All Your Jazz » Education

Jazz At Lincoln Center Presents New Program: “WeBop” Teaches Young Children About Music

jazzman — Tue, 05 Jan 2010 00:35:48 +0000

WeBop is an early-childhood jazz education program in which children (ages 8 months – 5 years) and their parents/caregivers learn about jazz’s improvisation, creative process, instruments, styles and great performers. The classes provide a creative outlet for parents and children to explore jazz as a tool to educate and express themselves together.

More Info

Meet the Jazz Band at WeBop this Winter!
Join this Winter Term, as they have to know the instruments that make up a jazz combo, from the noble trumpet to the engine of the band, the drums. Each week you’ll move, sing, and play along as you learn about each instrument, culminating in a jam session with a live jazz band.

Highlights

* Slide from high to low like a growling trombone
* Swing your favorite nursery songs
* Scat oo-pop-a-da like Ella
* Swing the band with your steady drum beat
* Play a mean jazz riff on the piano
* Walk like a bass swinging way down low
* Jam with the a live jazz quartet
* Have fun playing with your friends and family

Join Here

Video

Details

For dates, registration, and pricing, please visit http://www.jalc.org for more info.

Jazz Etiquette: What To Do & How To React At A Jazz Concert

drumminfabe — Sun, 27 Dec 2009 10:55:18 +0000

Going through our inbox, we have received a couple of emails and comments pertaining to jazz etiquette, specifically related to how to respond to live music. Do I clap at the beginning, after each song, at the very end, after solos, etc. It is a little different than attending other performances like rock or classical concerts.

This short little article will give you a better understanding of a jazz performance, meaning how to perceive the music and the musicians. For this, I give a little information about the seating of jazz gigs and how this reflects the mindset of the jazz listener. More importantly, this article will explain when and how to respond to the music you hear (clapping, shouting, dancing, etc).

It is aimed at those who have never or seldom attend jazz concerts and might be interested in how to uphold the “audience member” part of the bargain.

Where to sit

(1) Most jazz gigs offer open seating, and this is actually an extension of the attitude toward the music. Nothing official or formal, just sit where you would like, so you can have a good time. Having said that, here are a couple little tips for the noobies to remember. Like most other concerts, try to avoid the first row center (seating or tables) – especially if you arrive late. Most of the time, this seating is usually reserved for special audience members (i.e. family, friends, and even for the performers at different times in the show). Obviously if there are quite a few people seated, and those front seats/tables aren’t taken, there might a reason for it.

Other than that, it is free game. If that doesn’t narrow it down enough, how about picking a spot where you will have a good line of sight to the musicians. This may be obvious; however let me clarify that this doesn’t necessarily mean that you can see the entire stage. Many times musicians (often lead singers/featured artists) will have their area that they will sit in or occasionally move around in. This is the featured part of the concert, so if you cannot get a seat with the entire group in vision at all times, go for the lead musicians. Some prefer to get very specific vantage points, where they are can see how the musician moves or how he plays the instrument (as opposed to just viewing them head on).

Sitting toward the back is not necessarily a bad thing at all. As I have mentioned, jazz is a little less formal when it comes to seating arrangements, as your interests and comfort are number one priority. Sit where you feel comfortable and listen how you want to listen. This is often where other artists, jazz efficiandos, and other reviewers/media end up sitting.

If you are a “tapper” or “head-bobber” (no, nothing impure intended here), you might want to be positioned a little off to the side – this is not because you might stand out or look ridiculous like if you were at a classical concert (in which case you would be ridiculed); rather it is simply because it could be distracting for other audience members.

Finally, late comers should always move quickly and quietly to the most convenient position (even if it means standing), so as to not distract the musicians or audience members. Pretty common sense, but it needs to be pointed out that this respect is of high priority than your assigned or usual spot (should that be the case).

(2) There is one other scenario regarding seating, and it is of the “dinner and music” variety. If there are assigned seats for the meal (usually determined by a host/hostess), this is where you will be for the show. On rare occasions, seating could change in between the meal and the concert, dictated by the course of events in the night (dinner, break, drink, music).

