Tuesday, June 26, 2018

Equinox in C minor (lower than original)

Hi All,

If you're interested in working on C minor blues, this is an epic track by John Coltrane.  I transposed it down one half step using some online tools.  Take a listen and consider playing along?

https://en.wikipedia.org/wiki/Equinox_(jazz_standard)

https://drive.google.com/file/d/1O3qllg0f6A5g_2Qk3Uv1lGj4gPs3IBO1/view?usp=sharing

Saturday, March 24, 2018

Spring Performances and News

Here's a nice article that the Edmonds Beacon ran last week prior to my performance at the Edmonds Library.   The concert went great and featured Milo Petersen (guitar), Brad Boal (drums) and current student Rodney Ocfemia (bass).  




The EWHS Trip to Lionel Hampton Jazz Festival was a great success. In addition to our students winning the Sweepstakes Award for the first time (including a free Ludwig Drum Set with Zildjan Cymbals), I also enjoyed getting to adjudicate the elementary and middle school jazz choirs. 

Winners included Jazz Ensemble I and II, Top Combo, Outstanding Baritone Sax Kyle Bainbridge, Outstanding Vocalists Dominic Nye and Unathi Machyo. 

Here's a video montage of our excursion.

Monday, January 15, 2018

Jazz Congress

Jazz at Lincoln Center held its first annual Jazz Congress on Martin Luther King Jr. Weekend in New York 2018... check it out.

https://livestream.com/accounts/211242/Jazz-Congress-Day-1-Jazz-and-Race-Gender-and-Jazz/videos/168368468

Saturday, December 9, 2017

FIRED UP! Jazz Colony 2017 - Learning to Burn

Off to a great start ... here's summary of the EWHS Jazz Colony first meeting for 2017.  Big thanks to the Hubbard Foundation, EWHS Music Boosters, and Kennelly Keys, and Pete Bennett for their generous contributions and support making this dream a reality. For more detail about this blog and Jazz Colony ... read previous years' threads. 

Next week (July 5) ... look forward to a lesson from Kennelly Keys sponsored clinician Jory Tindall (saxophone). He will play a tune with Marina Albero and Michael Glynn then teach.  Students are encouraged to take notes and get engaged with the lesson.


Trumpets during warm-up practice routine session

Paul Gabrielson and "Get Out of Town" Combo

Marina with the "Tough Tenors" Combo

Tim Volpicella with "Little Sunflower" Combo

Michael Glynn with "The Real McCoys" Combo

Miriel and Rodney with "Night and Day" (Joe Henderson) Combo

Jory Tindall and "Barbados" Combo

FIRED UP - learning to burn - overview of nightly activities

6:30 - IGNITION CONDITIONING
homogenous instrumental group exercise session
goal: refining students understanding and implementation of a PRACTICE ROUTINE and 
WARM-UP

7:00 - SPARKING INSPIRATION
Short performance by a focus lecturer each night - Pete will try and record each session with Go-Pro for publication to the jazzcolony blog

7:10 - BUILDING TO A BLAZE
Short practice strategy or jazz theory concept 
Kids should take notes and teachers might consider adding an assignment for each week that kids should consider turning in or checking up on during the follow week IGNITION session ... might include a handout from presenter

7:30-9:00 COMBO CUMBUSTION
Groups split up and rehearse - PRO-AM style where adults, interns play with combos as well as teach, coach and consider arranging or procuring 2 tunes to focus on for the summer.


Volunteers BBQ - Learning to Burn with Tim and Michelle Nye!!

Summary of 1st night rehearsals .... 

My combo in room A111 "Perdido" worked on an arrangement of Perdido that Dan Greenblatt made. We talked about the structure of the tune and how to approach soloing on the changes. We focused a lot on the harmonic minor scale and how we can use it to make really cool solos. For example, the first chord in Perdido is a C-7 so we figured out what notes would be appropriate to use to interpret that chord. We then worked on Dan's version of blue bossa and learned a melody that he came up with. We learned his melody by ear and discussed getting away from looking at music when playing jazz. I explained to our drummer how to have more dynamic contrast between soloist to give them something to work with and to make things more interesting for the listener. Finally, we closed with a F blues and everyone took turns soloing. - King Dawidalle

Dan Greenblatt's take on the "nugget of knowledge" for the evening was based on the "Turnback to ii" process. 


