageable chunks, you’ve provided an excellent framework for learning that doesn’t overwhelm the student.  Many theory books cover this material in just a few pages – making it difficult for students to achieve a working knowledge of (and quick memory for) these essential elements.
  3. Familiar tunes as examples. Linking little phrases to familiar tunes is very helpful.  This is how most of us recognize intervals, patterns, and progressions.  By providing examples, you save students time, since recognizing a short quote is often difficult.
  4. Audio files.  Listening to and playing along with the audio files is a huge advantage.
  5. Scale/chord material.  Your presentation of the scale modes is very good.  I really like the clear examples showing how each mode can be derived from the Ionian, the examples showing how each modal color can be used, and the charts/audio exercises that contrast these elements.  I found your discussion of Locrian m7(b5) and Phrigian sus(b9) even more useful.  I ran out of time before getting a chance to look at Bill Green’s approach to the blues scale and V7#9#5 chord, and am looking forward to examining this section.  These are all really important topics that most musicians just have to figure out by experimentation.  You have provided a logical starting point for studying these elements.

Sincerely,
Trevor Hanson
www.TrevorHanson.com

You Can Learn to Play by Ear with “New Ears Resolution”

New Ears Resolution has helped hundreds of musicians learn to play by ear over the past 15 years. And now, the Second Edition offers scores of new innovations designed to make your learning experience more enjoyable, effective, and thorough.

Download “New Ears Resolution” for just $9.99.  Click here.

OR   Purchase the physical book and CD via PayPal for just $19.99 plus shipping.  Click here.

Whether you work with a jazz combo, rock group, or big band, or just play for your own pleasure, “New Ears Resolution” will help you become the musician you have always wanted to be.

i’ve taught this method for years and have used it in my own performances.  i’ve researched extensively in order to improve its design and have thus developed a comprehensive approach to the art of playing by ear.

HOW IS “NEW EARS” DIFFERENT FROM OTHER METHODS?

Continue reading “You Can Learn to Play by Ear with “New Ears Resolution”” →

What is This Thing Called “Storyville”?

“Storyville” packed Laguna Beach’s Marine Room in June.  Everybody had a great time, so we decided to do it again.
When:  Tuesday, August 14 , 2012, 7:00-11:00 PM
Where:  The LAX Jazz Club at the Crowne Plaza Hotel
Please RSVP at:  the Storyville Facebook page.
listen to samples of Storyville’s music here

          This most unique ensemble is comprised of HONK member Craig Buhler along with bassist Jack Prather, trumpet & vibes man Brian Atkinson (Disneyland Band), brass man Dan Barrett (Benny Goodman, Woodie Allen, etc.), and first call L.A. session players Karen Hammack (piano) and drummer Paul Kreibich (Ray Charles Band).  Their repertoire is amazingly diverse spanning jazz history from Louis Armstrong to Wayne Shorter, pop icons from Benny Goodman & Nat King Cole to Bob Marley & Steely Dan
Continue reading “What is This Thing Called “Storyville”?” →

Two New CDs

cb_rh_175Craig’s new worship cd  

“Renewed Hope” offers a wonderful
selection of new worship music
composed by Craig, backed by HONK,
and featuring vocals by Rick Tatum. 

(Click here for more info.)

To listen, download, or purchase, click here.

 

 

cb_sky

Can pop hits grow up to be
jazz standards?  

Skykomish offers 10 of them, recast
in fresh new settings, along with a
pair of original blues charts. 

 

(Click here for more info.) 

To listen, download, or purchase, click here.

 

Songs by:

Continue reading “Two New CDs” →

Can You Learn to Play by Ear?

New Ears Resolution has helped hundreds of musicians learn to play by ear over the past 15 years. And now, the Second Edition offers scores of new innovations designed to make your learning experience more enjoyable, effective, and thorough.

Whether you work with a jazz combo, rock group, or big band, or just play for your own pleasure, “New Ears Resolution” will help you become the musician you have always wanted to be.

i’ve taught this method for years and have used it in my own performances.  i’ve researched extensively in order to improve its design and have thus developed a comprehensive approach to the art of playing by ear.

HOW IS “NEW EARS” DIFFERENT FROM OTHER METHODS?

“New Ears Resolution” is a hands-on method. Learn to play by ear by playing, rather than studying abstract theory! It’s fun, and it’s practical.

The audio contains 26 enjoyable play-along tracks in many different styles: swing, bossa, bop, rock, folk, country, jazz waltz, ballad, and fusion.

The 78-page book includes charts for each of the 26 exercises along with clear, simple instructions and lots of handy tips on how to succeed on the gig or in the jam session.

HIGHLIGHTS OF THE SECOND EDITION

Learn to use these scales:

  • Major
  • Natural Minor
  • Harmonic Minor
  • Melodic Minor
  • Blues Scale
  • Extended Blues Scale

Learn to use the following modes:

  • Ionian
  • Dorian
  • Phrygian
  • Lydian
  • Mixolydian
  • Aeolian
  • Locrian

Learn to improvise over these chords:

  • Triads
  • Major Sevenths
  • Dominant Sevenths
  • Minor Sevenths
  • Minor 7 Flat 5 (Half Diminished)
  • V7(b9)
  • sus b9
  • V7#9(#5)
  • Diminished
  • Augmented

Learn how to navigate key changes (modulations) smoothly and effortlessly.

