Casa Valdez Studios

Doug Web demonstrates the Tubax

casavaldez@comcast.net (David Valdez) — Wed, 08 Feb 2012 10:36:50 PST

One of the more interesting things I saw at this year's NAMM show was the Tubax, an Eb contra-bass saxophone one octave lower than the bari. Tuba+Sax+Tubax.

The thing was abut as tall as a regular bari, except that it had more coiled tubing. The interesting thing about it was that the action on the right and left hands are almost parallel. It seems that Oleg is importing the Eppelsheim Tubax and stenciling his name on it. The retail price runs at just $30k for the big horn. Doug Webb, one of L.A.'s top saxophonists, was demonstrating the Tubax at NAMM. He told me that he had had one for several years, buying his when the price was somewhat lower. I would absolutely love to own one of these bad boys, but I'd also love to pay off my mortgage.

I recorded Doug playing the Tubax with my digital camera. Unfortunately my little camera wasn't built for the massive low frequencies that the Tubax puts out, so please forgive the peaking.

Here is another video of Doug demonstrating the Oleg tenor:

Upcoming gigs

casavaldez@comcast.net (David Valdez) — Mon, 06 Feb 2012 22:28:45 PST

Here are a few of my upcoming gigs:

2/15- David Valdez/George Colligan Afro-Cuban Jazz Quartet @ Ivories, 8pm
3/11- Andrew Durkin's Proto-human ensemble @ the Blue Monk, 8pm

3/24- Nancy Curtin's Brazilian project @ Vie De Boheme, 8:30pm

Jazzenzo- Jazz scores & transcriptions

casavaldez@comcast.net (David Valdez) — Wed, 01 Feb 2012 11:47:33 PST

Jazzenzo Jazz magazine has a page with a ton of scores available for free. George Colligan hipped me to this site, there are over 50 of George's tunes on the site. There are also tunes composed by Nguyên Lê, Bud Powell, Chris Cheek, Sam Rivers, Seamus Blake, Mark Turner, and Kurt Rosenwinkle, as well as a lot of European composers.

Jazzenzo Free Jazz scores and transcriptions

George Colligan 4tet live @ Ivories

casavaldez@comcast.net (David Valdez) — Tue, 31 Jan 2012 13:43:37 PST

On Friday, Jan.28th I played a gig with George Colligan's quartet at Ivories Jazz Lounge. I've played with George several times since he moved here to PDX, but never on a gig where he was the leader. His tunes are quite difficult, but a lot fun to play. We didn't have a chance to rehearse for the gig, so I worked on the material with the help of George's latest unreleased recording for the Steeplechase record label. Jaleel Shaw plays alto on this CD, so I spent a lot of time listing to Shaw while working on the tunes. I'd never heard very much of Jaleel's music before and I ended up really enjoying his playing.

The quartet featured George Colligan on piano, myself on alto saxophone, Eric Gruber on bass and Todd Strait on drums. I recorded the gig on my Zoom H4 and edited the tracks on Logic. The Zoom was on the floor right at the the front of the stage.

Miriam Edward's New York Accent
Blue State
Rose Colored Glass
Enjoy it While it Lasts
Steppin' Out

NAMM madness

casavaldez@comcast.net (David Valdez) — Thu, 26 Jan 2012 13:11:30 PST

If you've ever been to NAMM you know that it is insane. It's like being in a war zone, but with thousands of freaks. Well, of course there are plenty of normal looking music store owners, instrument markets reps and a few haggard looking Jazz musicians, but it is a truly a great place for freak and hootchie mamma spotting. I saw groups of leather clad guys with matching grey reptile eye contact lenses, hordes of surgically enhanced Goth Death Metal mini-skirt/fishnet wearing spokes models, EVEN the SEXY SAXMAN was making the rounds. That guy is killing, so killing.

Let's not even get into all the tattoos, which made the Hell's Angels at Sturgis look like librarians in comparison. It was a scene, to say the least. I ran into old friends that I hadn't seen in years and was able to meet people that I'd only know online. Schmoozefest!!

