Free For All

Amen, SoulStream- My feeling is: play a ballad and DON'T go into double time, AT ALL! Too often it's like "let's get through the head chorus so we can double up the time and turn this into a medium swing tune!". Of course, it's harder to play on a ballad tempo because technique is much less an issue and melody and phrasing become more important. If you want to do a med. swing tune, do just that. When you play a ballad, do just THAT!

Straight No Changes Well I Couldn't 'Round Noon Think of None Rudely My Dear Catastrophe Hack'n'suck I Mean Me Ask Me How In Walked Dud Evi-dunce (Just Me, Just Me) Criss Crass Crap is Cool With Kenny

What was Homer Simpson's favorite breakfast? Wasn't it something like a stick of butter, melted caramels and liquid smoke wrapped in a pancake?

That being said, let us not forget the almighty breakfast burrito, best enjoyed in Santa Fe (black beans, green AND red chili, blue corn tortilla).

The breakfast I fantasize about and the one I actually eat are two completely different things- during the week it's tame and healthy, but on weekends my wife and I like to go out to one of many favorite b'fast hangs. Usually that's followed by me sitting in the "husband chair" at some women's shoe or clothing store.

Here's another treat- use cinnamon or cinnamon raisin bread to make french toast. If you want to be really naughty take two pieces (they're usually smaller anyway)and shmear some cream cheese between (or use that light neufchatel stuff) and then dip the whole thing in the egg and cook it as usual. Add some thick-sliced peppered bacon, a little fresh oj, a nice cup of Sumatra and the Sunday paper and you've got something. Or you can just have a fruit smoothie and live longer. Actually, it'll just SEEM longer..............

Chocolate chip pancakes.......one of my favorite treats.

I know what you're saying, conn500, about re-buying CDs you already have just to get the "latest and best" version. I've purchased things like Kind of Blue and Blue Train so many times I don't want to think about it. I have to say, though, that for certain favorites I will take the plunge. So far I have been impressed with what I feel like is an improved sonic level on the RVG's. My first RVG was "Somethin' Else" and when I A/Bd it with the old version I definitely liked the RVG more. I'm certainly no audio expert and have a mid-line system, but I personally think that MFJ could stand some sonic goosing, so I'll probably get it. It's certainly a subjective area- many here think the RVGs suck (I agree that some are better than others). The pot is always sweetened with alternate takes, but I think we've heard all there is to be heard from the MFJ session, so that's not an issue.

Mode for Joe may be my favorite Joe of all, not only for the high level of playing by everyone (Lee has a couple entrances that make my chops hurt just listening to him!) but also for what I think are some amazing tunes by Joe as well as Lee and Cedar. A desert island choice for sure.

Hard to make a "short list" of great Duke (or Miles or Trane, etc.)!!

This particular forum seems like a lonely place so I'll start something. Forgive me if this has been covered before. Obviously the Real Book is full of errors (Dear Old Stockholm is a joke!) as well as other fake books. I have noticed there are often "regional" versions of changes on many tunes. One frequent universal abuse I hear is on "Footprints"- so many play the turnaround (bars 9-10 in 6/4) wrong. Usually you hear Ab7/G7/C minor or D7/Db7/C minor. The correct changes seem to be (two changes in each bar)F# half diminished/ B7 alt./ E7 alt./A7 alt./C minor. Another great Shorter sequence of altered function! So anyone have any pet peeves regarding change abuse? Favorite "wrong changes" anecdotes?

Far East Suite is excellent as well

As far as being an intro to Ellington, they're a great collection of tunes, but of course you should at some point go to the source and check out some actual Ellington recordings! I think having first heard Duke's versions of these tunes helps to appreciate the interpretations on the Burrell CDs. Get these, find the tunes you like the most and seek out Duke's version.