Please check out Dan's excellent Jazz Instructional book Minor is Major published by Sher.


Combo: Get Out Of Town (Paul Gabrielson, Gordon Tibbits, Ken Weller)
When we got together, we decided to start with the tune, Oleo. After we had all had a chance to improvise a chorus or two, Mr. Gabrielson decided to focus on the bridge and what we could do there. He talked about how improvisation can be something as simple as a repeated lick being transposed.
The example that he had of this, was taking the 4-note chromatic melody at the beginning of Thelonius Monk’s “Blue Monk”, and beginning it on the 3rd scale degree of each chord in the Bridge (D7, G7, C7, F7, lick starting on F#, B, E and A respectively). After that, he had us play that ascending lick very slowly in time with rhythm section comping.

Inline image 1

To add a new level to it, Mr. Gabrielson had us play the second and fourth licks descending from the top note of the lick rather than ascend. 
Inline image 2

By doing this, he showed us that “simple” licks have a huge amount of potential to be used while improvising.

After the lesson on Oleo, our combo played a funk version of Blue Monk and ended with the tune, Four.
--------------------------------------------------------------------
Joe Henderson combo:
We learned a "contra-fact" Mr. B wrote based on Sidewinder by Lee Morgan (in C major). We also played through Night and Day (in D). We talked about doing some of the things from the recording or thinking of a different arrangement. Lastly, we played through Professor Dissendadt by Nathan Eklund. All of this music was challenging - the key signature especially. 

Links:

We have the opportunity to play some great music, but only if you "provide the wood for the fire". Please bring in ideas or actual physical copies of tunes you want to do this summer for next time (this could include contrafacts or originals). - Max Bennett
Attachments area
Preview YouTube video Lee Morgan - The Sidewan - The Sidewinder
Sun Room Combo (Little Sunflower) worked on playing the blues in new keys, particularly A and Ab with the hopes of opening up our ears and getting comfortable with all parts of our instruments. We then agreed on a few tunes for the first stint; Groovin High, Nardis, and Blue Bossa. The goal is to create unique arrangements by the time we perform them. Natalie, Jared, and Edward are taking the first steps with arranging and will come to week 2 with some basic harmonies and concepts. 

I [Joel] handed out a worksheet with suggestions for getting comfortable with identifying and playing chords by showing everyone a chord matrix exercise, as well as a preface on how to listen and be present when playing. I accompanied this by a list of drummers and bass players for everyone to go home and check out (this is our only official homework). 


JAZZ COLONY WEEK 1 HANDOUT

Getting comfortable with identifying chords:  
  • Major = M, Maj, Maj7, 
  • Minor = m, mi, min, -
  • Dominant = 7  
  • Augmented = +, aug
  • Sus or Sus4 = Perfect 4th replaces the third of the chord
  • o = minor third, diminished fifth, minor seventh
  • o = minor third, diminished fifth, diminished seventh 
  • ( 2 = 9, 4 = 11, 6 = 13 )
Strengthening your ear: (a daily activity)
Preface
A core component of participating as a jazz musician requires active listening of the music and tradition (duh). As a part of your daily routine, you will begin to notice idiosyncrasies and common motifs that will strengthen your musicianship, depth of knowledge, and ear. Jazz is a kind of music that lives and breaths (i.e. dancing), and as a listener and player it is indispensable to learn to be present. The greater we can manage to hear the many ‘conversations’ in any given recording, the more rewarding the music becomes. Becoming a good listener is paramount in being both a student of the music and in use on the bandstand. 
Short list of cats to dig (week 1)
Drums: 
Billy Higgins, Elvin Jones, Paul Motian, Jack DeJohnette, Max Roach, Buddy Rich, Gene Krupa, Art Blakey, Roy Haynes, Tony Williams, Kenny Clarke, Chick Webb, Art Taylor, Joe Chambers, etc.
Bass: 
Paul Chambers, Ray Brown, Oscar Pettiford, Ron Carter, Sam Jones, Charles Mingus, Art Davis, James (Jimmy) Garrison, Charlie Haden, Milt Hinton, Peter Ind, Cecil McBee, Jaco Pastorius, etc.
Suggested Practice Material:

