Ever Up and Onward

Collaboration

2012-01-19T20:42:00.000-05:00

One week from tonight (Thursday, Jan. 26th, 2012) will be the debut performance of a new suite of music I have written entitled “On the Surface of Water". It is part of a new interdisciplinary work created with visual artist, Deborah Dancy and videographer, Ted Efremoff. The show takes place at 7:30 p.m., in the new Classroom Building (located between the Student Union and the Center for Undergraduate Education) on the UConn Storrs Campus. Admission is free.

Also on the program is a revisiting of “Beneath the Black Earth”, our first collaborative project, from 2006/07. Both pieces will be performed by the 10-piece, New Directions Ensemble.

“Beneath the Black Earth” was the first major interdisciplinary collaborative work produced within the School of Fine Arts. For Deborah, Ted and me, the project served as an opportunity to produce something unique, which would give our individual work new shape and provide a context for experimental exploration. It was the first step in building a laboratory of ideas and possibilities, as well as planting the seeds for continued dialog and experimentation. When embarking upon this creative venture, we didn't have a fixed vision regarding the final outcome. Ideas stemmed from free musings that lead to the ambiguous, slippery territory of creating.

The resultant piece was presented to an enthusiastic audience on November 8th, 2007 in the Nafe Katter Theatre. Deborah’s digital images were projected on hanging muslin scrims, floating as ephemeral veils, evoking a poetic movement, and producing a haunting and powerful presence in convergence with my musical responses. My accompanying music, scored for cello, alto saxophone, Rhodes electric piano, and percussion, provided a multi-layered element - a synchronistic association to the visual work. It also included improvisational space so that the musicians could respond to what they saw unfolding on the screens. We wove together a tapestry of video images with music inspired by our mutual interests, conversations and spontaneous creativity.

Here is a video of the November 2007 performance. The band features Kris Allen on alto sax, Greg Heffernan on cello, Rogerio Boccato on percussion and me on Rhodes electric piano.

For the upcoming show on Jan. 26th, 2012, we have manipulated and refined this original performance piece. I further developed and re-orchestrated the suite for a chamber jazz orchestra consisting of 3 saxophones, 4 brass and rhythm section.

“On the Surface of Water” also combines music and visual imagery into a transformative sensory experience. The narrative themes running through the work are based in part on probing the lyrical and luminous qualities of water: reflection, mist, fog, movement and the similar properties that exist with human memory. These conceptual properties serve as the artistic springboard for this multi-media collaborative effort. Video images of rivers, streams, mirrors, and similar elements were combined with static digital photographs; created using a medium format digital camera, and found archival images. The combined images were layered into video format that will be projected on multiple screens.

As with the previous work, "Beneath the Black Earth", this project continues the collaborative effort across disciplines and areas, uses technology in an exciting manner, and has expanded the range of the three individual artists' creative experience.

At this point (a week before the show), after having realized the music on paper, I am now drawing my students into the creative process by presenting them with musical drafts to sight read in rehearsals. The music has already undergone a series of revisions based on my observations and the feedback received from student musicians. By presenting the music to students first, I find that I am more inclined to take compositional and orchestrational risks, than if I were to immediately subject my music to the scrutiny of my professional peers.

Although interdisciplinary arts collaboration is not new, there is a renewed interest and focus on collaboration, nationally. Artists must explore new ways to look at, discuss, create and present art if we hope to engage and develop new audiences.

Through the course of the project, I believe my work has evolved, and we have produced a combined effect greater than the sum of our separate effects. Being drawn into the creative world of artists working in different mediums, and being exposed to their interests, passions and processes was insightful and truly inspiring.

I hope you can join us for this exciting debut performance.

Why Go To Church?

2012-01-13T08:57:00.000-05:00

I vented in my last post by providing a top 10 list of "Why I Hate Going to Church". So, if going to church is such a drag for me, perhaps you're wondering why I bother attending? I'll be honest in telling you that some weeks it is a real struggle.

This post is written more for my benefit, than any other reason. In my wife's blog, she recently expressed her desire to be more intentional in all aspects of her life. I have tremendous respect for this approach. Here's my attempt to identify and be clear regarding my motivations in heading out each Sunday morning:

At this stage in life, raising my kids properly is a primary focus. I want them to grow up benefiting from biblical/spiritual and moral training. To an extent, this can be done at home, but I appreciate having the input of others too. Plus, according to David Murrow's book, there is a much greater chance that my kids will continue in their faith as adults if I, as their father, attend church with them.

I am a Christian, a "follower of Christ". In some people's eyes that might make me appear weak, foolish or illogical, but it's hard to disprove Jesus' historical existence. I aspire to live my life according to his teachings. No matter what your beliefs are, wouldn't the world be a better place if everyone tried to live like Jesus? In addition to reading the Bible on my own, sermons and Sunday school classes can potentially provide valuable insight and reminders.

Although I often feel like an outsider at church, there are advantages to being part of "a community". I do have some friends there, and my wife and I are benefiting from the parental mentorship we are receiving from older couples who have significantly more life experience and wisdom to share.

The Bible makes it clear that God desires our worship. The church we currently attend refers to both of their Sunday morning services as "worship services". So, what is worship? One simple definition is the expression of our love and appreciation to God. There is much for which I am thankful, and I do this privately in prayer. But, within so-called worship services, I must admit that I often feel like I'm enduring a form of musical torture. For me, there is no worship during 60% of a Sunday morning service, ...but I digress.