Hi noj- I have both of these and enjoy them a lot. It's hard to go wrong with a stellar cast like JoeHen, Thad Jones, Jimmie Smith, Snooky Young, Nat Adderley et al. Although these two sides play like a recital of tunes associated w/Duke (personnel changes from cut to cut) I think they rise above other often-mediocre all-star jams. I might give a slight nod to volume one over volume two, but they're both great. And who among us completists could buy just one volume of a two volume set? I saw these in a store and they were a little pricey, but I found them online for a much better deal. I don't think you'll be disappointed!

I heard trumpeter Bill Berry was once introduced as what sounded something like "Beer Belly".

........I mean Jim, Jim and Michael.......

Thank you Joe, Jim and Michael for your help!

I guess I should have posted this in a different place, since this is obviously a non-jazz area. Sorry, I'll get the hang of his soon, hopefully.

Here's a question I once knew the answer to but have since forgotten. On the master take of Straight No Chaser, at about 7:30 into the tune (piano solo) Red Garland plays a portion (harmonized) of a solo that Miles played when he was with Bird. I can't remember which Bird tune (obviously a blues) and session this came from. Anyone? Thanks. That Miles/Coltrane box is sure a beautiful thing, isn't it?

Here's an tangential education-related topic that could almost be a separate thread (although I wouldn't be sure where to post it): "Things you would like to hear students say" Here are a few that come to mind: 1. "I know you told me to transcribe the first chorus, but I went ahead and did the whole solo." 2. "I was listening to a recording of Dear Old Stockholm and realized the Real Book changes were wrong, so I fixed them." 3. "I didn't go to the party after the concert, I felt like practicing." (at a gig) 4. "Did you hear him quote that Sonny Rollins solo?" 5. "They're playing different changes than the ones we learned." 6. "Can I buy you a beer?" (OK, kidding on that one....sort of) Obviously the common thread here is the student going beyond what is "assigned" and using his/her ears and brain and generally being self-motivated. To me, getting students to this point is the hardest part of the "battle". Once they become self-motivated the teaching becomes much easier and rewarding. I can see a contrary thread evolving (devolving) from this- like "Things you DON'T want to hear your students say" "My grandma thinks you're hot"

Regarding the comments about the positive/negative effects of academia- I think negative experiences in school jazz programs are most often the fault of specific teachers/administrators. Jazz education CAN be a very valuable and useful thing- it's important to realize that not all the students who go through such a program are going to become players; they will also become the audience, and an educated audience is certainly something we need. They're the ones most often sitting up front LISTENING at the gig. The loud and obnoxious ones in the rear also paid the cover, however! As far as the students who go through a jazz program with the intention locating to a city and working full-time- I think a good jazz curriculum should prepare sudents for what they will encounter "out there" in the working/gigging world. Unfortunately too many "jazz educators" have never themselves experienced this, so how can they effectively prepare students? I have had several excellent teachers who were never full-time professional players, and I've also studied with full-time players who were lousy teachers. I think students should choose schools by seeking someone to study with, not purely by the rep of the school. Many of the high-profile jazz schools have an impressive list of faculty who in reality are infrequently on-campus. I also think effective jazz education does more than turn out clones of studied players/styles. Studying players and learning transcriptions is a MEANS to an END, not an END in itself. I think it's important to teach students to think for themselves; I love it when a student challenges me on some concept, instead of sitting there like a deer in the headlights. I think students should leave a program knowing a lot of tunes (yes, Rooster, I mean STANDARDS!) since integrating into a new jazz scene usually means starting at a jam session, where first impressions are formed. There has to be a middle ground between "figure it out for yourself" and "do what I say", however- some students will rationalize playing "out" as a means to circumvent learning the language/dialect of bop, for example. After they learn to deal with that, THEN they can tell me why it's tired, etc. and I'll be more inclined to listen. It's also important for students to leave a program with as many skills as possible- we're sending them into a world where there is little work, much of which will have to be created by themselves. Simply saying "But I have a JAZZ DEGREE" doesn't mean SQUAT in the playing world (in academia, however, it usually does mean more). I've been saved in lean times by writing/transcribing skills, teaching skills, ability to sight read and play different styles of music- WAY different! Many things that I wouldn't want to share. <shudder> The point is that these things have helped out with the reality of rent, etc. but haven't deterred the pursuit of the artistically satisfying gig (that often pays much less). I often think of the "jobbing gig" (club date, etc.) in terms of the existence of the "unholy trinity"- TUX, BUX and SUX. Anyway, that just scratches the surface of this topic. I must learn to make shorter posts.

