CLC MONDAY NIGHT JAZZ BAND REHEARSAL MUSIC LISTS
Swing ..or I'll kill you ( Bill Potts )
RIP
(MOST RECENT AT TOP)
Sc2
Andy Griffith Show - TV Theme - Big Band - 00 - Big Band.mp3
Work_Song.m4p (Apple should have this capability working, as long as you have iTunes installed on your computer, this would be seen on the 'network' as a shared file and should play, but it doesn't work yet)
The_Heat's_On.m4p (Apple should have this capability working, as long as you have iTunes installed on your computer, this would be seen on the 'network' as a shared file and should play, but it doesn't work yet)
This just in (for me, anyway):
and on the jazz vibes: Type in "Emil Richards" at the iTunes or Rhapsody Stores!
Friday, December 02, 2005
["XMAS" CONCERT SONGS FOR STUDY:]
MIDI SECTION:
Sweet Georgia
Satin Doll
A-Training
Tune-Up (Lew
These 2 Pat M Songs are here for my (Dan, Drummer) consideration of making a couple of CLC BB arr of one or both.
American Garage from American Garage by Pat Metheny would feat: Guitar, then Sax
MP3 File
Heartland from American Garage by Pat Metheny would feat: Bass, then Guit (or Bone or FlugHrn)
Video portions Courtesy of MF's personal equipment and he Baritone Saxist of the Tuesday Night Jazz Band's camera work.
Friday, December 02, 2005
VIDEO SECTION
CLC MNJB part 1 of 4 with E Watts at Slightly Higher Quality WMV File
CLC MNJB part 2 of 4 with E Watts at Even Higher 512kbps Quality WMV File
CLC MNJB part 3 of 4 with E Watts at Even (same as 2 of 4) Higher 512kbps Quality WMV File
CLC MNJB part 4 of 4 with E Watts IMHO Best 512kbps Quality RM File
AUDIO SECTION
ARTIST CONCERTS - 07 - Big Band
ARTIST CONCERTS - 06 - Big Band
CONCERTS - 08 - Big Band
ARTIST CONCERTS - 09 - Big Band
ARTIST CONCERTS - 10 - Big Band
ARTIST CONCERTS - 11 - Big Band
ARTIST CONCERTS - 12 - Big Band
Most of the following will be posted first to the blog: http://tubopt52.blogspot.com but, the blog may occasionally be cluttered with nonsense unrelated to general jazz music.
Tuesday, October 25, 2005
Homework (You can stream these by pressing the play button or download them by Right-Clicking and choose Save As or something like it, depending on your browser)
MP3 File Harry James, Benny Goodman, Stan Kenton - Satin Doll
MP3 File Stan Kenton - How High the Moon - Carioca (Artie Shaw)
MP3 File Stan Kenton - Malaguena
The 5 tracks below are the Monday Nite Jazz Band "Ernie" charts (remember, Track 5 and 1 are combo versions, but have the same exact kicks as the BB versions)
Track 5
MP3 File
Track 4
MP3 File
Track 3
MP3 File
Track 2
MP3 File
Track 1
Drummers (and a bit of my bio-graph, but I needed to give cred to my teachers):
Practice rudiments (build-style; i.e., Start slow, increase gradually to AFAP without pain, then slow abck down to ORIGINAL starting tempo; and various steady kick-off tempi; i.e., pick a mm and stick with it for a full minute on all 26 rudiments, pausing for a full minute between each).
Practice various tempi of jazz, samba, rock, funk, shuffle, and shuffle funk beats with 6 bars time, 2 bars fill/solo - as well as chords (M and m and hm), scales, arpeggios of 16th notes even and 8th notes triplet for 3 octaves up to 1/4 note = 90mm through 140mm leading with left, then right hand (depending on rudiments / sticking pattern needed).
For styles, practice going from one style of 2, 8-bar phrases (for a total of 16 bars) into another style of the same length. For instance from Swing to Funk to Swing and repeat, or Swing to Samba to Swing and repeat or continue. Not a new concept, but I need this kind of practice. Recently, I have discovered through reminder as well as me actually listening to recordings of bands I have been in - both past and present - that a small range of tempi (for me, 95 to 102mm), I have a tendency to play the first few beats to a bar and a half a bit rushed - especialy when going from swing to samba (not noticing a difference when in reverse). A lot of this is a matter of remembering to keep subdividing or doubling (half-timing) the beat. In other words, feeling the pulse and hearing the time feel, no matter the tuplet.