This year I tried getting some video on my camera, which didn't turn out to work so well for loud music. Please excuse the peaking on some of these.

Here is some sort of strange percussion instrument. Remember to THINK OUTSIDE THE DRUM.

Always a good way to attract a crowd to your booth:

Who needs a drummer anyways?

Do you have an iPhone and have always wanted to play the Ukelele but were too lazy to learn?

Mighty Bright Orchestra Light review

casavaldez@comcast.net (David Valdez) — Thu, 26 Jan 2012 01:09:48 PST

One of the things I was on the lookout for at NAMM was a really good stand light. I have a small battery powered LED light and an AC powered Manhasset light, but the first isn't bright enough and the second has a cord and a breakable bulb. I went to many different booths before I found one that had everything I was looking for, this turned out to be the Mighty Bright Orchestra light. The MB Orchestra Light is very lightweight and comes in a durable soft travel bag. The light has a bank of nine bright white energy-efficient LEDs and the bulbs are made to last over 100,000 hours.

The two features that really sold me were the dimmer setting and the back fin, which directs the light away from the audience and back onto the page. On the high setting the light (lasts 14 hrs on two AAs) will light up to four pages of music and the low setting (20 hrs) is nice when you don't want to light the up entire room. The light also comes with an AC adapter with 13 feet of cord in case you run out of batteries. The grip on the base is large, sturdy and padded.

All in all, this is the best stand light I have ever seen.

Mighty Bright Orchestra Light
Retails for $74.99

NAMM 2012 and the L.A. Jazz Collective

casavaldez@comcast.net (David Valdez) — Thu, 26 Jan 2012 00:25:32 PST

Last weekend was the NAMM convention. It was my second time going down to SoCal for the convention and was a lot of fun seeing old friends, checking out all the new products, and witnessing all of the freaks on display. I got down to L.A. on Wednesday and played at a club in Little Tokyo called the Blue Whale that night. The gig was part of a weekly residency at the club by the L.A. Jazz Collective, which is a group of musicians who have banded together to produce regular performances of creative Jazz music. Here's what the LAJC website says about the organization:

Members of the LAJC

The Los Angeles Jazz Collective is a group of musicians working together to build a stronger jazz community within Los Angeles. Through cooperative effort and education, we seek to promote our work and generate greater public appreciation for improvised music. The LAJC's membership includes many of the area’s talented younger artists, including pianist/organist Joe Bagg; saxophonists Matt Zebley, Robby Marshall and Damon Zick; drummer Jason Harnell; bassist Ryan McGillicuddy; trumpeters Brian Swartz and Josh Welchez, and guitarists Steve Cotter, Jamie Rosenn, and Mike Scott. There are currently 13 core members and a growing number of associate members. The collective has held meetings several times each month since November of 2007 and has already established a strong sense of community within the membership. Many members are on the faculty at various colleges and schools, and the collective intends to integrate enthusiastic students into this community. The LAJC aims to be a catalyst for those who play modern, creative jazz to represent the pioneering spirit that is the essence of the jazz tradition. The collective is compelled to live out that spirit by forging ahead in it’s members’s own compositions and performances.

Matt Otto, one the the group's founding members told me that at the beginning they send out around 200 emails to local Jazz musicians to see who was interested and they got about twelve responses. The LACC recently got their nonprofit status, the next step is applying for grants. They plan to create educational programs and more concerts with those grants.

I played a few sets at the Blue Whale show with Matt Otto and a host of other great players, including Gary Fukushima, Tim Pleasant, Jamie Rosen, Gilad Hekselmen, Tina Raymond, and Dave Robere. Here is a link to a recording and PDFs of one of the tunes we played, a killer head that Matt Otto wrote over the changes to Alone Together called Her Legato Note.

The LAJC website
Blue Whale Jazz club
Matt Otto.org

Stay tuned for plenty of product reviews, videos and pics from my 2012 NAMM trip.