1. For this week, check out the above mentioned names for drum and bass and see what you can find! Anyone willing to share an album the following week(s) can post them to the blog.
2. Try practicing your ability to identify and play chords using the chord matrix exercise. Get together with a friend; many somewhat mundane exercises can become much more tolerable (and in fact enjoyable) with a partner. 
3. __________________________________________________________________________________________________________________________________________________________________________________________________.
If you need to reach me for a question, concern, or want to discuss anything musical: 

 - Joel Steinke


Jazz Colony Summary (Kyle Brooks - summary)

Marina’s Combo
6/27/17

Blues After Dark (Tune 1):
  • Learned melody and took turns soloing with blues scale and parameters.
Blues Scale:
1 b3 4 #4 5 b7 1
in G: G Bb C C# D F G

We practiced soloing with only 3 notes, adding a restriction made soloist listen more and play more creative rhythmic ideas.

Other possible Restrictions when practicing soloing:
  • Only play within a certain range (P5 between C and G)
  • Only play quarter notes, only play eight notes, only play triplets, etc.
  • Only play short phrases (2 or 3 beat phrases)
19 y 42 (Tune 2):
  • Learned intro and started to work on melody
Worked on 3 different types of minor scales and played them.

Natural Minor: 
12b345b6b78
 A natural minor scale: A B C D E F G A

Harmonic Minor (raised 7): 
12b345b678
A Harmonic minor scale: A B C D E F G# A

Melodic Minor (raised 6 and 7 up and lowered 6 and 7 down) : 
12b345678: A B C D E F# G# A = up
A B C D E F G A = down

Assignments:
  • Work on minor scales and learn them at a fairly quick range
  • Practice soloing with restrictions and the blues scale, examples above.
  • Learn the melody for Blues After Dark and 19 y 42


I had a blast with my women combo! Although we had no drummer we were able to work on Benny Golson's "Blues after dark" and we worked with it on several topics:


- blues scale 
- call/response among ourselves and other musicians as a way to build phrasing and direction on solos. That invited us to think about a motive or cell to explore instead of just playing notes one after the other;)
- Assignment: blues scale, listening to the original version and for those who know more about jazz improvising I told them to practice over the chord changes as well.

We also worked on my tune "19 y 42", Latino standard that I brought last year for my clinic;) we worked on:

- Minor modes; natural, harmonic and melodic.
- identifying the tension/resolution relationship in a harmonic and melodic environment (Dominant-tonic, harmony, and Major 7th to 1st, melody).
- worked on the rhythm of the melody and harmonic rhythm (the chords fall and start on the 4th beat before instead of the downbeat)
- assignment: work with G minor scales for everyone. For the bass and piano working on the harmonic rhythm and the tumbao written down on he chart.

Looking forward for the next one on Wednesday!
Hugs;

Marina Albero


"The Real McCoy"
First rehearsal - Tues 6/27

summary by Dylan Allrud-Faltisco 

-Oleo-  
We allowed extra time for students to start building more in their solos, flesh out motifs and explore rhythm changes more deeply. We alternated soloists on the bridge during the heads in and out of the song.

-Listen Here- 
We assembled the groove on the bass and drums. We focused on energy and timekeeping in the rhythm section to keep the groove strong. We gave each soloist the time they needed to build a dynamic and exciting solo at a comfortable pace, and branch out creatively over a simple and fun chord progression. 

-Bags Groove- 
We gave students a couple of choruses each and traded 4's with the drums. We discussed the versatility of the blues scale as well as growing your note choice by exploring the blues. At the heads, we alternated soloists to fill in the rests between each phrase of the melody. We worked on locking in the rhythm section's quarter notes on the ride and bass so we can swing tighter and stronger.

