Morning Cup: Happy St. Patrick's Day

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Happy St. Patrick's Day!

Enjoy your day with a Guinness, Irish coffee, or Shamrock Shake!

Don't kill the Messenger

Last month marked the 50th year anniversary of Thelonious Monk's classic performance at Town Hall. To celebrate the event, Town Hall presented two nights of music paying homage to the original concert in two very different evenings.

Jason Moran presented a mixed-media concert that included never-before-heard recordings and images of Monk's rehearsals and arranging sessions. The night before, Charles Tolliver gave a note-for-note recreation of the original tentet performance. While there was some criticism regarding Tolliver's decision to attempt an exact replica of the original performance, no one can doubt that Tolliver has a deep respect and understanding for the importance of informing today's listeners of yesterday's repertoire. As modern jazz continues to evolve past 2 & 4 and flat 3s & 7s, the very term "jazz" is becoming broader and to some, more diluted. As a composer of such "fringe" or "little j" jazz, I am very much aware of the importance of remembering and respecting the roots and traditions of "big J" Jazz. This is also why I value concerts such as the Monk Town Hall Anniversary Concert and musicians like Tolliver who excel at, for lack of a better phrase, keeping the tradition alive.

So when I was asked to help prepare the music for an upcoming Art Blakey Tribute concert which was paying homage to not only Blakey and his music, but to Charles Tolliver and his commitment to continuing Blakey's legacy through an ensemble class at the New School (which was temporarily cancelled this semester due to financial cuts but causing a huge outcry from students and alumni) I was thrilled. In addition to being able to see and work with the written transcriptions and arrangements of Blakey's tunes, I was happy to get to be a part of something that emphasizes the importance of figures and repertoires like Blakey, that really inform musicians and listeners of the meaty traditions and practices of jazz, "big J." I must admit, at times here in NYC I crave hearing jazz that above all else just swings and feels good, rather than spouts intellectualism and advanced harmonic and rhythmic sophistication.

DO NOT MISINTERPRET! I am not a jazz snob or purist that feels it has to swing or employ blues notes in order to be considered jazz (which is no doubt an argument in semantics for another day). Many of my favorite bands I would term "little j" or "fringe" jazz. But I do think it becomes easy for modern musicians, in their quest to be different and to evolve, to either forget, or consider unimportant the music that came before. (Just as it is often unfair for those who feel a jazz performance must include swing and a blues to discredit the music that has strayed from the original definition simply because it does not swing, etc.).

Anyway, tangent over. The bottom line is that I am very proud and excited to be a part of this tribute to Art Blakey. In attempt to help promote the tribute, I have invited the organizer, Joseph Perez, to explain what makes this event more than a simple tribute concert and why teachers such as Charles Tolliver are so important to the education of jazz music today:

Thank you for giving me this opportunity to speak about this project. Being a former student of Mr. Charles Tolliver, I took a great interest in the news of the Art Blakey and the Jazz Messengers Ensemble class not being offered this semester at the New School. Having taken that class for seven semesters, I can speak with some authority on how classes such as this one and teachers like Mr. Tolliver can have a profound effect on a student. New York City, being the "jazz capital" that it is, holds a distinct geographical advantage in the realm of higher music education in so much that students can come from around the world to study with people that have a direct link to the foundations of the art form. There is no greater example of this kind of unique and special person as Charles Tolliver. While a relatively obscure figure to the masses, Charles Tolliver has a both impressive musical resume and has contributed to both the artistic and business aspects of jazz. He was one of the first jazz musicians to start his own record label (Strata-East) in order to release his own music free of corporate interference. He has been an influential composer both for small and large ensemble in addition to being a singular voice on the trumpet. But to many, including myself, perhaps his most lasting accomplishment will be his work in the field of jazz education and his undying and unapologetic commitment to preserving the great traditions and values of the music. Charles Tolliver, and musicians like him, bring the music to life in a way that records and transcriptions can not.