At least in theory, church makes it easy to serve our fellow man and God simultaneously. I see this as a plus.

Yes, I have frustrations with church. Maybe I haven't found the ideal church for me, but I'm beginning to think that place might not exist. Maybe my spirit of dissatisfaction is a good thing. (At the risk of sounding "churchy", maybe God will use this in some way.) I guess we'll see.

After reading my last blog post, a friend sent me the following video clip. It's not exactly my style, but it certainly is relevant.

Why Men Hate Going To Church

2012-01-11T09:42:00.000-05:00

I just finished reading the book "Why Men Hate Going To Church" by David Murrow. During a period when I find myself "less than enthusiastic" about attending church, this book has helped me articulate and pinpoint some sources of my frustration. I won't write a complete synopsis of the book here, but the basic premise is that over time, the Christian church has evolved into a culture which exclusively meets the needs of women and the elderly. The number of men attending regularly has reduced significantly. If churches want more men in their pews, changes must be made --- plain and simple. Murrow has many practical suggestions for revamping church, and frankly, this is a book every pastor from every denomination should read. I may even buy copies for the clergy in my life.

But for now, here is my TOP 10 LIST for "Why I Hate Going To Church":

10. Politics preached from the pulpit. Don't Christians realize that they are the easy target of political strategists such as Karl Rove? Entire campaigns have been designed around the gullibility of Christians.

9. I don't want to be stuck in a conversation with Ned Flanders! (I'm not joking.)

8. Resistance to change. I love change. Churches don't.

7. "Christian-ese" and "prayer-speak" and "holy hands". These staples of Christian culture make any visitor uncomfortable. Have you ever noticed how Christians in evangelical churches talk and act in a way that one only encounters in Christian circles?

6. How decisions are made: The right choice is always the soft one. Keep the existing people happy. Defense always trumps offense in established, older churches.

5. No clear call to action. I don't remember the last time I left church fired up and ready to change the world. Isn't that a problem?

4. Values and skills such as risk-taking, innovation, planning/goal-setting aren't upheld. I've offered ideas, but haven't seen any action taken. I could push, but question if it is worth the time and effort. See points 8 and 6.

3. Lack of productivity. It is time to start pruning ineffective ministries.

2. The music sucks. Trust me, I'll be elaborating on this point later.

1. Weekly "alter calls" to the same, already converted audience. I don't think I have ever seen anyone go up front to declare that they are a sinner who plans to turn their life around. If the system doesn't work, why keep doing it? If evangelism is the goal, aren't there more effective ways to go about it?

When this much bothers me about church, the logical next question for you to ask is: "So, why do you bother going?" In my next post I'll try to answer this and "Why should churches care if men attend and if they are fully engaged?"

So men, here's your chance to vent: What is it about church that gets under your skin? Why do you choose not to attend, or if you go, why are you less than enthusiastic?

Chick Corea

2012-01-10T14:44:00.000-05:00

In a previous post I made mention of looking forward to an upcoming chamber orchestra recording by Chick Corea, entitled "the Continents". Two of my colleagues from UConn, Louis Hanzlik (trumpet), and Gregg August (string bass) play in the ensemble. Here is a video clip:

Under The Influence

2012-01-06T23:00:00.000-05:00

This is the third installment in a mini-series about albums introduced to me by my students, that have really captured my interest. After this post I plan to switch gears for a bit.

You may have noticed in my last post that I tend to fixate on the pianist when listening to recordings. It's a habit that has been hard to break. While I was a student, I somehow adopted the hardline mindset that if a disc had no pianist on it, I had no use for it. Back then, I unfortunately allowed myself to lose sight of listening to music for fun. It was more about gathering information that I could incorporate into my own playing.

I've come almost full circle now, finding myself gravitating towards music without piano so that I can listen without the obsessions stemming from having devoted a good chunk of my life to mastering the instrument.

This Chris Cheek recording, "A Girl Named Joe", has no pianist and represents over an hour of sheer musical delight. I love the wide palette of sounds Ben Monder gets from the guitar, and the two tenor saxes together create a truly unique timbre. The tunes are modern, yet often blues drenched and gritty. There is tons of variety, but the album is cohesive and it makes a strong musical statement.

As I listened to this disc again for the umpteenth time, today for some strange reason, I started to think about jazz's young lion movement of the 1980s, and what utter nonsense it was. I remember really buying into what Wynton Marsalis said in interviews about the importance of absorbing "the jazz tradition", and how someday one of the young recording musicians would eventually forge the path of innovation for the others to follow.

Well Wynton, innovation and progress came, but it certainly didn't stem from the young lions of the 80s. All the while that the young lions were getting the attention of reviewers and record labels, there were serious, older artists in the trenches, devoting their souls and lives to the music while very few paid attention. This "lost generation" includes Richie Beirach, Dave Liebman, Fred Hersch, Dick Oatts, Jim McNeely, George Garzone, and countless others.

Thankfully, for the sake of the art form, many of them turned to teaching. It is almost a miracle that players like Ben Monder, Chris Cheek and other contemporary improvisers managed to escape the damaging philosophical influence of Wynton, when it was so present in DownBeat magazine during their formative years. Thank goodness! ...or like Wynton, they might be trying to play the music of Buddy Bolden today. Instead, the music has vitality and a future.