Michael Brecker Live Recordings website

casavaldez@comcast.net (David Valdez) — Fri, 13 Jan 2012 14:21:37 PST

Emily, Mike, Randy & Santa

Michael Brecker continues to be one the the most respected and emulated saxophonists of our time. The other while perusing Facebook I saw so many people posting Brecker YouTube videos that for a minute I though it might have been some sort of national Brecker holiday, nope, everybody just loves Brecker.

Do you need your three-tonic fix first thing in the morning? Is your Guardala metal piece not giving you enough of that Brecker magic? Do you feel like you need to go back in the shed and practice some Brecker transcriptions for a few thousand more hours? Do you fall asleep thinking about new patches for your EWI? If so then you then you need to check out the Michael Brecker Live Recordings website. Luis Gerrits runs the site and appears to be the world's foremost authority on all things Brecker. He has the largest collection of Brecker bootleg audio and video on the planet, and he is willing to trade you if you contact him.

To me the most interesting thing about Gerrits' site is his collection of transcriptions, many of which were done by Rick Margitza. You can download all 95 of these Brecker transcriptions for free here.

Neck Strap hook analysis results

casavaldez@comcast.net (David Valdez) — Tue, 03 Jan 2012 23:43:45 PST

Several weeks ago I posted here and on SOTW that my new Just Joe's neck strap (with a large brass hook) noticeably changed the timbre and volume of the sound of my saxophone. This kicked off a long debate on SOTW in which many people scoffed and said I was crazy (or that my ears were deceiving me). Most of those SOTW members who believed my claims had not even bothered to try the large brass hook test themselves. Some of these players were well respected saxophonists and authors and many of them were weekend warriors. I was totally convinced that the large brass hook on the neck strap brings out certain overtones, on some notes more than others. It was perfectly clear to my own ears, which at this point in my life I tend to believe. About 80% of the saxophonists who tried the hook comparison test also believed that it made a difference. The 20% who did not hear any difference were usually either very inexperienced players or experienced players who were totally convinced before they even tried the test that it was impossible that a brass strap hook could change the sound of the horn. There were admittedly a few serious players who didn't notice a difference and seemed to have an open mind about the idea, like Ellery Elskelin. My theory is that the different makes of saxophones have the strap hook in different places, which causes different degrees of effect because the hooks may not be sitting right at a vibrational node. This means a large brass hook may have a greater effect on a Selmer than on a Conn.

My testing with different saxophonists wasn't very scientific, so I turned it over to some pros. I have a saxophone student named Randal LeNeve who is an engineer at Rodgers Instrument corporation (which manufactures organs and is a division of Roland) and has a Masters degree in physics. Randy noticed a significant difference in the brass strap and was just as puzzled as I was about why a hook could make a difference in the sound. One theory that Tom Garcia and Sammy Epstein (who taught acoustics at Berklee) had at first was that the difference in timbre was more noticeable to the player because of the increased vibrations traveling up the strap to the players jaw and ears. This theory was shot down by Randy because of the fact that neck strap cord is a poor acoustical conductor. One of Randy's theories was that the large brass hook acts as what he called a 'resonating antenea'. This means that the hook itself puts off extra higher frequency overtones when the horn is played. Randy also thought that the point on the horn where the strap ring sits could be right at a critical vibrational node of vibration, which could explain the greater difference of change to particular notes on the horn. One thing that Randy really stressed was just how acoustically complicated the saxophone is. Just the driver (mouthpiece & reed) alone is highly complex and unpredictable. The instrument is actually quite mysterious and even scientists are not totally clear on some of the details of its workings.

Randy took the Just Joe's strap into the Rodgers labs, enlisted the help of his colleague John Pospisil and they did some testing. John also heard a noticeable difference between the Joe's strap and a strap with a plastic hook and, being a saxophonist himself, was intrigued enough to join the project. They tested the Just Joe's strap against a strap with a plastic hook and one with a small thin steel hook. Randy played alto and soprano and John was the recording engineer. Randy tried his best to play as close to the same volume on all of the tests and they recorded eight different notes on each horn. John used the Roland R09 recorder, sampling at 24-bit, 48kHz and analyzed the frequencies using Sony Sound Forge, using a Blackman-Harris algorithm with 65,536 sampling points.

