The first addition is the built in Wibiya toolbar. An extension of social bookmarking it offers several ways to communicate and share content on our site to Twitter and Facebook. In addition, it offers a very user friendly chat option, allowing readers to contribute to conversation, voice their opinions, and pose questions about jazz. You can view this at the bottom of every page on our site.

The second addition is a chat page, where you can share your thoughts about jazz and reach other readers. While administrators should be online most of the time, our main goal is to establish a way for readers to chat among themselves. You don’t need to register to begin the chat, so feel free to give us your thoughts.

Is there another way we can promote community discussion? Let us know by responding to this post or by email.

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2. Test Your Jazz Skills In Our New “Poll Of The Week” Contest: All Your Jazz wants to know your take on Jazz
3. All Your Jazz Back Online: Our Forum has been lost, and we need all registered users to re-register with us

Place Your Vote Here

While this is exciting news for the UNT Jazz Band, it shouldn’t come as a shock – after all they do have a pretty good track record.

The six total Grammy nominations that the group have earned in the past are as follows: Lab 1975: Best Large Jazz Ensemble, Lab 1976: Best Large Jazz Ensemble, Lab 1989: Best Instrumental Arrangement for “Got a Match by Mike Bogle, Lab 1991: Best Instrumental Composition for “Values” by Neil Slater, and Lab 2009: Best Large Jazz Ensemble and Best Instrumental Composition for “Ice-Nine” by Steve Wiest.

Video

- University of North Texas Website
- Official Grammy Website

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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.

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3. Concert Review: Sara Gazarek & Sachal Vasandani At OCPAC

Get Yours Here

Monster, renowned for its many advanced consumer electronics accessories and fast becoming one of the world’s leading manufacturers of high-performance headphones, is proud to announce the upcoming introduction of the world’s first audio hardware product to bear the official name and signature of legendary trumpeter Miles Davis – the new “Miles Davis Tribute” high-performance in-ear headphones.

Created in conjunction with Miles Davis Properties, LLC, the new headphones are being offered in a individually numbered limited edition. Adding value to this limited edition release, purchasers of the Miles Davis Tribute headphones will also be able to enjoy free of charge the official 50th Anniversary boxed set of the artist’s seminal album Kind of Blue, featuring two music CDs, a DVD and a 24-page booklet.

There is also a specially crafted “instrument case” for the Miles Davis Tribute Headphones with a plush velvet inlay and gold-printed signature. As is expected from Monster, the set comes with multiple styles and sizes of ear-tips, including the new high performance “SuperTip.”

More Info

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Wanna hear your thoughts on this people.

Video

Our Thoughts

No, you are not mistaken. That’s what kind of deep thought you get when asking a bunch of 60 year old metal guys what jazz is. But what can you really expect them to say about it? They probably have never even given it a chance. To say that jazz is just “playing wrong notes” is just ridiculous, and I would love to hear more about playing in one key.

I suppose they are very familiar with playing the a key – that is ONE key. Most of their music is confined to the same key and simply relies on about 4 chords. Guess what guys, you can buy a guitar and amp, turn it up real loud, and be able to play ALL of Spinal Tap’s music in like 4 minutes.

Apparently “Jazz is an accident” and when Spinal Tap’s guitarist improvises, it is intentional (unlike jazz). So, apparently jazz musicians never play what they intend to play – I guess they just play some random notes and call it jazz. Absolutely ridiculous. And so what if it intentional. Their guitarist probably learns one riff, then plays it for the rest of his life. Way to go – great guitar playing. Wouldn’t want them to explore anything new or anything.

To top it off, they take a few seconds to rip on Miles Davis. Seriously, not even in the same league. No authority to speak about Miles that way – or about jazz for that matter.

I don’t understand these guys come up with this stuff. They are simple musicians, and they probably don’t understand jazz. They are probably afraid of it because they don’t understand it. In my opinion, they should just stick to the simple stuff, and stop offering opinions on topics that are beyond their comprehension.

Feedback please.

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Songwriter/arranger/producer, keyboard wiz, and E1 Entertainment recording artist, Philippe Saisse, scored a personal triumph and first when NARAS voters opted to honor and acknowledge his progressive and daring solo album, At World’s Edge, with a 2009 Grammy nomination for Best Contemporary Jazz Album.