Here are the specifics pertaining to the album that sparked both joy and today's fury:

CHRIS CHEEK: A GIRL NAMED JOE
FRESH SOUND NEW TALENT, FSNT 032(CD)
(C)(P)1998 FRESH SOUND RECORDS, INC., SPAIN
RECORDED: MAY 19, 1997
RELEASED: 1998, SPAIN

CREDITS (production) :

All compositions by Chris Cheek, except "Late Green" by Ben Monder

Produced by Chris Cheek and Jordi Rossy
Produced for CD released: Jordi Pujol

Recorded at Tedesco Studios, New Jersey, May 19, 1997
Mastered at Foothill Digital Studio, NYC

Cover Art by Ana Golobart
Photos by Rebecca Layton

Ben Monder appears courtesy of Arabesque Records

CREDITS (musicians) :

Chris Cheek	:	tenor saxophone (right channel)
Mark Turner	:	tenor saxophone (left channel)
Jordi Rossey	:	drums (left channel)
Dan Rieser	:	drums (right channel)
Ben Monder	:	guitar (right channel)
Marc Johnson	:	bass (left channel)

TRACKS (total time 67:00) :

1.	Slide (7:28) [Chris Cheek]
2.	September (6:17) [Chris Cheek]
3.	Arctic Barbeque (5:57) [Chris Cheek]
4.	Lowered (5:42) [Chris Cheek]
5.	Late Green (7:37) [Ben Monder]
6.	Planet Dance (4:47) [Chris Cheek]
7.	A Girl Named Joe (6:29) [Chris Cheek]
8.	Then (7:15) [Chris Cheek]
9.	Siege (5:53) [Chris Cheek]
10.	Water Mile (9:36) [Chris Cheek]

Not By Chance

2012-01-05T20:49:00.000-05:00

Bassist Joe Martin certainly took no chances when assembling the band for this 2009 recording. You can't do much better than Chris Potter (ts), Brad Meldau (pno) and Marcus Gilmore (dr). It was no surprise for me when I read on his web page that the disc received ample critical attention, including mention on several top ten lists.

As a pianist, I have tremendous respect for what Brad Meldau can do at the keyboard. One can't help but be impressed by his use of inner voice movement and his left hand dexterity/independence. However (for the most part), I've stopped seeking out his trio recordings and going to his concerts because they usually leave me with a headache, rather than the sensation of being uplifted.

I did enjoy hearing Brad within this quartet, functioning as a sideman. Although he utilizes many of his trademark virtuosic devices, there are moments when he seemingly "forgets" to be acutely cerebral, and just plays great, swingin' jazz. One such moment is track 6, "Once Before". Strangely, to my ears, his bluesy ideas are reminiscent of Don Grolnick during the early '90s.

I appreciated how his solos often developed from out of the tunes --- using and developing the motifs from the compositions. Two other piano highlights were his solo on the ballad, "I Dream" (no one does dark and brooding better than Brad) and the pyrotechnical two-hand independence on the bossa, "Not By Chance".

Compositionally, some tunes are stronger than others, but in general, they all have singable melodies, solid harmonic structures, thoughtful forms and serve as great "blowing vehicles". "The Balloon Song" by Jaco Pastorius intrigues me. Although I haven't transcribed it, it sounds like an angular 12-tone row played in its various manifestations, in unison quarter notes by the bass and bass clarinet. The bright tempo and Gilmore's brush work really bring it to life before the groove disintegrates into free, interactive, collective improvisation. Very cool.

What I think I like most about this album is the symbiosis between the bass and drums. Joe Martin is a really unique, modern bass player. He "breaks up the time" in very interesting ways --- sometimes playing fragmented melodies in his bass lines and developing them over time, rather than "walking" in a traditional manner. Playing off one another, he and Marcus Gilmore create some serious grooves, as well as spacious musical environments.

How the solos were structured within the tunes was another strong point for this album. On "Caché", for instance, solos begin with trading between the saxophone and piano, leading into conversational improvisation. I applaud their effort to move away from the overly well-worn path of tenor, piano and bass solos followed by drum trading. This is certainly something I think about when structuring my own arrangements.

Thanks go to my piano student Mike Verselli, for bringing this fantastic album to my attention.

Panorama

2012-01-02T22:32:00.000-05:00

Since the summer, I've been listening to a lot more music. This has been a fortunate benefit stemming from choosing to exercise more frequently. Most days I now look forward to my uninterrupted listening time on the treadmill or stationary bike.

Around the same time, I decided to switch up my listening habits by asking my students for names of their favorite, cutting-edge, modern jazz artists and albums. At one point my iPod was filled only with unfamiliar names. It has been fun listening to albums "blind", without knowing the personnel or having preconceived notions or expectations about the musicians on the recording. Some discs were really enjoyable and downright inspiring. Others... well, not so much. In the next few posts I'll share some of my favorites, beginning with:

Hans Glawischnig - Panorama

I love this album from beginning to end, and it has warranted repeated listening. For my tastes it has a near perfect balance of raunchy fire and subtle beauty. Every tune was penned by the bassist leader and there is plenty of variety and interest. Some of the highlights and standouts were:

Line Drive (the opening track), with its rhythmic piano figures and aggressive open fifths in the bass and piano.
His effective use of unison lines (often including the bass!) on many tunes, including in Gypsy Tales and Oceanography, a contrafact melody on How Deep Is the Ocean.
Beneath the Waves features some beautiful, interactive / open / loose / out-of-time playing that falls somewhere between early Ornette Coleman and Euro-jazz from the E.C.M. label. The drums and bass are exquisite here! [This is territory I plan to explore more in my own compositions in the near future.]
The ultra expressive arco bass on Orchids and the intro to Barretto's Way.