When I became aware of this semester's cancellation of Mr. Tolliver's Blakey Ensemble and witnessed the ensuing online reaction, I decided to become involved. The Blakey class had a profound effect on me, and many others and Mr. Tolliver was the reason for that. I wanted to do something to highlight and celebrate the importance of Charles Tolliver, the music of Art Blakey, and the value of their legacy to younger generations. Presenting a concert of the very repertoire that Mr. Tolliver taught in his class (in some instances, using the same charts he uses to teach and has graciously loaned to us) seemed like the perfect way to pay tribute. On Monday, March 30 we will present a night of the music of Art Blakey with support from all the aforementioned parties, including the New School, Mr. Tolliver himself, and fellow students of Mr. Tolliver who have volunteered their time and talents to perform on the concert. It is my hope that this event will not only highlight the value of Charles Tolliver and artists like him but demonstrate the necessity of continuing to teach the core traditions of jazz music, especially the music of Art Blakey and the Jazz Messengers.

A Tribute To Art Blakey will be presented on Monday, March 30 with sets at 8:00 & 10:00 PM at Sweet Rhythm. Cover is $10 with a $10 minimum/ students get in free with a $5 minimum. Musical guests scheduled to appear include Valery Ponomarev, Marcus Strickland, Keyon Harrold, E. J. Strickland, Jason Marshall, Tatum Greenblatt, Stafford Hunter, and many more.

Morning Cup: An Evolution of Art

MUTO a wall-painted animation by BLU from blu on Vimeo

This is truly amazing and quite inspiring! It's a bit long (in internet time), but perfect for a morning coffee break.

via @rainnwilson via SoulPancake

SoulPancake, by the way, is a pretty interesting blog that asks explores creativity and spirituality. Read the comments to this video on SoulPancake's site (click the via link above)- many interesting interpretations of the video.

DON'T save the date

It is with sadness that I report that the Bottomless Cup Jazz Orchestra's April 22 show has been postponed due to a scheduling conflict. We are hoping for a reschedule in either July or August. In the meantime, coffee will continued to be consumed and music will continue to be composed. Thanks to all who planned to attend and I promise I will let you know as soon as a new date is scheduled.

As you were.

Morning Cup: Learn 5/4

Recognizing 5/4 Timing in Music -- powered by ExpertVillage.com

Over your morning cup of coffee, I invite you to learn to recognize 5/4 timing in music... or not.

Don't know if this guy is for real or not (let's hope not) but you can check out his additional learn to play jazz piano videos here including how to play the "piano part" of "experimental jazz." Actually, I'll save you the trouble of a click; McBride advises you to just play like a child would and that's experimental jazz in a nutshell. (well... maybe he's not too far from the truth after all!)

Morning Cup: Mother of all Funk Chords

Pure Awesomeness!

Courtesy of Kuitman, a super-smart dude who collected YouTube clips and sequenced them together to form not only a brand new video, but a brand new song! Genuis!

Tiny Titans: Wonder Woman

by Joe Green

Via Amazon Princess.

Morning Cup: Plavalaguna Motivation

A little sci-fi Lucia di Lammermoor to inspire a day of kick ass composition?

Cautiously Optimistic

This is not the type of writing I'm supposed to be doing right now (where's that cup of coffee?). Damn you, tangents! But I was so cautiously optimistic after recent episodes of the only two shows I watch regularly that I can't begin to write a note of music until I've taken a second (and hopefully it will truly only be a second) to opine about this past week's Dollhouse and Heroes viewings.

***SPOILERS***SPOILERS***SPOILERS***SPOILERS***SPOILERS***SPOILERS***

Dollhouse

In it's third episode, I can say I'm still only watching this show out of my innate Cancer loyalty to Joss Whedon. After hearing Joss speak about "strong, female characters" at an Equality Now benefit and then meeting him after the speech were he graciously signed a first issue of "Astonishing X-Men," I can say I will be loyal to Joss for life and will give any creation of his as many chances as needed. And while I must admit to disappointment regarding the first two episodes of his latest show, last week's third episode, "Stage Fright," gave me to pause to hope.

Here's what I liked:

1. A more interesting plot line. Having Echo as a protector of a pop singer without being conscious of her bodyguard role was more engaging than the previous psycho date and kidnapping stories.