Applause

Probably one of the most confusing, and at times most controversial, things about the jazz performance is when to clap. Audience members generally enjoy showing their appreciation for the musicians, but most are reluctant to do so because of their inexperience with the music – result: the band thinks they suck because they didn’t hear any response from the audience.

Generally, these are the following times when audience members are expected to clap at a jazz gig: when the band first comes out, after each song, and when the set concludes (usually getting a little louder each time – if you like the group). These are pretty much set in stone, and you shouldn’t have any reluctance in clapping at these times. If you do not know when the end of the song occurs, wait for others to start. This is common in jazz, as the same song is seldom played the same way (even if played during different sets in the same night).

But what about solos? Glad you asked. The solo for the musician is more than their chance to play louder and more extravagant than the others on stage. They are being featured, and they have the opportunity to infuse their own flavor and message into the song. Jazz musicians, on the whole, are very expressive and enjoy leading the audience on a journey with their solo. But more than this, they are offering themselves to the audience and enjoy the response from the listeners. In other words, if there is no response from the crowd, the message has not been received as it was intended. In short, clapping at the end of EACH solo (even when there are multiple solos) is encouraged.

Having said that, there are some guidelines if you don’t want to be picked out of the crowd as “that guy”, but before you start worrying, I can assure you they’re pretty much based on common sense.

(1) Clapping after EACH solo is fine; however keep the clapping to a minimum. Now, that isn’t to say that musicians want to hear golf claps; rather keep the length of the clap brief. This is mostly because the music is still going, and the end of a solo could be an important transition to the next part of the song. This is in contrast with the classical or operatic clap which involves profuse bowing on the part of the performer and many curtain calls.

(2) In general, when there are multiple soloists playing right after the other, there is a progression where the lead or featured musician will be going last. This means there is generally a progression in the volume of the clapping, starting with moderate and ending in a loud. Keep in mind, though, that you should still refrain from any sustained clapping beyond 4 to 5 seconds.

(3) Yelling is generally not the best way to respond after a solo, although the occasional “yeah” or “woo-hoo” can be heard. Let us just point out that this is generally done by those you know the artists personally or who are at least a regular to jazz concerts. When going to your first couple of gigs, you might not want to be the first person to do this. In short, refrain from verbal outbursts or anything that might involve a spotlight being place on you.

(4) The avid jazz listener and frequent guest at jazz gigs will often let you a short comment or even a small clap IN THE MIDDLE of the solo. The reason for this is that they usually hear something in the solo that is very notable and common in jazz – “the quote.” Musicians like to quote themselves and each other, and what this means is that they might throw in a short reference to “pop goes the weasel” or other famous lick mid-solo. Not only is it creative and entertains the crowd with their musicality and musical ability, but it can even quote a musician who has used that line before (maybe even in the same song). For beginners, don’t worry about this. Let the regulars handle this, and don’t feel offended if it happens.

One last bit about applause. The noobie might perceive the “post-solo” clapping to be short and disrespectful, but it is well received. It is enough to hear response and know that the audience is with them, and at the same time, they know the rest of the song can keep going without thunderous applause or other interruption.

Bob Sheppard To Lead Off LA JazzPro Connection: A workshop for aspiring jazz musicians

jazzman — Wed, 29 Jul 2009 11:56:57 +0000

The LA Jazzpro Connection will be offering a new and exciting jazz workshop concept. It is an effort to bring to together both local and international jazz artists, so they can share their knowledge with students. The series features world-class performers/clinicians in an intimate setting from 10:00 am to 4:00 pm on Saturdays beginning August 1st, 2009.

Here is the list of jazz artists and the dates they will be leading sessions:

August 1st – Bob Sheppard (saxophone),
August 8th – Bill Reichenbach (trombone)
August 15th – Larry Koonse (guitar)
August 22nd – Peter Erskine (drums)
August 29th – Alex Acuna (percussion)
September 19th – Tierney Sutton Band vocal workshop and evening concert.

More Information About The Workshop

Bob Sheppard:

After receiving a Master’s Degree from The Eastman School of Music, Bob Sheppard quickly became established as one of the most highly respected and well-known improvising artists on the music scene today. Complementing his success as an international jazz artist, he is also in high demand in Los Angeles for session work in many music studios, having recorded more than 100 television and movie soundtracks.