One of the major disadvantages to digital downloads is not having liner notes. I'm one of those guys who has always devoured liner notes in an attempt to learn everything I can about the musicians and the music. I keep them by my side as I listen, to verify who is soloing at any given moment. It was strange not knowing who all I was hearing.

I incorrectly assumed that the same rhythm section was used throughout, with a few added guests on saxophone and guitar. I thought I had discovered the world's most versatile drummer and the person I'd be calling for my next recording! The pianist confused me because I heard Chick Corea-isms, but they weren't consistent from track to track. I thought it was probably a young pianist under Chick's influence, or that Chick had been practicing some new material and was forced to play differently because he was dealing with someone else's tunes. I did correctly guess that I was hearing David Binney and Ben Monder on Gypsy Tales. In fact, the tune sounded a lot like one of Binney's, with its quirky ostinato bass and aggressive, distorted guitar paired with the alto sax.

Just today I checked the internet to confirm the actual roster. Here it is:

Luis Perdomo, piano - tracks 1, 3-5, 7-9
Chick Corea, piano - tracks 2, 6
Dave Binney, alto sax - tracks 4, 8
Miguel Zenón, alto sax - tracks 1, 3, 7, 9
Rich Perry, tenor sax - track 5
Ben Monder, guitar - track 4
Antonio Sanchez, drums - tracks 4, 8
Jonathan Blake, drums - track 1, 3, 5, 7, 9
Marcus Gilmore, drums - track 2, 6

The album was recorded in 2005 and released in 2008 on Sunnyside Records.

Luis Perdomo will be someone I'll be checking out in much more detail. What a pianist! --- chops, authority, inventiveness, style and sensitivity all rolled into one.

Miguel Zenón has also been on my playlist since the summer (with his Awake, Jibaro, Esta Plena and Ceremonial albums), so I wasn't entirely surprised to see him listed. However, the three drummers threw me for a loop. Listening to the album again with this knowledge, they all offer something special. I loved how Marcus Gilmore "stirred the pot" and kept things interesting on slower tempos.

I'm looking forward to a new release by Chick Corea entitled The Continents - Concerto for Jazz Quintet and Chamber Orchestra. Gilmore and Glawischnig are paired together again. It should be another great one!

Happy New Year!

2012-01-01T19:40:00.000-05:00

I always enjoy fresh starts and opportunities to evaluate what's going well, what could be improved upon and where changes need to be made. I'll be making several significant changes entering into 2012, but the one I'm making public today is bringing this blog out of hibernation.

Writing has always helped me to solidify my thoughts. I see blogging as a great outlet for self expression. Plus, I love the potential a blog has to put ideas out into the public for consideration and discussion.

My wife also has a blog, "The Potter's Hand", where she writes about a wide variety of topics ranging from parenting, her faith, eating well, and running. She is a truly gifted writer, but has taken some time off from blogging recently. To get ourselves actively writing in the New Year, we have decided to create a friendly competition between ourselves for the month of January. We've assigned points to things like the number of posts written, page views, followers, comments, etc. The prize is a Saturday on our own, sans kids for relaxation and selfish pursuits.

So, please check back often and feel free to weigh in on the discussions. I'll try to keep it interesting.

Yule Be Swingin'

2011-11-25T14:37:00.001-05:00

It's hard to believe December is almost here! With the holidays upon us, musicians around the world are dusting off their seasonal repertoire.

There is a long and wonderful tradition of jazz musicians "covering" holiday tunes, and giving them their own creative twist. Some of my favorites from years past include Dexter Gordon playing "Have Yourself A Merry Little Christmas" and Oscar Peterson playing "Jingle Bells".

At 3 p.m. on Saturday, December 3rd, the UConn jazz ensembles will continue this tradition at their annual Yule Be Swingin' concert in the von der Mehden Recital Hall. In lieu of admission charges, donations will be collected for WAIM (Windham Area Interfaith Ministry). Last year, over $800 was raised for our neighbors in need.

At this year's concert your seasonal favorites will be performed by a variety of ensembles including four different jazz combos, a big band, the 10-piece UConn Jazz Ensemble, and a choir. Between instrumental selections you will be lead in carol singing by Amanda Hanzlik, accompanied by yours truly.

Kids are most definitely invited. Being a dad of young children, I know how hard it is to find quality musical events that don't start past my kid's bedtimes and where I won't be hushed (or escorted out) if they make a peep. This concert was designed to appeal to all age groups, and it is guaranteed to put even the most curmudgeonly of scrooges into the holiday spirit.

UConn Jazz Ensemble Concert - Tuesday, Nov. 1st

2011-10-28T14:30:00.000-04:00

If you're in the Storrs / Mansfield, CT area, I hope you will consider attending the UConn Jazz Ensemble concert this coming Tuesday, Nov. 1st at 7:30 p.m. in von der Mehden Recital Hall. The group will be performing seven pieces by the NYC-based, award-winning composer, Nathan Parker Smith.

The instrumentation of the group is 2 trumpets, French horn, trombone, alto sax, tenor sax, bari sax, piano, bass and drums. This is the same instrumentation I chose for my professional 10tet, "the New Directions Ensemble". Both Nathan and I are clearly influenced by Jim McNeely, who first used this instrumentation on his 2002 Grammy-nominated recording, "Group Therapy".