2. The emergence of male doll. We've seen men wandering aimlessly around the dollhouse in various wide angle shots, but now we have a main character as one as revealed in a nice little twist. This should quell the criticism that the dollhouse concept is misogynist. Now both women and men are being pimped out. Equality now!

3. Finally seeing Eliza kick a little ass! Prior to the first episode, I had misunderstood the show's concept. For some reason I had expected the doll's mind wiping and reprogramming as part of a government operation with the intent of using the dolls for spying, assassinations, etc. a la Alias. So I was disappointed with the distinct lack of action of the Buffy/Sydney Bristow vein. But this episode gave me that little bit of kick ass that I wanted from the show.

4. Echo's thinking outside of her programed mind. If I buy the idea that minds and personalities can be programmed, then it make more sense to me that if a doll was going to break the programming it would be through unintentional use of the personality given to her, as was Echo's unorthodox solution to the problem given to her. This sits better with me than the occasional memory resurfacing as a hallucination as in "The Target."

Overall, I still do not rate this show very high... yet. I could expand upon the things I dislike in the show but I will refrain as I am trying to be optimistic (and really need to get back to composing). I will say that I am taking this past episode as a sign of good things to come. If this episode had been the pilot, I think the show would have more support. While each episode is basically a one off, I understand that a larger arc will emerge showing Echo becoming aware of the mind wiping situation. This could get very interesting and I hope Fox and it's viewers will give Whedon enough time to see his genius ripen in this show.

Heroes

Again with the loyalty. I started watching Heroes after giving into peer pressure half-way through the first season, caught up quickly thanks to NBC keeping all episodes online, and while I originally abhorred the idea of a "superhero TV show sans capes," I was converted and have been a faithful fan since. I rode out the overly dramatic 2nd season and allowed the writer's strike to be the excuse for a less than stellar season. This past third season I've felt there was improvement, but it was not until last night's episode "Exposed" that I felt we finally had a show of the caliber of the first season.

Here's what I liked:

1. Multiple plot lines. I know many criticize that there are too many subplot lines happening and that may be, but I really hate not seeing at least a little snip bit of each character in each episode. Last night we saw all story lines except Hiro and Ando, which satisfied my need to know what was going on (I'll just assume Hiro and Ando spent the day in plane flying back from India!). While we didn't see Suresh, Daphne, or Tracy, we at least know where they are so there's nothing to wonder about.

2. Mommy/Daughterness. I've liked Sandra Bennet so much more since they stopped wiping her memory and was glad to see her in a proactive role. Plus its nice to see non-heroes in on the action. I'm hoping this new bond will allow Claire to mature and thus be a little less annoying.

3. The annoying characters were less annoying. Not only was Claire less whiny, but the Petrelli brothers kept their self-righteous savior complexes in cheque. I also liked Peter going in for the hug but stealing back Nathan's flying ability before taking off.

4. Peter and Matt's tag team mind reading. Yes, it was incredibly cheesy to see first one then the other turn their head to the side and give intense looks but I have to think the creators knew this and decided to embrace the inevitable Velveeta effect and just role with it. It made me laugh and so I liked it.

5. Rebel's continuing interaction. PLEASE let Rebel be Micah! PLEASE let Rebel be Micah! PLEASE let Rebel be Micah!

I know there are more things (I shoulda taken notes!) but I walked away from the episode thinking Hallelujah! The Heroes I know and love it back! Lets hope they don't f*ck it up again!

And on that note, I shall spellcheck, post, and return to Sibelius, happy with the hope that if these creative ventures can improve, then maybe so can mine! ;)

Coffee Break

coffee? by ~GreenJester on deviantART

It's time for a coffee break. Or rather, a let's-drink-lots-of-coffee-so-that-we-can-write-the-bulk-of-the-new-music-previously-promised-for-up-coming-gig break. So as to say, less blogging, more composing. Same goes for Facebook & Twitter (or so I innocently intend!).

Oh self, why do you procrastinate so?

Don't forget to save the date- April 22- for the next installment of the
Bottomless Cup Jazz Orchestra!