Finally .... Mr. Bergevin is performing next Thursday, July 6th in Shoreline ... students, staff and readers are welcome to attend this all-ages show. Reservations recommended ... 
206-365-4447



Tuesday, October 24, 2017

Fall Jazz Retreat - 10/20-22 at Camp Casey, Whidbey Island


October 20 the EWHS Jazz Kids headed to Coupeville WA for a 3 day intensive rehearsal/workshop. Huge shout out to Michelle and Tim Nye who were the lead chaperones making the whole thing possible.

The theme of the year was CREATE and students started off well with each instrumental section creating a performance piece based on the word CREATE as an acrostic. For the record, the winners were the rhythm section but all sections had some very redeeming merits. 

Clinicians included Oliver Groenwald (trumpet), Stuart Hambley (trombone), Dan Greenblatt (saxophone), Max Bennett (saxophone), Milo Petersen (guitar), John Sanders (piano), Paul Gabrielson (bass), Steve Korn (drums)

Here's a fun slide show of the weekend. You may need a password to view this. Send Mr. Bergevin an email if you need permission.

https://vimeo.com/239752241
Thanks to Mingus for the background music.

Here's a summary of what the clinicians worked on ....

Saxes ...
I worked mostly with the Jazz 1 saxophones.  Most of the time we worked on gaining much better control over triads, which are the an essential building block for creating melodies (which, after all, is what we try to do as improvisers), especially triads in inversions.  We worked on some exercises in both chromatic and diatonic contexts.  

Then we started to consider triads in spread ("broken"?) voicings, where the intervals are fifths and sixths rather than thirds and fourths.  We also examined the triads that come from the harmonic minor scale, where there are two different diminished triads as well as an augmented triad.  And we looked also at the seventh chords that are readily derived from the harmonic minor scale (seven different types).

Finally we worked on learning this exercise (attached) that I wrote using triads from the harmonic minor scale in spread or broken voicing.

Dan Greenblatt

More Saxes ....
There was a wide range of abilities with both sax sections. There are some very “hungry” students in jazz two and the better half of jazz three! It’s fun working with the hungry people. 

My original plan was to go through the chords in the blues and play roots, thirds, sevenths and other notes on the basic blues and the jazz blues. The blues is the foundation of jazz! I threw out that plan because I realized some students had never even practiced their Triads. So I quizzed them on the four types of triads and we played them in different keys. Then we moved on to the different types of 7th chords in different keys. After that, we added a major 9th to those 7th chords - good challenge for sure! I started to loose a few kids at this point. 

We took a break after that and listened to some of the students music that they’ve been checking out - there was some stuff I had never heard before. We discussed what we were hearing - what we liked and didn’t like etc.

Finally, I taught them a blues by ear - the head Solid. Most of them got this. 

What worked: going through the types of triads and seventh chords was a good challenge for them. Especially learning them in different keys. 

- Max Bennett

Guitars
Mostly I had Colin and Ben try and catch up a bit to where Jai and Carson are re: chords and playing each key in five places on the neck. We talked about various progressions and all four had a chance to try improvising over ii-v-I and over a V chord. 
With the big band I had the guitarists zeroing in on guide tones and not moving all over the neck unnecessarily. I showed the drummers different ways to play shuffles and talked about taking and keeping a count-off.
Also staying alert when tunes last a long time. There were some sax figures that were a little rough so we isolated them and they cleaned them up really well. I was struck by how well most kids improvised on On G.D. Street.
All the sax players really had a handle on it. I showed the guitarists and pianists some chords that are missing from their app's changes. I love what you are doing with these people. They are lucky to have you ! I hope I can spend more time with your band. BPM Live App.