My students have worked diligently in preparing this challenging, fun music, and I am very proud of the progress they have made --- both as an ensemble and as soloists.

Nathan will work directly with the students, in rehearsal, on the afternoon of the 1st. What a great opportunity! I'm sure my students will have many questions for him. I certainly do.

Nathan Parker Smith's work was recommended to me by composer Dave Rivello, for whom I have tremendous respect. I haven't yet met Nathan, except through our e-mail exchanges. I heard / saw him conduct the BMI / NY Jazz Orchestra at the Summer Showcase concert of the BMI Jazz Composer's Workshop two years ago, when he won the Charlie Parker Jazz Composition Prize.

I highly recommend this concert. We've worked on this music for the past two months, and it would be fantastic to have a full house. Please join us and bring your family and friends.

UConn Jazz Combo Concert

2011-10-22T22:01:00.001-04:00

The UConn jazz combos perform this Tuesday night, Oct. 25th at 7:30 p.m. on the von der Mehden stage.

Experience the excitement of jazz being improvised “in the moment” by skilled student musicians, on a quest to find their artistic voices and make their marks. Gregg August, Earl MacDonald and John Mastroianni, directors.

All of the UConn Jazz combos will perform.

Under the guidance and direction of faculty members, students work together within assigned combos to develop proficiency in the art of jazz improvisation and small-group jazz ensemble playing. Groups are organized according to themes, where the repertoire of a specific jazz composer or genre is addressed.

UConn basketball (and piano)

2011-10-06T12:14:00.000-04:00

Basketball isn't the only thing we do well.

Each year one outstanding jazz studies student is selected to perform with the UConn Jazz Faculty. This year, undergraduate pianist, Mike Verselli will play dueling duo pianos with his teacher, Earl MacDonald. 2 Steinways, 4 hands, 176 notes. Don’t miss it.

Tuesday, Oct. 11th at 7:30 p.m. in von der Mehden Recital Hall.

UConn Jazz Showcase Concert

2011-09-15T14:50:00.000-04:00

All six of UConn’s jazz ensembles will perform at the fall Jazz Showcase concert in von der Mehden Recital Hall at 7:30 pm on Monday, Sept. 26th. A wide variety of music will be presented, including new works by Earl MacDonald, the big band music of Jimmy Heath, classic standards by Mercer, Hammerstein and Kern, and even some avant-garde pieces by Grammy and Pulitzer prize winner, Ornette Coleman.

Jazz Broadcast from Portugal

2011-08-25T15:30:00.001-04:00

Here is a link to a radio broadcast from Portugal which featured my latest CD, "re:Visions":

The host is Ivo Martins. It was broadcast from Radio Universitaria do Minho.

Body and Soul

2011-07-28T19:45:00.001-04:00

The good folks at Death Defying Records asked me to write a short commentary on “the first jazz album that caught my attention and helped to start me on this path.” I thought I’d go ahead and post my response here too.

This question brought to mind a vivid memory from high school of listening to “Mira, Mira”, a Matt Harris piece from Maynard Ferguson’s LP, “Body and Soul”. I remember thinking “wouldn’t it be cool to tour with a band like this someday, playing similar great music”. It’s ironic that until now, I hadn’t remembered this, and hadn’t pieced it together that by touring with Maynard (1998-2000) I accomplished an aspiration I had inadvertently set for myself in high school.

The other album that comes to mind from this period is “Pat Metheny Group”. I listened to this hundreds of times, and learned to play all of Lyle Mays’ piano / synth work on “Phase Dance”. My high school combo performed this piece at the Optimists Music Festival in Winnipeg, and I remember feeling so hip, playing Lyle’s solo. I still think this record stands the test of time.

Here’s a video I would have loved to see back in the day:

Life Support and Drastic Measures

2011-06-16T07:40:00.001-04:00

In my last post I outlined some of my frustrations with the Hartford Jazz Society. In this follow-up article I thought it would only be fair to offer some ideas as solutions.

Ideas For Attracting Younger Audiences:

Throughout his career, trumpeter Maynard Ferguson was continuously engaged in audience development, through performing in high school auditoriums, rather than in prestigious concert halls. He collaborated with school band directors who got their students and Band Parents Associations excited and selling tickets. By bringing the music to them, these kids often became fans for life.
Have family-friendly events. Good music geared towards children (and their parents). Jazz versions of children's songs. Matinee performances at affordable prices.
Like the Boston Symphony Orchestra, offer and publicize discounted seats for people under age 40.
Actively develop a strong base of hard-working, organized volunteers, and offer them incentives (like a co-op) such as free or discounted concerts in exchange for successfully completed tasks such as online marketing, telephone solicitation, website updates, writing newsletter articles and desktop publishing.

Lowering Overhead Costs:

Stop relying on grant funding to break even at concerts! I've seen the figures. It is absurd that the funds from a sold out audience could not exceed or match the overhead of hiring a band, catering, a sound man, and renting a hall.
Stop using the (ultra expensive!) Wadsworth as a performance venue and start collaborating with school band programs, presenting concerts in their facilities, for free. Plus give them a portion of the proceeds, thereby realizing your educational mission.
Stop hiring such expensive bands. Hire a big name headliner or "front line" from NYC and then hire qualified local musicians to accompany them. In addition to lowering your overhead, this in turn will help sustain the local music scene, as well as boosting morale with local musicians.

Fundraising Activities:

During these perilous economic times let's not be guided by nostalgia and fond memories of years past.