They found that the Just Joe's strap amplified some of the higher partials. It also appeared as if the strap eliminated a small amount of the frequencies between the overtones, which might account for a 'clearer sound' (this is my theory). Their conclusion was this:

"Certain notes on the Alto showed higher peaks on frequencies above 6 kHz which implies that the harmonic ratios of sound pressure levels are being altered i.e. a change in the timber of the sound, not the frequency distribution. Also G# on the Alto showed considerable added frequency content starting at about 200 Hz. The Soprano shows considerably more frequency content above 10 kHz for some, but not all notes. It is perceivable that the Just Joe's Saxophone Gel Strap has an impact on the frequencies at or above 10 kHz for the Soprano sax setup used in this experiment and on certain notes on the Alto sax on frequencies above 6 kHz and in one case for G# starting as low as 200 Hz."

Randy added:

"So in the case of Joe's Neck Strap the report shows that certain harmonics of the fundamental frequency were amplified. This means that those notes are LOUDER and the TIMBRE of the note was altered. That is, the horn still sounds like a saxophone but has 'brighter' and 'louder' harmonics. The LOUDER is pretty obviously a good thing. The TIMBRE being brighter can depend on what a player wants."

Here is one of the screenshots from the analysis. It is middle A on the alto:

click on above graphic for a larger view

They also felt that further testing would help to make these results more concrete and that these tests might include:

Recording several takes of each note using each strap and averaging the frequency response of the resulting recordings.
Using several straps to compare the differences in frequency response between each strap.
Recording in a more acoustically "dead" environment.
Using several microphones for recording including contact microphones on the saxophone body.
Determination of the fundamental frequency and harmonic distribution of the metal piece(s) on the strap itself when not attached to the saxophone.

So although this question should be investigated more thoroughly to discover exactly what is causing the difference in timbre between the Just Joe's strap and a typical strap (with a plastic or small steel) hook I feel like I have been vindicated by the testing that was done in the Rodgers labs. No amount of scientific testing be enough to convince some who are convinced that a strap hook cannot change timbre, so I fully expect that this post will set off another 20 page thread on SOTW. Fortunately I will save myself the aggravation and not be reading that thread. I had the wisdom to have my SOTW membership suspended indefinitely.

If anyone is interested in reading the full report from the Rodgers labs email me and I'll send you a copy.

I can say this will a fair amount of certainty though......

There is a difference in timbre!

Just Joe's Neckstrap

Larry McKenna's solo on My Shining Hour

casavaldez@comcast.net (David Valdez) — Sat, 31 Dec 2011 11:02:39 PST

Saxophonist Jeff Rzepiela is a regular contributor to Casa Valdez and has a great website of his own called Scooby-sax, which offers a ton of transcriptions for download. Jeff has transcribed and analyzed Larry McKenna's solo on My Shining Hour. This solo utilizes a lot of chromatic Bebop approaches which Jeff examines in great detail.

Larry McKenna's solo on My Shining Hour (with analysis)

Larry McKenna's website
Scooby-Sax

How To Make Your Jazz Melodies Swing More

casavaldez@comcast.net (David Valdez) — Fri, 16 Dec 2011 10:27:18 PST

This post was written by guest blogger Steve Nixon, who runs the website Freejazzlessons.com

Have you ever played the melody of a jazz tune from a fakebook and realized what was written there just doesn’t feel right? Something seems missing rhythmically but you’re just not sure what it is? Well, you’re not alone. Most of the time what our favorite and most swingin’ players play on a standard is very different than what’s written in a fakebook.

So, how do we get our melodies to sound more authentic and to swing more? Let’s take a closer look…..We’ll use the famous jazz tune Autumn Leaves because almost everybody is familiar with it. First, we will look at a “normal” version of Autumn Leaves. This is an an 8 bar example of how it’s written in most fake books. There are no swing rhythms added.

Now, we’ll take a listen to a guy like Chet Baker play the tune Autumn Leaves. You can hear how well it swings.

So, what did Chet do to make his melodies swing so hard? What’s the difference between the original fakebook version and Chet’s version?