A musician who meets the highly disciplined requirements of session work with equal artistry in all musical situations and styles, he has built a career consisting of many long term collaborations with leading and respected artists. In addition to being an accomplished saxophonist, he is an impressive multi-instrumentalist playing flutes, clarinet, and bass clarinet.

Currently a member of The Peter Erskine Trio, Sheppard has also toured with Chick Corea’s “Origin” for two years and is featured on Chick Corea’s Grammy nominated CD, Change. Over the past 20 years he has performed and maintained many of his associations and on-going collaborations with the following artists: Freddie Hubbard, Mike Stern, Randy Brecker, Horace Silver, Lyle Mays, Toshiko Akiyoshi/Lew Tabackin Big Band, Billy Childs, and Nat Adderley.

His versatile musicianship has extended to pop CDs with Steely Dan, Rickie Lee Jones, Manhattan Transfer, Burt Bacharach, Elvis Costello, and Randy Newman including jazz CDs with artists Scott Henderson, Michael Franks, Andy Laverne, John Beasley, Otmoro Ruiz, Terry Trotter, Kurt Elling, Marilyn Scott, and Diane Reeves.

More Info About Bob Sheppard

Workshop Location:
Upstairs at Vitello’s
4349 Tujunga Avenue
Studio City, CA 91604
(818) 769-0905
www.vitellosrestaurant.com

Jamey Aebersold Summer Jazz Workshops At The University of Louisville

jazzman — Thu, 09 Jul 2009 11:32:54 +0000

For almost 40 years, musicians from all over the globe have turned to Jamey Aebersold’s “Summer Jazz Workshops” to improve their jazz playing. During this time, the Workshops have earned a reputation for producing the best intensive programs for learning jazz improvisation. Whether a beginning improviser or a seasoned pro, you’ll leave the Workshops and Seminars with tons of new and exciting ideas about how to improve your playing.

The week-long Jazz Workshops, which are presented every summer at The University of Louisville in Louisville, Kentucky, are the best place to learn jazz through hands-on experience. With over 60 All-Star faculty members for each week, participants are assured of getting plenty of attention in rehearsals and classes. We welcome all instruments, including rhythm section, strings and vocalists.

Participants of the Jazz Workshops get master classes on their instruments, ear-training sessions, free concerts by the all-star faculty each night, jazz theory classes (four levels, from beginning to advanced), and more. Of course, there are the all-important combo rehearsals, led by our instructors, where students are matched (via a private audition on Sunday) with others of the same ability.

Several of the most influential Jazz Educators have been instructors since the workshops’ inception including David Baker, Jerry Coker, and Dan Haerle. They will again be here this summer along with 60 other faculty! Don’t miss out on this great opportunity!

If you are in California, there is also a special 2-day session, presented at Diablo Valley College in Pleasant Hill, California. This “Anyone Can Improvise! Seminar with Jamey Aebersold” will take place August 8th & 9th, 2009. Be sure to register in advance to save your spot.

For more information – including dates, a list of educators, directions, and pricing – visit them online.

Press Release: Launch of “Giant Steps” Jazz Course

jazzman — Mon, 12 Jan 2009 10:47:00 +0000

Thought to be the first course of its kind, the Giant Steps Jazz Course combines the best features of a weekend workshop, a residential course and a full-time music education. Open to players of all jazz instruments, the course comprises three residential weekend modules, interspersed with four self-study weeks during which players have time to absorb and practice what they’ve learned by completing assignments.

By the end of the very first weekend, attendees will create and record two original group compositions, producing “head” arrangements, solos and backings! While the format of each weekend session is centred on playing, parts of each session is given over to theory and listening.

One of the most important steps in musical improvement is to develop the ability to analyse and understand what you are hearing without the need for painstaking transcription. This powerful and often under-valued technique is something of a secret weapon for the improving musician, and attendees will be exposed to the process of recording and immediately evaluating what they have played.

For full story, please visit http://www.24-7pressrelease.com.