If the cruise and dance are highly effective fund raisers, by all means keep them. If their interest is fading, abandon them and forge a new path. Google search "fund raising" to investigate the most effective means of generating the required funds to accomplish the organization's stated aims and purposes.

Don't Be Afraid To Dream:

What does the Hartford jazz scene need most? A designated jazz performance space. The jazz society in Edmonton, Alberta, Canada did it. Read the history of the Yardbird Suite club, which is operated entirely by volunteers.
If they did it, you can too. Every month a substantial amount of rent is paid for your office space in Bloomfield. That money could go towards a mortgage payment, coupled with donor and grant funding to do something truly special, with lasting value, which could double as your office space. [Don't say that it is impossible. It's not.]

Change the Slogan... now!

It's time to ditch "Keeping Jazz Alive". This slogan concedes that jazz is on life support and is on its way out. This is the wrong message to convey. I propose "Sharing The Joy Of Jazz".

So... those are my thoughts and suggestions. I'll be bringing this post to the direct attention of the HJS's Board of Directors, so if YOU have ideas to share as they ponder the organization's future direction, by all means, leave a comment (preferably on the blog rather than on my Facebook page.)
Ever up and Onward.

Relationship Status: It's Complicated

2011-06-15T09:08:00.000-04:00

If Facebook extended their relationship status indicators to include organizations, I'd have to select "It's Complicated" between myself and the Hartford Jazz Society. In my first five years in Connecticut I made multiple attempts to initiate a relationship, with e-mails, letters and phone messages; none of which were returned. Several years later I was invited to attend, share opinions and my expertise at an organizational planning sessions (which was mandated for them to receive grant funding). Aside from the guests, there were no familiar faces in the room from audiences at my gigs, or performance venues I frequented at the time. Most were (somewhat) elderly gentlemen. Shortly after this encounter, I was asked to join their Board of Directors, which I agreed to do, for a period, after examining their stated aims and purposes, to which I enthusiastically agree and wholeheartedly endorse. Idealistically, I had high hopes of breathing new vitality into an organization which I perceived to be dieing. Their motto, "Keeping Jazz Alive", ironically reinforces this notion. If mere survival is the goal, you're in trouble as an organization.

The board has expressed the desire to see new, younger faces in their ranks and audiences, but yet their list of annual events has remained unexamined and unchanged, for years (perhaps decades). Either these event don't appeal to younger people or there are obstacles preventing them from being there. Take the annual cruise for example: No children are allowed and it lasts for 7 hours. What young couple can afford two $50 tickets plus an additional $80 for babysitting. $180 + food + beverages = one expensive date! And for what?! To hear a student ensemble or local group?

For now, it is my understanding that the cruise still manages to generate some funds... that is, until the remainder of the old club is too frail to attend or passes on.

On the contrary, the Valentine's dance, also priced at $50 / ticket, has been known to lose money. The year during which I served on the board, one of the senior board members paid the balance from his own pocket. If it generated a substantial amount of income towards accomplishing the organization's aims and purposes (such as scholarship funds or producing educational and cultural programs for schools, community centers, and colleges, I suppose I could palate the notion of dancing, although the event frankly has no appeal to me. Again, it is an expensive date to which persuading my social peers to attend would be difficult, if not uncomfortable.

As much as I have enjoyed the concerts at the Wadsworth Aetna Theatre, they too are expensive. I usually attend without my wife. Maybe I'm cheap, but I view $30 as an expensive ticket price in Hartford for jazz.

I express these views "in love", because I want to see the organization succeed and thrive. I was saddened and angered to learn of the internal robbery of funds, but perhaps it has created an opportunity for reevaluation, change and new directions.

In my next blog posting, I will share some ideas, with the intent of keeping things positive. If someone must complain and point out problems, it is only right to offer some proposed solutions. Ever up and onward.

ArtEZ Jazz Composition Competition

2011-06-14T13:00:00.001-04:00

I just returned from a weekend in the Netherlands where I was one of five international finalists in the ArtEZ Jazz Composition Competition in Enschede. It was an exhausting, lengthy trip from Connecticut, but overall I view it as worthwhile, despite not being selected as winner.

I enjoyed meeting some fine composers from Italy, Germany, Austria, and Holland. In our casual conversations we shared stories about our teachers and collaborators, expressed opinions about what music we like and dislike, talked of the leading jazz orchestras in our countries, and discussed our compositional approaches. It was insightful, healthy and fun discourse. The connections I made will certainly be helpful as I make efforts to get my big band music played with more frequency "on the other side of the pond".

Each composer was alloted a 45-minute time slot with the orchestra, in rehearsal on Saturday. Slight aspects of interpretation could be addressed. I focused primarily on transitions, tempo changes and achieving my desired ensemble blend in one, specific passage. There wasn't time for much else.

On Sunday, the Millennium Jazz Orchestra did a truly impressive job with the music of all 5 international composers. Ultimately the judges chose American, Alan Chan as winner. It was undoubtedly a difficult decision because each piece had admirable aspects. The motivic development, power and contrast in German, Jonas Schoen's piece, and the beautiful, sentimental melodic lines and dance evoking rhythms within Italian, Giovanni Savelli's "Kirshrot" were memorable. Austrian composer, Reinhold Schmölzer's "Hurdles" had a strong sense of drama and an effective use of orchestration, although it wasn't overtly melodic. It wouldn't surprise me if this young student of Ed Partyka and Jon Hollenbeck received some critical accolades of his own in the future.