I've always thought the affinity Mulligan shared with Paul Desmond led to some inspired exchanges. "Two of a Mind" is a favorite of mine; plus, the recent reissue contains some great additional material. For the kind of simultaneous improvisation they do here I think the no-piano concept allows for an uncluttered space for them to do their thing!

I think Blue Train was a better performance on the recording than Moment's Notice- there was an understandable amount of scuffling during solos on the latter. Just think; Lee, Curtis and Kenny were experiencing those changes for the first time (hence the title) while the composer had some time to think about what to play! I think everyone faired better on Lazy Bird. Moment's Notice certainly has the most interesting changes of the two, but the "vibe" of Blue Train is irresistable. One of Curtis' best solos ever! It's interesting that in the "Real Book" Blue Train is written as a MINOR blues. Even though the head alludes to minor blues changes, the blowing changes are regular dominant-based blues changes (just listen to Trane's first chorus). Unfortunately, a lot of young players (who have yet to realize that the Real Book has many errors) learn the tune as a minor blues. I always tell young players to check published changes with as many recordings as possible- never take anything for granted!

OK Rooster, you've successfully taunted me into joining the active membership. Be careful what you wish for! I'm relatively new to the KC area, so I've been an objective observer while gradually becoming a contributing member of the jazz community. I believe, however naive it might sound, that if you present a quality product people will respond. I don't think it matters if the material is original or familiar- I think the presentation makes all the difference. I think audiences get bored (I know I do) listening to a group that suffers from "format stagnation"- the same routine of head/solos/trading that echoes the jam session mentality. I tend to appreciate any kind of music, not just jazz, that has an obvious amount of thought put into the presentation. I think a good jazz performance is a balance of ENTERTAINMENT and EDUCATION- this fulfills the needs of both musician and audience. By "entertainment" I don't mean stupid "stage schtick"- I mean the structured elements of the arrangement that require tight ensemble playing, like solo send-offs, shout choruses, etc. I think audiences can relate to a performance that includes these elements more than a constant barrage of the head/solos format. By including some of these elements of the familiar, you can develop what I believe is a sense of "trust" with your audience, which enables you to include some of the less familiar things (the "education" element) that often are more artistically satisfying to the performer. I don't believe in "lowering the bar" musically just to reach the audience, but I also don't believe you should have an attitude of "I got mine, you get yours" toward them. That being said, I have found many (not all) of the jazz fans here in KC to be stuck in the period of the late 30's, when KC was a jazz center, leaving them often less than interested in anything too innovative. Here's the irony- the thing that was great about that period of jazz is that it was INNOVATIVE for its time. Therefore it seems that people should embrace the concept of INNOVATION, but what they actually do is embrace the concept of NOSTALGIA-recreation of the EXACT musical styles of that era. You could say that the players contribute to this by playing "old" tunes, but I think the jazz language has evolved to the point that there are many ways to approach playing on familiar tunes. I'm a believer in this "old wine, new bottle" concept as a way to keep these standards sounding fresh. Familiar material, new package. Wow, sorry for that preachy first post. I promise not to do that all the time! I am excited to be joining the membership, having followed the board since way back into the BN days. I think I know many of you through mutual friends (it really IS a small world) and I look forward to participating. The tone of this board is overall really positive, which I think is a vast improvment over the BNBB. By the way, my screen name reflects my admiration of a favorite Blakey side as well as a tune by one of my favorite trombonists. Bright moments to you all!