If you were listening closely you heard that Chet Baker played many of the same pitches as the original melody. What was different though, were the rhythms. That’s where the “magic” lies. Chet Baker changes the rhythms. Lets take a look now at a couple of the rhythmic devices Chet uses and see if we can incorporate them in our own playing.

Anticipation
The first device that Chet uses is something called an anticipation. If we want to anticipate a melody note we would take a melody note that would normally start on the downbeat and pull it back one eighth note. Instead, the melody note would be played on the & of 4 I’ve written out the first 8 bars of Autumn Leaves again but this time I’ve added anticipations in there to demonstrate this technique more effectively. (You can compare it to the original chart above).

Example: See how the D that would normally be played on beat 1 on the Bbmaj7 chord is instead played an eighth note early in the previous measure. That’s an anticipation.

Delayed Attack
Another rhythmic device that Chet uses is something called a delayed attack. A delayed attack is a simple type of syncopation in which we take a melody note that would normally start on a downbeat and push it forward one eighth note.

The first melody note G normally starts on beat 2. By adding a delayed attack I’m now starting the melody note on the & of 2. Chet Baker and I both use the device every 2 bars as written here.

How To Practice Anticipations and Delayed Attacks
As you can see these anticipations and delayed attacks can really make your melodies swing more.

Now that you are aware of these cool swing rhythmic devices we should talk about a good way to practice them. I recommend taking your favorite jazz standard that features a lot of quarter notes. This could be any tune (if you need a suggestion perhaps consider Here’s That Rainy Day). Spend some time adding these rhythms in. If you’re not sure you can execute these rhythms entirely by ear or feel yet then there is nothing wrong with rewriting out the melody with anticipations and delayed attacks added in.

Almost all my students can eventually feels these rhythms intuitively once they’ve added them into a jazz standard or tune.

So, how about you? What are some of your favorite rhythmic devices to make your music swing harder? If you enjoyed reading this post please leave a comment below.

For more of Steve Nixon's Jazz lessons check out Freejazzlessons.com

India

casavaldez@comcast.net (David Valdez) — Fri, 09 Dec 2011 14:19:51 PST

I got back from my trip to India last week. I'm still kind of recovering from the jet lag, cough and intestinal shock from the trip. It was the most incredible trip I've ever taken. My wife and I saw temples, ashrams, world heritage monuments, holy cities, Sufi durgas, museums, craft markets, and so much more.

One thing that was surprising to me about Indians was their view of teachers. When I told people that I was a music teacher they all had the same reaction, great respect. They said that teachers were the closest profession to god, and deserved higher respect than doctors, lawyers or politicians. They recognize that civilization is founded on the work that teachers do and that there is no greater work that one can do. Kind of a different view than how teachers are thought of here in the States.

I posted a ton of my pictures from India on my Facebook page, so here is a link to my India trip photo album.

Weber Iago/David Valdez Chamber Quartet Recording

casavaldez@comcast.net (David Valdez) — Wed, 25 Jan 2012 00:38:14 PST

Last week I went into the studio and recorded a few tracks with the Chamber Quartet I co-lead with Weber Iago. Below are links to the latest mixes.

Astor
Now is my home
Shades of Happiness
Nature Boy
The Nest
Autumn Leaves
Perserverance
Meadows

Musicians:
Weber Iago- piano, composer
David Valdez- alto saxophone
John Nastos- flute, clarinet, bass clarinet
Evan Kuhlmann- bassoon

Engineered and mixed by Jonathon Swanson on 8/11/11

Original patent for the adjustable Selmer ligature

casavaldez@comcast.net (David Valdez) — Mon, 07 Nov 2011 22:31:43 PST

My buddy, and regular reader, Sammy sent me this patent filed by George Bundy in 1940 for what eventually became the Selmer adjustable ligature. I have seen these called Magna-tone, Adjusta-tone or Expando ligatures. I've played on of these on my tenor for several years now and they are great. Joe Lovano also uses one. The cool thing about the lig is that it can be adjusted to work on clarinet, alto saxophone and tenor saxophone, and probably bari sax as well. At one point these rare ligs were selling on eBay for $100 or more. Now, like about everything else, the prices have come down a bit, to more like $40. I like them because they help with a quicker response without adding too much high end. If you are reed obsessive like I am you can also change reeds very quickly. The patent has expired and there is a guy in Italy making replicas of these now. You can buy them in several different types of materials.