Where Jazz Performance Meets The Classroom: Tips every jazz teacher should be aware of

jazzman — Mon, 22 Dec 2008 07:51:55 +0000

About 4 months ago, we brought you a post about how to get the most out of jazz improvisation (”The Key To Jazz Improvisation: Be a Storyteller”). While that article addresses some specific points for individual learning and practice, the current one will help to focus more on the instruction in the classroom. Specifically, it will address some concerns that many jazz teachers have – getting students interested, keeping their focus, and application from practice to performance.

We hope that the following article will give instructors more ideas regarding their role as teacher and how their active involvement during instruction can help can act as a springboard toward students’ motivation. We also talk about the student’s role in the classroom, focusing on their active participation and collaboration with the teacher.

The Students’ Perspective:

Students of jazz, like in any other subject, benefit most from instruction that actively involves them in the learning process. Passive instruction they receive from the teacher, as well as from any theory or listening examples is good for establishing a foundation and providing context for the material to be learned; however if the students are not actively engaged with these examples, it is difficult to to apply the material – especially since music is performance-based.

When practicing, students benefit most from collaborative tasks, in which other students are also involved. In other words, sectional work can only take one so far, without the opportunity to apply everything and learn to play with others. This is, after all, the end goal in this whole process.

One of the most important points, which is related to student motivation, is to have the opportunity to collaborate with the instructor(s). Students need role models, and they often turn toward the teacher for more specific and critical information that can guide them toward the next step, always encouraging them to move a little beyond where they currently are. It is not just advice and verbal feedback that plays a role in this process; rather it also comes from the teacher playing with the students. As was said before, while passive instruction in the form of verbal comments and advice can go a long way, the experience of learning while playing (namely with the teacher), can help offer guidance and direction that is often difficult to explain in words.

Teacher Involvement:

There are many different things that teachers can do to get involved in the instruction. Regardless of the type of involvement (whether passive or active), it should be kept in mind that the students are often more comfortable when allowed to relate to the on their level. This means that the teacher should be willing to check his/her ego at the door and subject him/herself to the same peer evaluation that the other students are held to.

Not only does this allow more opportunities for open discussion and true collaboration, but it switches the role of the student from passive, subordinate learner, to active and equal participant. Even if you do not feel completely comfortable with jazz (if it is not your primary subject area), there are a variety of approaches to fit any type of instructional situation.

Strategies:

(1) Beginning Teachers and Beginning Students

You, the teacher, should be willing to try some things that are outside of your comfort area. This type of exploration, despite mistakes here and there, shows the students that you are also learning the material at the same time, always expanding on your knowledge and experience. This should make the students feel a little more comfortable, willing to follow in your steps of exploration, without fear of making mistakes or ridicule.

(2) Beginning Teachers and Intermediate to Advanced Students:

Even if the students are a little above your level, the teacher can still do a lot in terms of building confidence in the students and encouraging them to explore. The teacher’s efforts to explore on their own and reach their level is proof that they should not be afraid to reach beyond their level. Asking them questions, and commenting on your experience in an honest and welcoming atmosphere also instills in them the very nature of jazz, where all are welcome to contribute in the “dialog” of music.

(3) Advanced Teachers and Beginning Students

The teacher should consider taking the roll of the bass when playing with the students. A strong sense of rhythm and time is crucial for building a solid foundation in jazz (and most other forms of music for that matter). With the teacher modeling the bass, they are holding the group together and keeping everything in time. The students need this element from the beginning, and this is a great way for the teacher to be involved actively with the students.

(4) Advanced Teacher and Intermediate to Advance Students

At this point, you are using all of you knowledge and experience of the whole-group sound to offer advice to each of the different sections as applies to them. This is a good time to model concepts that may allow them to reach a better understanding of this whole-group sound, not just on an individual basis. Of course, as we prescribe active involvement with the students, comping different rhythms and solo sections is a good approach, modeling things like emphasis on dynamics and different chord progressions. The teacher is encourage to do this on different instruments, if possible. This will allow them to better convey each section’s role toward the group-sound. Listening plays a crucial role at all times; however instead of focusing on listening passively, they should be asked to listen while playing, noting their contribution to this overall whole-group sound.