The second half of the concert featured the music of the MJO's Henri Gerrits. It was first-rate material that is scheduled to be recorded this month. Consistently, the pieces had well-conceived overall shape, solid orchestrations and interesting solo backgrounds which helped guide the soloists.

The Dutch jazz scene appears to be quite healthy. The festival also sponsored a competition for local big bands. There appeared to be dozens of groups, most of which sounded very good. It was amusing to hear several Germans say that the Dutch treat jazz too casually, viewing it as background party music, over which to talk, drink and dance. I wonder how they might view American audiences.

Although I returned home somewhat disappointed, I am not discouraged. In addition to having heard some great, inspiring, new music, I return with a slightly expanded world view, having met new, talented individuals who share my passion for orchestral jazz composition. Ever up and onward.

Lessons From A Street-Wise Professor

2011-05-25T13:30:00.000-04:00

I just finished Ramon Ricker’s new book, “Lessons From A Street-Wise Professor: What You Won’t Learn at Most Music Schools”. As I read it, I kept thinking, “if only this book had been written 20 years ago, when I was cutting my teeth as a young musician.” (I certainly made my fair share of professional blunders coming out of school, despite having several caring mentors to guide and correct me.) Ricker covers a very broad array of topics including tax tips, etiquette, career planning, time management, and the ins and outs of musical entrepreneurship.

I highly recommend this book for any young, aspiring, student musician. Even for those of us who have been around the block a few times there are golden tidbits of information. The section outlining the career paths of five, selected, successful musicians was especially informative. I found the story of Jeff Tyzik’s career journey to be especially interesting and inspiring. It certainly and got my wheels turning.

Jazz Concert

2011-05-19T09:22:00.000-04:00

Check out this incredible roster for the upcoming performance on Saturday, June 4th by the Hartford Jazz Society's New Directions Ensemble!

Kris Allen - alto saxophone, Artistic Director

Wayne Escoffery - tenor saxophone

Lauren Sevian - baritone saxophone

Nick Marchione - lead trumpet

Josh Evans - trumpet soloist

John Clark - French horn

James Burton III - trombone

Earl MacDonald - piano, musical director, composer

Dave Santoro - string bass

Jimmy Macbride - drum set

The concert is a fund raiser for the (financially strapped) Hartford Jazz Society. Six groups will play at the Asylum Hill Congregational Church, 814 Asylum Ave, Hartford, between 6 and 10 p.m. We will be the last band, hitting the stage at approximately 9 p.m. As an added incentive to attend, we will be debuting a couple of new pieces (which I am busy writing as you read this).

Suggested donation $25 - but no one will be turned away!

For info, please contact the Hartford Jazz Society, (860) 242-6688.

Hartford Jazz Society Fundraiser Concert - June 4, 2011

2011-05-18T15:00:00.000-04:00

The Hartford Jazz Society, America’s oldest ongoing jazz society, needs your help. They will be hosting a fundraiser to help in their rebuilding efforts [See my last blog posting for an explanation]. Please join them for a fundraising concert on Saturday, June 4, 2011, from 6 -10 p.m. at the Asylum Hill Congregational Church, 814 Asylum Ave, Hartford.

Featuring:

The Umoja Sextet
Ed Fast and Conga Bop
Pianists James Weidman and Warren Byrd
Trumpeters Stephen Haynes and Saskia Laroo
The Norman Gage/Kenny Reed Quintet
Earl MacDonald and the Hartford Jazz Society’s New Directions Ensemble

Suggested donation $25 - but no one will be turned away!
For info, please contact the Hartford Jazz Society, (860) 242-6688.

Keeping The Hartford Jazz Society Alive

2011-05-17T21:15:00.001-04:00

A letter from Dan Feingold, President of the Hartford Jazz Society...

To members and friends of the Hartford Jazz Society:

I am writing to inform you of a serious financial setback suffered by the HJS, and to ask for your financial support.

During this 50th anniversary year, the HJS experienced a major theft from its bank account, leaving it with virtually no funds. We have had to lay off our long time secretary, Louise Harris, and our new General Manager, Sharon Steinle, and we have been forced to cancel our spring concerts.

The good news is that the HJS has been a strong and vibrant organization for over 50 years, and we are determined to rebuild and keep going. We are working with the bank and the police to identify and prosecute the culprit. We have instituted internal procedures to ensure that such thefts will never happen again. We are reducing our office overhead, and members of the Board of Directors (all volunteers, and not a wealthy group) have each contributed toward paying immediate expenses. Sharon continues to work with us on a volunteer basis.

Local musicians and HJS scholarship alumni have offered to perform in fund raisers to help restore our bank account. The first fund raising concert will be on Saturday, June 4 at Asylum Hill Congregational Church. Meanwhile, we are entering into collaborations to maintain a schedule of HJS events until we can fund our own events. The Hartford Jazz Society’s New Directions Ensemble, which has independent funding, has performed three concerts in the last four months.

Funding has been committed for Monday Night Jazz in Bushnell Park, so that series, and our September 18 Jazz Cruise/fund raiser will take place.

But we need your support as well. We must produce the cancelled concerts to honor our commitments to the foundations whose funds were stolen from our account, and the musicians who had been scheduled to perform. We must also fund our basic operation until we can secure new grants. This means that we must raise $50,000 more than the anticipated proceeds of the above-mentioned fund raisers: $1,000 for each of our 50 years.

The HJS has been “keeping jazz alive” for 50 years, and jazz lovers have been there to support us. Our trust in your continued support motivates us to continue the Society’s work. We need your support now more than ever.