Here is the full three page original patent

Travel/Jazz Truth

casavaldez@comcast.net (David Valdez) — Sun, 06 Nov 2011 15:56:33 PST

Next week I leave for India! I'm trying to get everything in order here before leaving the country for 17 days. This trip is something I've wanted to do for many years and it is finally happening. I will not even be taking my horn with me. It will be the longest amount of time without my lips touching a reed in my recent memory. I might try to pick up a ney or nadaswaram while I'm there, but this trip will not be musically motivated. I love Indian Classical music, but I know very little about it. Maybe I'll be able to hear some at some point. I'm more interested in the art, religions, history and architecture of the Indian subcontinent. I have a full itinerary planned that includes the usual monuments like the Taj and Red Fort, but also some interesting temples, Sufi shrines and museums. I have done a fair amount of traveling in my time, but nothing as exotic as India.

Before I leave I'm going to be recording a couple of different projects, one will be a duo recording with pianist George Colligan. If you haven't checked out George's blog called Jazz Truth you should. It is one of the most interesting Jazz blogs on the internet because it is written by a Jazz musician who is touring and recording with some of the best players on the scene, like Ethan Iverson's Do the Math blog or Darcy James Argue's Secret Society blog. (I just totally redesigned George's blog and I must say it's looking pretty spiffy). George regularly tours with Jack Dejonette and Don Byron, as well as a lot of other great musicians. He has some fascinating interviews on his blog with different members of the bands he tours with.

Today Colligan posted an interview with David Fiuczynski, who is an old buddy of mine and one of my favorite guitarists of my generation. George, his wife (and pianist) Kerry Politzer, and their son Liam have been settling to the Portland groove nicely. I'm sure in no time they will both be gigging like crazy. George is now teaching at PSU, but he still does a decent amount of touring. There aren't many blogs out there that can keep my attention enough to read back through the archives, Jazz Truth is certainly worth some consideration.

I'll be posting an interview with George Colligan soon, so stay turned.

I may post a few pics of India from the road, but I probably won't be writing much until I get home in December.

George Colligan's Jazz Truth blog
George Colligan's web site

Later for You- Elmo Hope

casavaldez@comcast.net (David Valdez) — Thu, 20 Oct 2011 11:27:40 PDT

Here is a great Elmo Hope tune based on the changes of
All God's Chilun.

Later for you

Gaslight- Duke Pearson

casavaldez@comcast.net (David Valdez) — Thu, 20 Oct 2011 11:23:16 PDT

Duke Pearson is one of my favorite composers. Here is his tune Gaslight.

Gaslight

Eyes So Beautiful As Yours- Elmo Hope

casavaldez@comcast.net (David Valdez) — Thu, 20 Oct 2011 11:14:56 PDT

Here is a beautiful ballad composed by Elmo Hope titled
Eyes So Beautiful As Yours.

Eyes So Beautiful As Yours
Elmo Hope's biography

Bella Rosa- Elmo Hope

casavaldez@comcast.net (David Valdez) — Thu, 20 Oct 2011 11:08:23 PDT

Here are PDF charts to Elmo Hope's tune Bella Rosa.

Bella Rosa

Tristano School Bonanza!- two-horn transcriptions

casavaldez@comcast.net (David Valdez) — Wed, 19 Oct 2011 23:39:17 PDT

I've been co-leading a Tristano project with pianist Dan Gaynor for the last several years. We don't gig very often, but it's always a lot of fun when we do. After our last gig tenor saxophonist Tim Wilcox said to me, "I feel like I just got my ass kicked by a blind dead man". The tunes written by Tristano and his students (Konitz, Marsh, Brown, Bauer) is some of the most challenging and interesting material in the history of Jazz, imho. I've learned a lot about improvisation just by learning to play these compositions.