Summary

Students at all levels need to have reinforcement in terms of their motivation, goals, and general interest in jazz. This means that while the teacher is seen as the primary role model, they may also turn to other resources as well. This may come in the form of an advanced player in the band, offering tips and feedback. The students should also be encouraged to look for outside resources such as private instructors. This will allow them to time to hone their skills on a one-on-one basis. Finally, they should be encouraged to look at and listen to the greats. Having a role model in a a famous artist and musician can help keep them motivated, and at the same, better shape their goals as aspiring musicians.

We hope these tips can prove useful in the classroom (whether in private, small-group, or ensemble situations). Please let us know what you think about the article and if there are any other elements or concepts we should add to it.

Press Release: Cintas Foundation and the Frost Art Museum Announce Annual Competition for the 2009 Brandon Fradd Fellowship in Music Composition

jazzman — Sun, 14 Dec 2008 00:44:29 +0000

The Cintas Foundation and the Frost Art Museum at Florida International University today announced the start of the annual competition for the 2009 Brandon Fradd Fellowship in Music Composition administered by the foundation and the Cintas Fellowship Program at The Frost.

Established in 2006, this fellowship is generously endowed by Brandon Fradd of NewYork City. Managing director of Apollo Medical Partners, Fradd, a graduate of Princeton University and Harvard Medical School, grew up in Miami among Cuban friends from whom he learned Spanish and developed an interest in Cuban music.

To read the full article, please visit www.24-7pressrelease.com

“Jazz Saxophone Duets”: Great book for jazz saxophonists

jazzman — Sun, 30 Nov 2008 23:43:39 +0000

From the best-selling author of Jazz Saxophone Etudes comes the only jazz saxophone duet book you’ll ever need! Written for alto and tenor saxophones, this collection of 10 duets are fun to play, valuable to study and perfect for teachers of saxophone to use with able students. If you’re working on tone, phrasing or articulation, then these pieces make learning fun.

Jazz Saxophone Duets includes 10 Duets and 3 CDs–Versions for 2 altos, 2 tenors and a version for alto & tenor (alto top line, tenor bottom line), with each etude played by Greg Fishman and Mark Colby (2nd tenor), plus extra rhythm section tracks for extended blowing. Also includes a style and analysis section, plus a detailed practice guide for intermediate, advanced and pro-level players.

Reviews:

“This is a really fantastic duet book by Greg Fishman. Concise and practical,
the duets are also melodic and extremely musical. What makes this book stand
out is that it hits all the basics necessary for the development of the skills
essential to saxophonists of every level. And it’s a “must-have” for teachers
as well as students. If you need a modern and musical duet book, this book
reigns supreme!”
–Tim Price, multi-instrumentalist and SaxOnTheWeb author.

“Finally a hip jazz duet book from a sax man who can really play. I recommend this to any teacher who wants to share good music with his students.”
- Phil Woods

For samples of the sheet music as well as audio, check out Jazzwise.com.

You can also find more information about this book from Greg Fishman’s site.

[Source: Jazzwise.com]

Strumming For The Fun Of It: Learning jazz guitar and loving it

jazzman — Wed, 05 Nov 2008 06:34:11 +0000

So, you bought the $800 guitar that you really needed, and you have the chord book out – you might even be thumbing through Guitar Magazine, looking for the newest songs and finger techniques. But you still feel you haven’t made it to that next level. Why?

This post describes some of the best approaches to improving your jazz guitar skills, promoting it as enjoyable experience. Yes, in order to “get better” with jazz guitar, you do need to put in time and practice; this doesn’t, however, mean that it has to be a monotonous and mechanical process though. Here are some good tips for those of you who are looking to learn a little more than just chords and riffs.

Being In The Right Mind Set:

Just like any other instrument or style, mastery of the guitar or of jazz guitar playing should not be your end goal. It is great to be able to play the instrument and be familiar with the structures that are used in jazz; however you need to begin with an approach that is going to fuel you over the long run. What I am referring to is the motivation to enjoy the music. We all have bad days – sometimes bad weeks or months – but what is it that is going to allow you to overcome the speed bumps in the road?

Any great jazz guitarist – and any great musician for that matter – will tell you that their success is not built truly on the instrument or the style. Yes musicians have focused on certain instruments (and even fallen in love with them), but their motivation for playing derives from a passion for the music. It is was what drew them in to begin with, and it is also why they are still playing today.