Sincerely,
Daniel Feingold,
President

Black and White Theology

2011-05-10T21:07:00.000-04:00

Are bumper stickers such as these effective in influencing legislators? Are they designed to endear people, to change their opinion, or help shape the popular consensus? Is it sending a message of love to all people, including those who have had to make this difficult decision? Would they feel welcome at a church where this was the car parked beside the main entrance? Is it really this black and white? These are some of the questions I ask myself on Sunday mornings.

School Band

2011-04-19T16:00:00.002-04:00

I have great respect for school band directors who do their job well. Although there is some overlap in our jobs, they have developed and possess some very different skill than mine. Even though I regularly adjudicate high school and middle school bands, and am happy to make musical suggestions based on my expertise, I don't kid myself into thinking that I could do their gig on a day-to-day basis.

For the past five years I have heard the Mystic Middle School Jazz Band perform annually at the Manchester High School Jazz Festival. I'm always impressed. I was astounded to learn that their director, James Hilbie is a tuba player, and not a jazz player turned educator. Through observing his band in performance one can see that he is a passionate, experienced educator who knows how to get results. In all of our conversations he comes across as being very humble and he isn't shy about asking questions.

Jim recently took me up on my offer to bring his students to UConn to play as the "opening act" at a Jazz Lab Band concert. He also agreed to give a workshop to our Music Education students, where he shared his approach to successfully directing a middle school jazz band. It was a very insightful clinic. Below are some notes from his presentation, shared with his permission:

Mystic Jazz Band Presentation, by Jim Hilbie

- TRADITION / RESPECT/ HIGH EXPECTATIONS/ REPUTATION

- Auditions (in front of others) – first song of the year / first rehearsal letter

- Sectionals once a week: 7:30 – 8:00 AM (leaders emerge – all have ears!)

- Tuesday evening jazz rehearsal 7:00 – 8:30 PM (practice vs. rehearsal)

- Jazz band set-up - everyone knows their jobs (example: rock – drummer captain/ swing – bass keyboard captain)

- Listening to CD

- Private instruction (partnership)

- Selecting music best for the band vs. what you love / well rounded program

- Music aptitude

- Singing and counting

- Plan instrumentation for the future – always looking ahead

- Theme night /cookies / cookie swap (December)

- Great parents – no meetings, everyone helps – jazz band family – Jazz News! every Sunday – DVD’s / Picture Boards / Bring our own audience

- Jazz Band Schedule (communication is key!)

- Teacher: assigning parts, how music parts fit together (bottom to top), steady and consistent, Dr. Beat

- Fifth Grade Jazz Lab and Jazz Lab Band

- Pencils

- Engage students in the listening and fixing – the music making

- Technicians vs. musicians

- Improvisation (written solos, theme and variation)

- Work song from the end

- Before concert practice: 1. solos 2. bows 3. rhythm section sound check 4. attire 5. talk through entire performance

- Keyboard bass vs. electric bass guitar

- Compare to sports

- All solos and soli as well as entire songs memorized

- Guest teachers: Tom K., Tim F., Doug M.

- Rhythm section / melody only with rhythm section / harmony only with rhythm section / play just accents

- Tone / intonation (tuning a phrase) / style / blend / blance

- Music Festivals: John M. “motion creates emotion” , Earl M. “play notes not on the page”, Tom K. “Nothing happens without air” and how to play keyboard bass”, Doug M. “solo – now small combo/ listen to great artists”, Jack Cick. “Play harmony louder”, Tim F. “High Hat work”, Jack Z. “World revolves around the trombone”.

- Teachers (I) am ALWAYS LEARNING!!!

- “To be early is to be on time”

- “Road to success is almost always under construction”

- “Practice does not make perfect, perfect practice makes perfect” Vince Lombardi

- “Feels good to breath – DON’T”

For those who would like to read more about Jim's educational philosophy, I also found a very well written article by Jim online, entitled "Leadership in Band Class" which can be found here.

Oh Where, Oh Where Has The Audience Gone?

2011-04-16T08:38:00.000-04:00

It's no secret that audiences for live music performances are dwindling. At one UConn Jazz Ensemble concert last semester, there were 30 people in the 300 seat hall, despite an extensive advertising campaign which included postering, placing an ad on Craig's List, multiple Facebook listings and a YouTube video. Around the same time period the Hartford Jazz Society had to cancel a major concert due to low ticket sales. So, what's the answer? How do we generate interest, fill seats, and successfully continue the tradition of presenting concerts? Any and all ideas are welcome.

I recently started a new initiative for all UConn Jazz concerts: inviting high school or middle school jazz bands to serve as "opening acts". Its a win-win situation. I offer their band an on-campus clinic, they get to play on our concert stage, and the younger students benefit from hearing more experienced, university student musicians playing sophisticated repertoire. From my vantage point, my audience grows, because they bring their parents and grandparents. I further develop relationships with band directors (who play a significant role in a student's decision of where to go to study music) and I meet and hear prospective students.

This past week our guests were the Mystic Middle School Jazz Ensemble, directed by James Hilbie, and the E.O. Smith High School Jazz Ensemble, directed by Aaron Burgess.

Having the visiting band director give a presentation to our music education students on how to run a successful jazz band program was another huge plus. In my next blog post I will share notes from the presentation given by Jim Hilbie, the Band Director at Mystic Middle School.

So... that's my big idea. What's yours?