Learn techniques for improvising.

Learn about harmonic context.

Understand how to play over these progressions:

  • The ii-V-I progression
  • The I-vi-ii-V progression
  • The 12-bar blues progression

Learn the art of melody embellishment.

Learn how to play polytonal passages.

Master rhythm and learn to swing!

PDF Book & Music – $9.99
Or Printed Book & CD $19.99

Thanks to the reliable FastSpring delivery system, you can begin your ear training study right now. You will receive the 78-page “New Ears Resolution, Second Edition” ebook (as a pdf file) along with the 26 mp3 audio files, all in a quick downloading zip file.
$9.99

Or purchase the physical book & CD via PayPal.
$19.99

CAN YOU LEARN TO PLAY BY EAR? YES YOU CAN!

How do i know? Because I have taught over 100 musicians to do it over the past 15 years. These are musicians of all ages and levels of ability on various instruments, and you can be one of them.

Playing by ear is a thrilling experience. With this skill, your instrument can reproduce any song you can whistle or imagine, in any key. You can write down melodies while sitting on an airplane, without consulting a piano. How is this wonderful feat accomplished?

There are two ways a person plays by ear. Either you are born with perfect pitch or you learn to play by ear using relative pitch.

One in 10,000 people is born with perfect pitch. These rare individuals can hear any note and tell you what that note is. Some folks say perfect pitch can be learned, but I am very skeptical of these claims.

Relative pitch – by contrast – is the ability to name any note once you have been given a reference pitch. You figure out the second note by calculating its distance from the given note. I can teach you to do this.

In order to improvise, you must be able to transfer any melody you hear (on the radio, in your memory, or in your imagination) to your fingers and your instrument.

How do You Do It?

My “New Ears Resolution” ear training method is based on the “movable Do” system as elaborated by my teacher, Alvin Learned. Al was Dean of the legendary Westlake School of Jazz, which trained many of the leading Los Angeles musicians of the 1950’s, including Paul Desmond, Les McCann, and Billy May.

By playing along with the “New Ears” audio tracks, you learn to discern the relative position of various notes in a scale, and you become adept at finding any scale degree on your instrument in any key. The difference this makes in your playing is immediate & dramatic!

Visualize two typists, one laboriously “hunting & pecking” for each letter, the other effortlessly “touch typing,” spinning out error-free paragraphs. Now imagine two musicians, one painstakingly searching for each note (by trial & error), the other soaring through a melody as if it had been carefully memorized.

A very talented and ambitious young student told me he was trying to memorize one tune per week in all 12 keys. I responded, “That sounds like a mountain of work, and it will take you 10 years to build a repertoire!”

When you play a song by ear, you do NOT memorize the sheet music. Rather, you hear the tune in your imagination, calculate the tune’s formula in real time, and translate the formula into actual notes in any desired key on your instrument, also in real time.

This may sound like it would consume a staggering amount of brain power, but the process becomes amazingly simple, once you have worked through the exercises contained in the “New Ears Resolution” package. The 26 exercises on the CD (or mp3 download) start out quite simply and grow increasingly complex as your ability and confidence grow.

You will play along with the 72-minute audio a minimum of three times.

  • The first time, you read through the charts given in the “New Ears” book while you play along with the audio track. This also helps refine your sight reading ability.
  • The second time, you play along with the recording without looking at the book. You are now playing the exercises by ear. This increases your confidence.
  • The third time through, you improvise variations as you play along with the recording. This builds your improvisatory vocabulary.

While this method is primarily designed to teach you to play by ear in all 12 keys, many other benefits are derived from practicing with the “New Ears” recording.

  • Your sight reading grows stronger.
  • Your tone develops.
  • Your intonation improves.
  • Your rhythmic sense increases.
  • You begin to develop an improvisational vocabulary.
  • Your confidence blossoms.

While the majority of my students incorporate the “New Ears Resolution” ear training method within a series of 12 or more one-hour private lessons, scores of self-motivated students have found they can learn on their own from the book & audio tracks.

The brand new, comprehensively redesigned Second Edition answers numerous questions which more than a hundred students have asked me over the past 15 years.  Its 26 audio tracks and 78-page book are packed with helpful tips to prepare you for the gig & the jam session.

Students who encounter questions or road blocks along the way need only send me an email, and the issue will be promptly addressed.

PDF Book & Music – $9.99
Or Printed Book & CD $19.99

Thanks to the reliable FastSpring delivery system, you can begin your ear training study right now. You will receive the 78-page “New Ears Resolution, Second Edition” ebook (as a pdf file) along with the 26 mp3 audio files, all in a quick downloading zip file.
$9.99

Or purchase the physical book & CD via PayPal.
$19.99