Saisse has enjoyed a distinguished career over the past 30 years, but finally attaining the milestone achievement on his ninth solo effort has even more special significance, because he dedicated the album in loving memory to his late father Maurice Saisse.

About The Album

At World’s Edge represents one of Saisse’s most ambitious and adventurous solo projects to date. While Saisse produced the lion’s share of the project in Los Angeles, he enlisted an All-Star cast of musicians, engineers, and singers from New York, London, Paris, and Japan, who sent him tracks from around the world.

Musicians featured on the CD include Simon Phillips and Skooter Warner on drums, bass players Pino Palladino, David Finck, and Ron Jenkins, guitarist’s Jeff Golub, Marc Antoine, and Annas Allaf, horn players, Kirk Whalum (tenor saxophone), Jason Golley (trumpet and flugelhorn), Jeff Beal, (trumpet and flugelhorn), Rick Braun (trumpet), and Michael Davis (trombone and bass trombone), Lenny Castro on percussion, and singers Angelique Kidjo, Jasmine Roy and David Rice. Saisse used noted Japanese engineer Goh Hotoda, who has collaborated with him on his most recent projects to engineer the CD.

Album & Artist Info

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Wolfgang’s Vault has purchased the archives to the Newport Jazz Festival and is offering free streams and paid downloads for live performances from many artists, including Ahmad Jamal, Count Basie, Dizzy Gillespie, and Thelonious Monk to name a few.

Log On To Wolfgang’s Vault

The Transition

Wolfgang’s Vault, a company based in San Francisco, bought the archives of the Newport festivals from the Festival Network last year. Bill Sagan, founder and chief executive of Wolfgang’s Vault, says the archives include many, many tapes: 1,000 to 1,200 individual performances, dating at least to 1955, the festival’s second year, and continuing to the end of the century.

It is not a complete audio record — certain years contain only a small number of performances, or are missing completely — but it is a major one nonetheless.

Since the purchase, Wolfgang’s Vault has spent almost $5 million, Mr. Sagan said, on making audio transfers and mixes of the tapes. (Neither Mr. Sagan nor Chris Shields of the Festival Network would reveal the amount spent on acquiring the archive itself.)

On Wednesday, November 11th, the company began posting free streams of a handful of performances from the 1959 Newport Jazz Festival, at wolfgangsvault.com. The first offerings included Count Basie, Dakota Staton and Art Blakey’s Jazz Messengers. More have since been added, and rumor says that there will be 27 sets from that year’s jazz festival, including some by Ahmad Jamal, Joe Williams, Thelonious Monk and Horace Silver.

The plan is to have hundreds more online in the coming months, from other years of Newport Jazz and from the Newport Folk Festival as well.

More Info

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We are very happy to have had the opportunity to interview legendary bandleader and conguero Poncho Sanchez. In this interview he talks with us about his latest release, Psychedelic Blues (Concord), giving us insight on the members of the group and their inspiration for the selections on this album.

In addition, he also discusses the advent of Latin Jazz and its importance in our society today. Finally, he gives his perspective on the popularity of jazz and how he views its impact in the music scene.

Enjoy!

Interview Questions

1. Is this new album you released in September of this year – Psychedelic Blues – more or less a tribute to Latin Jazz?

2. Why did you guys decide to go in this directions for Psychedelic Blues?

3. I really enjoyed Francisco Torres’ arrangement of “Silver Serenade” on this album.

4. And you also feature a Latin version of the classic “Cantaloupe Island”.

5. Can you talk a little bit about the last track on the album, “Con Sabor Latino”?

6. Are you going to stay primarily with Latin Jazz for a while or go back to including other styles in your upcoming albums?

7. So, would you say that the band is “at home” with Latin Jazz and it still plays a very dominant role with your fan base?

8. I’ve noticed an increase in awareness, especially in the few years, of Latin Jazz from fans. What is your experience with trends in Latin Jazz?

9. And, of course, being based out of L.A., we have the opportunity to listen to KJazz’s D.J., Jose Rizo, talk about Latin Jazz on his daily show “Jazz On The Latin Side”. He really does a great job of promoting it.