Toward this success in keeping honest time, I had been reminded of the concept of "Visualising TIme", by Dr. Mike Flack. My personal fave is imaginin I am driving a Greyhound bus and keeping the pulse of the white lines in the road as I pass by them. Hmm, the drummer as "Bus Driver" concept, not new, but somewhat ignored in recent years, until lately. You know, where the Bus is the Band and the Drummer is the Driver and the Sound Engineer is the Toll Booth Operator!
Remember, Blues styles can be generally 12-bar OR 16-bar phrases on their own! There are light shuffles and heavy ("Chicago") shuffles. And don't even get me started on The Real Purdie Shuffle!
Try Stone Stick Control as if it were a chart book - using the staves of practice routines as if they were part of a longer chart - per page and even 2 or 3 pages, in order to practice turning pages while playing and keeping the time (by stringing the excersices together into full page excersises). Do this by playing the single rhythms on just the high-hat, while beating underneath in a style pattern as above. Then move to the ride cymbal. BOTH hands need equal practice (and, once mastered, it will look cool and fool your friends!). Then the Bass drum or Bass drums (i.e., both feet L-R then R-L), then back to the high-hat - this time with your usual HATFOOT!. I was taught this initial concept by Joe Varhula around 1972.
And, speaking of superb teachings, Charles "Chuck" Schultz taught me a linear concept - not called "The Linear Concept" - back in 1968, re-visiting the Stone and its Holy Grail, only this time, instead of just Right Hand/Left Hand or Right Foot/Left Foot (ala Carmine Appice), Hand/Right Foot and its "eviL" twin: Left Hand/Left Foot, now I think of Left Hand/Right Foot (actually very common in Pit playing) and Right Hand/Left Foot (common, but still skill-raising in Jazz and Gospel) to go alongside the usual, starting your practice day with rudiments in this fashion. Whoa.
It wouldn't be until about 1978-79 where I started putting the 2 concepts together in my playing (and about 1983 into my practicing!)
And, remember you can apply all of the hand-to-hand on any instrument - even the keyboards, and not just as a dexterity element either. Speaking of Keyboarding, it was Joe Varhula that taught me the mad keyboard foundation I needed to transfer from CLC into NIU (or anyplace like it). But, I needed rudimentary skills first before I tore into the exerpts or "hard stuff" (exerpts are the gateway to the hard stuff!).
My teachers of note at NIU were
Rich Holly (his chordal approach to music memorization and visualizing the performance),
Mike Steinel (just listening to him play was enough and for allowing me to play behind his AUDITION to NIU - also thanks to Rich for that as well / Trompeter and Brandt were in that combo),
Clifford Alexis (cursory Pan making - I wouldnt pound a garbage can lid without his approval),
G. Allen O'Connor (who taught me that I must strive and continue to keep my ass from engulfing my head - my words, but his philosophy for me)
Robert Chappell (his accuracy approach to music memeorization),
Stephen Duke (the art of cock-blocking and yet not offend),
Jim Ross (yes THAT Jim Ross, for his music memorization approach to music memorization),
Peter Middleton (for allowing me to "hang" with the gang on "free" weekends and really absorb recording techniques)
Tom D. Rossing (without your help, my proposal would have sucked, and through his book, the guts to make it a career:
)
Ann Montzka (how to have "me" time)
Ott (why practicing music reading is more important than anything else in practicing music)
Paul Ross (no relation to JR, except in approach to life in music!),
Dean Groenemier as percussion major (he taught me well, and ye didn't even know it!),
Robert (for his approcah to computer programming & World Premiers),
Erich Miller & What-the-hell-is-his-name-? (for exerpt training skills),
Frank Bibb (not taking shit from anyone, but when it really matters - not when I just feel like it most of the time!),
The "Paradox" (get it?): Ron Price, PhD. and Eileen Rexroad, PhD (there is that saying, "gettin' back up on that horse", but, sometimes ya just gotta get another horse!)
Robert Fleisher (Instrumental in getting me out of Theory 3/4 Vocal, because he realized I could sing rings around the "other" pecussionists - uh, I mean "other" non-vocal majors, sorry. oops.)
The Guy who innvented the T.A.P. system..........HA! Take That! Level 5, baby, yeah!
Steve Squires. Wow. The Legend. The Man. The Pot-sticker CHAMP! (really, though, for being able to conduct a tempo and pattern in one hand, and a complete other in the other hand - and mean it!)
Carl Roskott. (advice to me - granted at a party - that even the "pros" can suck, hello Pittsburgh ! )
Ouch. I'm breaking a sweat just thinking about it.
If I left anything out, let me know.
I did. The following is culled from Rich Holly's NIU Percussion syllibi pages.
Rich's "found" and re-"known" links:
Percussive Arts Society YOU MUST JOIN.
Marc Z's Percussion Information
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