-Milo Petersen

Trombones ....
You have a bunch of great kids, who were all ears during our time together. Here are the key concepts we discussed in our trombone clinic and big band rehearsal:
Long tone warmups are an important time to focus on air, pitch, slide technique, and beautiful sound. We conducted along to Tommy Dorsey and Urbie Green playing I'm Getting Sentimental Over You, while imagining what it feels like to play like them. I stressed the importance of imagining what they want to sound like and listening to the greats over and over again to get those sounds engrained in their minds. Told them to find a jazz trombone recording to learn how to sing along with. Also, stressed the importance of mastering their major scales by working on them each day, while varying articulations, intervals, etc. Told them to find method books to work through and to help sight reading. Discussed the importance of supporting the lead player with a big full sound and marking some important things in parts when necessary; only make a mistake once! Some basic thoughts on getting louder when following the lineup and softer on the way down; to always be looking to give the music "shape." Stressed using recordings to "study" the music they are performing. To help sight reading, discussed reading through the rhythms only and without their instrument; internalizing what they see. Also went through All the Things You Are by playing only the roots of the chords and demonstrated the process of then playing only 3rds, 5ths, and 7ths, before being able to arpeggiate each chord. Briefly touched on keeping instrument clean to help smoothness of slide. Discussed how each individual needs to spend time figuring out where their tuning slide should generally be to play in tune and continue to monitor their pitch at all times.
I think that's about it and I'll let you know if anything else comes to mind.


- Stuart Hambley

Piano Players ...
I spent most of our time on practice approaches. I showed them my favorite warm up sequence. They learned a circle of fifths (counterclockwise) finger builder pattern. We segued from there into practicing in twelve keys, but always moving counterclockwise through the 12 roots/tonics instead of just up/down chromatically. We did simple patterns that move nicely around the circle.

We also spent some time practicing patterns over rhythms to mix up our regular counting. Like playing three note patterns over 1/8 notes and 7th chords over triplets. We did a five note pattern and played it over 1/4, 1/8, 1/8 triplets, 1/16, 1/16 triplets.

- John Sanders

BASSES
Our bass class began with tuning our basses so we all had the same pitch.  After this was established be talked about getting an open sound (tone) on open strings with a bow and with pizzicato.  This is important so the students can see and establish the relationship or these two techniques and how they essentially are the same activity.  After working this exercise on all strings of the upright bass we discussed how we could get the same open sound when using our fingers to stop the strings for each note.  Each note has the same importance on the bass and nothing is skipped this way (although most jazz bassists like to use open strings whenever possible as they sound the best and make shifting to other positions easier as well).  Then we talked about and worked with scaler practice and getting to know the fingerboard on the bass.  This is no easy accomplishment but can be gradually mastered through slow repetition of each scale.  We only worked on major keys since our time was limited.  It was surprising to see that each student had a different favorite major scale to practice.  I had each student play their chosen scale and then we briefly discussed a practice technique that would make each scale easier to play and practice.  Our next subject was still pertaining to scales with the focus on pitch recognition of each note of a scale so we worked on playing scales with using the same finger on the left hand for all notes of the scale.  I asked them to play the G major scale up and down the G string (using one finger) with what I like to call the say it, sing it, play it method.  Nothing new here but something that can easily be overlooked in ones practice.  This proved to be very insightful and even one of our students had a very strong sense of pitch, even in the act of displaying frustration.  After this I asked if anyone had a question and one good one was posed “How can you play a walking bassline without playing the same boring stuff over and over?”  This is a good question so I asked them to walk any bassline for me and then after this example by the student I asked them to walk the same line without a given chord tone (usually a leading tone like a 3rd), this proved to be quite challenging but it is good practice helping the student not just play “notes” but to see the overview of the harmony they wish to communicate at any given time.  We then went on to discuss how to transcribe difficult bass solo’s and such.  One of my recommendations was to transcribe easier material such as walking bass lines or any bass line for that matter.  We discussed how this process would yield the same result in our development and this may pave the way to hear the difficult solo passages in the future.  We also liked about a program on the computer, now called an “app” that can be also purchased and used on a smartphone called “Transcribe!” (there are others…) and we could slow down any given musical idea that we were listening to and even flag and loop them as well.  The students loved this and we worked on pulling melodic ideas from a Freddie Hubbard solo on his song “Birdlike”. We all took a turn at playing some of these ideas and everyone caught on to them quickly.  I believe you are going to have a serious group of bassists this year if they start going after this stuff.  No hand outs were given during this mini workshop.