Dan Gaynor recently transcribed more of these two-horn arrangements. Much of the alto and tenor parts are in unison, but at times there is some interesting counterpoint and harmony. Thanks to Dan for allowing my to post these charts.

Two Not One
Marshmallow
Jazz of Two Cities
Kary's Trance
Lennie's Pennies
Sax of a Kind

Sonny Rollins' letter to Coleman Hawkins

casavaldez@comcast.net (David Valdez) — Thu, 13 Oct 2011 12:11:11 PDT

I recently got my hands on a copy of a three page handwritten letter that Sonny Rollins sent Coleman Hawkins in 1962. It is written on Sonny's personal letterhead and there is even an AMORC Rosicrucian seal on the final page of the letter, an organization that Sonny has been involved with for many years. At the moment my scanner isn't working, but I'll try to scan a copy to post soon.

My Dear Mr. Hawkins,

Your recent performance at the 'Village Gate' was magnificent!! Quite aside from the fact that you have maintained a position of dominance and leadership in the highly competitive field of 'Jazz' for the time that you have, there remains the more significant fact that such tested and tried musical achievement denotes and is subsidiary to personal character and integrity of being.

There have been many young men of high potential and demonstrated ability who have unfortunately not been 'MEN' in their personal and offstage practices and who soon found themselves devoid of the ability to create music. Perhaps these chaps were unable to understand why their musical powers left them so suddenly. Or perhaps they knew what actions were constructive as opposed to destructive but were too weak and not men enough to command the course of their lives. But certain it is that character, knowledge and virtue are superior to 'MUSIC' as such. And that 'success' is relative to the evolution of those qualities within us all. That it has been positive and lasting for you Coleman is to the honor and credit of us, your colleagues, as well as to your own credit. For you have 'lit the flame' of aspiration within so many of us and have epitomized the superiority of 'excellence of endeavor' and you stand today as a clear living example for us to learn from.

It has always been a task to explain in words those things which in nature are the most profound and meaningful. Now you have show me why I though so much of you for so long. Godspeed in your travels and may I be fortunate enough to hear you play the tenor saxophone again in person.
Yours truly, Sonny Rollins

The Master Speaks- Joe Allard videos

casavaldez@comcast.net (David Valdez) — Tue, 11 Oct 2011 23:06:12 PDT

These YouTube videos were taken from a DVD entitled The Master Speaks: Joe Allard, which is available from the Sharper Video Productions website.
Joe talks about a lot of the same concepts that are covered in an earlier post
Joe Allard Method Unveiled!

To learn more about Joe Allard check out the Joe Allard Project website.

Bayou Magic- Alvin Batise

casavaldez@comcast.net (David Valdez) — Wed, 05 Oct 2011 09:38:17 PDT

Here's a Bb chart to an Alvin Batise's blues entitled Bayou Magic.

Bayou Magic- Alvin Batise

Thanks Markos.

Bat's Blues- Alvin Batise's transcribed solo

casavaldez@comcast.net (David Valdez) — Wed, 05 Oct 2011 09:27:56 PDT

Here's another post by Casa Valdez regular contributor Mark Sowlakis:

Alvin Batiste is an unsung hero of the clarinet. I heard him several times in New Orleans over the years, the last time being 2001 for the International Clarinet Conference there. He was a forward thinking musician, and his small output of recordings hardly does justice to the depth of his work. Here you can hear him using the interval of a fourth, something he did often when constructing his unique and original lines. He blurred the line between inside and outside playing, and it takes a while to hear where he's coming from. He mentored so many young New Orleans players, and his contributions are significant. Check him out! Markos

Bat's Blue's transcription- Alvin Batise

Konitz's solo on There Will Never Be Another You

casavaldez@comcast.net (David Valdez) — Tue, 04 Oct 2011 17:59:08 PDT

There Will Never Be Another You- Lee Konitz's solo
(From Lee Konitz With Warne Marsh Atlantic 1217 June 1955, NYC)