Simple, Practical Goals Toward Playing For Enjoyment:

What you should do is set some goals for yourself. You can begin on a daily basis, and then work up to a weekly or even monthly level. But the key is to set some goals for yourself that are not simply based on technique and mastery of the instrument. Pick something that is going to motivate you, even on those day when you look down at the instrument and say, “I really don’t feel like playing today.” An example: “In the next two days, I will look at how chords sound when I play them and see how they work in real jazz charts.”

You have the chord book, but do you really understand the usage for them? Do you know what a 7th or 9th chord should sound like, and realize its role in the music? Take a listen to some music and try to pick out some of the “jazz” chords, like the 7ths and 9ths. Compare the sounds to the chords you are playing out of your chord books. You are learning the chords and the structures, but you are also getting to the root of jazz – listening to the sounds and developing the ability to apply them in real situations. YOU ARE BEGINNING TO FEEL JAZZ!

This can bring you to a whole other level of playing, where you realize that the sounds you hear and play are inside you – not in a book. I’ve looked at many guitar chord books. Most of ok, at least for what they promise you – guitar chords. But to move beyond the book and utilize these in songs, you’ll have to get to the bottom of the sound of jazz.

Learning To Play Jazz Is Not The End – It Is A Process, So Enjoy It!

Professional Jazz Guitarists are constantly in a state of progression and transition. Very rarely will you look at a guitarist and see that they are playing the same things over a 5 year period – or even month to month in some artists. The truth is they are still developing as musicians, and they are not concerned with how their efforts add up to their dreams – because they are in it for the moment. They are there for the enjoyment.

Jazz Guitarist Jody Fisher
continues to improve and
amaze audiences.

I have talked with many musicians, amateur and professional alike, and they all have one thing in common – they approach JAZZ AS A PROCESS. They like the music, and they are always attempting to better themselves through the music. Jazz guides them just as much as they guide the jazz that comes out of their voices or instruments. This motivation to play for yourself and for the enjoyment is important not only because of the benefits it can bring you after a powerful practice or session. More importantly, this state of mind will help on those “not-so-good” days.

Jazz is not a difficult thing – I know you think I’m crazy for saying that, but it’s true. The truth is jazz is what you make of it. I, myself will probably not be a great jazz musician, but I am ok with that. I play at my level and enjoy it. Basic chords, basic melodies. I am trying to improve, but only at my own pace and regarding what I would like to get out of it. That is why I am still playing. I thought about giving up a long time ago because I didn’t add up to the competition around me. Well, who says you have to prove yourself to anyone.

“Playing jazz is about enjoyment and personal satisfaction as well
as about communication and the expression of ideas. Measuring yourself
against international benchmarks can be daunting, but we do all we can
to make the experience a pleasurable one.”

Think of jazz as a means of your own personal growth. Since your playing is an extension of who you are and what messages you are trying to convey, make it your own. Personalizing jazz, and your outlook on it, will help you progress in ways you wouldn’t imagine. You’ll probably end up making improvements on some of the things you are already trying to do today – but you will also be enjoying what you’re doing.

Quote compliments of http://www.tourdates.co.uk

Jazz Education Network Launches: Bringing new opportunities for childrens’ growth in music

jazzman — Sun, 02 Nov 2008 03:06:06 +0000

Following the dissolution of the International Association for Jazz Education (IAJE) in April of this year, more than 35 leaders from the jazz education community and its affiliated industries gathered in suburban Chicago to discuss the need for an organization geared to serve professionals and students in the jazz education field.

The meetings were facilitated by Gene Wenner of Arts & Education Consultants, Bob Breithaupt of Jazz Arts Group and Matt Carter of Music Crossroads. One June 1, after two days of discussion and deliberations, the group enthusiastically agreed to form Jazz Education Network. The association will be focused on advancing and expanding jazz education, jazz performance opportunities and jazz audiences.

The mission statement for the organization states: The Jazz Education Network is dedicated to building the jazz arts community by advancing education, promoting performance and developing new audiences.

The Network is in the process of filing for non-profit organization status. Once complete, it will begin the work of developing programs, events and attracting membership. For more information about this network, please visit their site online.