Trumpets ...
My goal was to combine a warm up routine with practicing basics, common rhythmic structures and articulations.
Based on the F Blues pentatonic, we worked on each individual pitch. Everyone was able to choose their comfortable range. The basic rhythmic configuration was based on the typical ride cymbal figure.
We started improvising and expanded by adding notes until everyone was allowed to use all 5 notes for his improvisation.
We played all together with no musically defined “rests” just breathing when necessary. We worked on staying in time, sharing the same quality of triplet subdivision and timing, various dynamics, mostly soft.
Learning curve: How much rhythmic and tone material can one handle without loosing tempo and accuracy, how much material is needed to be creative.
In between playing, I’m always finding out what the student’s experiences are and getting/giving feedback.

In the big band section rehearsal with the trumpets and later merging trombones, we worked on parts of Freckle Face, mostly on blending and measure 90 - 91 (triplet quarter).
As aforementioned, I would use “Cute” and “Li’l Darlin’ “ to be able to work on reoccurring rhythmical situations in a little more resource friendly environment for the brass sections.

- Oliver Groenwald

I worked with the guys on feel, pulse, soloing over a form, playing with intent, confidence.  
 - Steve Korn


Here are some student reflections:


Julia K:

- Collaborating with people at a higher level than you helps you grow
- Same concepts apply to both instrument and voice
- LISTEN and KEEP IT SIMPLE

Bryce- ¨You can do one of two things. Play it correct, or play it beautiful¨ -Mr. Greenblatt

Jared: I love how the sectional with the trumpets and trombones in jazz 1 was focused on blend, learning how to balance and blend with the other people in your section. Oliver did a very good job explaining how same volume doesn’t necessarily mean you are blended with each other, rather you’re just the same volume.

Alex A: I thought I took away a lot of new social skills about seconals and how to get everyone on the same page rhythmically. I also took away some improvising techniques and some great experience with singing during the jam section.

Mwangi : I liked the retreat
Colin M: I enjoyed the master class as I learned a lot there. The most important thing that I learned was the Jazz Blues chord progression Bb Eb Bb Bb Eb Eo Gmi7 C7 Fma7 Bb7 Gmi7 C7 Fma7.

Kayvon: I really enjoyed the weekend.

Alex G: I personally had a great time at the jazz retreat hanging out with my friends. I also got to learns a lot from the practice sessions but especially the master class.

Collin Walla: I liked getting know people in the jazz program better.

?? I really enjoyed the entire trip. I especially liked the jam session, the trumpet workshop, and our free time. I feel like I learned the most during the trumpet work shop because I learned more about how soloing involves rhythms more than the actual notes and a little more about chord changes.

Elle: I really liked how the saxophone sectional was focused on fundamentals. We learned about different types of chords and how to play them. We even learned a lick by ear which was really awesome.

Carson: I liked the group jam session, and it was helpful to get a detailed reminder about how when improvising, solos should feel melodic and have a structure that fits with the song. Even though the lesson on the blues soloing was fairly basic, I can apply it to all kinds of settings in jazz.

Anton T: I liked the jazz 3 saxophone sectional, it was helpful and very productive. It was great being able to be with our section for 3 hours and just practicing together.

Unathi M: I liked how all the time we had allowed us to repeat and refine sections of our music during big band rehersal.

Jacob S: The jam session and the master-class with the instructors were probably the most important times for me and my section. In the jam session we learned great solo forms that most of us should have already known and we got for comfortable with soloing in front of each other. Also, in the saxophone master class, we mainly focused on chords, which was useful to many of the freshmen and some of the sophomores in the ground since that knowledge can be used for better soloing later on.


?? I thought the monster band jam session was extremely fun. I enjoyed singing with everyone and not only did it help us bond, but I think it helped us grasp some concepts like repetition .
  • I felt like I got some good, useful insight during the master class. Stuart Hambley, the trombone person, had a lot of good ideas for warm-ups including lip slurs, scale work, and we were also given a packet of useful tips and tricks. What I liked best about the class, however, was the idea of listening to a piece of music or excerpt and transcribing certain parts.