10. Since you have been in the scene, I wanted to ask you for a little bit of your wisdom. There is a lot of talk – especially on forums and blogs – about how jazz is continuing to lose its popularity with today’s listeners. Do we have reason for concern, or has jazz always had this type of peak and fall in popularity?

11. It also doesn’t seem like the mainstream gives jazz a chance. We recently received an email from a reader, pointing out that jazz would have more of a following if people didn’t always approach it like a math equation – maybe implying that the role or function of jazz is something different than other types of music that are more popular in today’s society. Why is that people’s approach toward jazz sometimes leans more toward the analytical and people forget that you can just listen and enjoy it, like other styles of music?

12. What is your approach toward promoting jazz and getting others to “give it a try”?

Special Thanks

Our thanks to Poncho Sanchez for setting aside time to speak with us. Also, thanks to Concord Jazz and On Target Media Group for arranging and coordinating the interview.

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Wynton Marsalis and Friends: Louis Armstrong’s Hot Fives, featuring Wycliffe Gordon (trombone), Victor Goines (clarinet), and Walter Blanding (tenor sax) join Wynton Marsalis (trumpet) to recreate Armstrong’s revolutionary early work, “Satchmo” on “Cornet Chop Suey,” “Fireworks,” and “St. James Infirmary.” 19-year-old pianist Jonathan Batiste astounds with his “stride” technique.

Listen

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Artist: Najee
Album: Mind Over Matter
Label: Heads Up
Release Date: August 21st, 2009

Album Info

Mind Over Matter, the new recording by saxophonist Najee was released on August 25, 2009 through Heads Up International (a division of Concord Music Group). In addition to Najee’s fine balance of songcraft and musicianship, the album also includes songwriting and guest appearances by keyboardist Jeff Lorber and vocalists Eric Benét and Gary Taylor.

Najee describes the album was inspired by Miles Davis’ approach to songwriting, especially in the latter part of his career:

“In his later years, he took a very loose and improvisational approach. He would
start with nothing more than a groove that Marcus Miller or some other member
of his band would lay down. And from there he would just develop these melodies
that were very simple but at the same time very compelling and very memorable.
It was a creative process that bypassed the nuts and bolts of the song and just
got right to the essence of it.”

Commentary

It’s not hard to find the groove in Mind Over Matter. It’s evident from the opening bars of the midtempo “Love You a Lifetime,” a song that positions Najee’s smoky sax lines alongside the solid horn arrangements charted by fellow saxophonist Will Holton (who also shares the writing credit with Najee on the track). “This song has a bit of the neo-soul element,” says Najee. “That’s a groove that works very well when we play live. People love to get up and dance at our shows. Will was able to bring that spirit to this song.”

The upbeat followup track, “Sweet Summer Nights,” is co-written by Najee and Darren Rahn. “One of the most under-utilized songwriters in this genre,” according to Najee. “He’s a well-kept secret who has written for Wayman Tisdale and many others. He’s very good at writing songs that contemporary jazz radio likes to play.” Equally upbeat and breezy is the title track, a composition that showcases not only Najee’s ability to build a sophisticated solo on a simple riff, but also the engaging solo work of keyboardist and track co-writer Will Brock.

Eric Benét provides some whimsical and suggestive vocals on “We Gone Ride,” a track that balances his distinctive voice with the work of a carefully layered horn section. It’s a complex song, but it allows for plenty of room for everyone to contribute.

Jeff Lorber lends a hand with writing/producing and keyboards on the playful “Stolen Glances” and the insistent “One More Thing.” Although they’ve shared numerous festival dates in recent years, Mind Over Matter was the first opportunity for Najee and Lorber to collaborate in the studio.

Whatever the groove – be it R&B, neo-soul, contemporary jazz or an intriguing blend of all these styles and more – Mind Over Matter adds another layer of sophistication and polish to Najee’s substantial and diverse body of work.

“Whenever I go into the studio, I try to make a record that’s a little different
from the last one. I want people to get the same Najee that they’re familiar
and comfortable with, but at the same time, I want them to hear something
fresh, something interesting, something unpredictable – with a couple extra
voices in the mix that they haven’t heard on my records in the past.” – Najee

More Album Info

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