Hope J: I learned a lot from the master class with the trombone teacher. He helped me get a grasp on how to be a good jazz musician, showed me some songs that I actually enjoy, and the concepts/warm ups he taught us were extremely helpful. As for the guy who was teaching the jaz

Alexis M: The jazz retreat went

Liam S:
I really enjoyed being exposed to the different types or chords


Jackson W - We should do more work in our sections next time. It allowed for improvement on backgrounds and counting. The work with the professionals helped improve soloing, and learning chord changes. Having each band play a song at the end was good because it let the each band show off what they worked on during the retreat.

Sunday, October 15, 2017

Roxy Coss - Earshot Jazz - Guest Artist Lecture and Performance


EWHS Jazz Program with Guest Artist Roxy Coss

On Tuesday, October 10th 2017, Roxy Coss joined the EWHS Music Department as guest artist for the day. Earshot Jazz Festival helped support the event with PR. Logistics and production were handled by EW Music Booster Extraordinaire Mike Henderson with help from Tim and Michelle Nye. 

This was an inspiring session and students were smitten with Roxy's beautiful sound, powerful technique and easy charm.  For more about Roxy ... visit here... https://www.roxycoss.com

The day was a combination of large and small group rehearsals combined with some lecture and demonstration. Roxy prepared to play as a guest with Jazz Ensemble III and Jazz Ensemble II (big bands).  She also sent several original arrangements in advance that were prepared by Jazz Ensemble I for the evening show held in EW Theater. 

There Q&A sessions with the Symphonic Band, Wind Symphony and some small group mentorship with the top combo musicians. 

Concepts that were addressed in the Q&A included:
1) mindfulness - get out of your own way when improvising
2) pay attention to your body and how you feel about things (in reference to her sax harness).  She discussed the back issues that have been a result of scoliosis and years of playing a heavy saxophone. 
3) a list of heroes which she grew up studying - know 20 players, have 3 favorites and one current favorite
4) the importance of her experience with Essentially Ellington as a 15 year old and how it formed her life path 
5) background info about her arrangements 
6) an explanation about a typical day in her life demonstrating her ability to continuously hustle
7) the importance of the soloist to be intentional about playing WITH the rhythm section
8) the difference between soloing in a vertical versus horizontal style
9) seek out the center of the activity that you're most passionate about
10) benefit of private lessons - band is fun but private lessons are much more efficient way to improve - you'll still need to practice
11) seek out the private teacher at the colleges you are thinking of attending starting as early as grade 10
12) strive to emulate your favorite artists by LISTENING and don't worry that you're going to become a copycat ... you'll always sound like you ... find your voice




Roxy Coss Quartet featuring Randy Halberstadt, Michael Glynn and D'Vonne Lewis


Roxy plays for the EWHS Wind Symphony Class
https://vimeo.com/238196345

Jazz Ensemble 2 and Roxy Coss Quartet - thanks to Parent J.S. for sending this video.
https://youtu.be/5EbFhVnXiWM

Jazz 1 with Roxy Coss - Don't Cross the Coss
https://www.youtube.com/watch?v=Bn7erkRTmb4

Jazz 1 with Roxy Coss - Chasing the Unicorn
https://www.youtube.com/watch?v=TgbuO4wy8qQ

Jazz 1 with Roxy Coss - Breaking Point
https://www.youtube.com/watch?v=Xr9s6TF9Gu8



Sunday, September 24, 2017

Tamir Hendelman Workshop

Friday, September 22, 2017

EWHS Jazz Students were grateful to get the chance to host Tamir Hendelman for a workshop.
https://www.tamirhendelman.com/

Here are a few photos and handouts of the event.


Concepts of Note included:
1) intentionally communicating visually with each other (keep your eyes open)
2) allow space for the other person to respond
3) musical ESP - listen so intently that you can imitate simultaneously
4) altered harmony scaled building (chord tone plus whole step)

See these handouts for more about new ways to approach altered harmony using Stella By Starlight. Here's the link Tamir sent of Keith's All the Things You Are transcription. 


Stella worksheets - access may be only for Edmonds School District Students