Yea Boo - Anita ODay With The All Stars - Yea Boo (Vinyl)

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Consider changing the search query. List is empty. Fiction Books. Non-Fiction Books. Children's Books. Pi DEC. Concord Picante FEB. Sherman, Mark The L. Not Two AUG. Ware, David S. Pat didnt skimp on any- thing. He was writing comfortably for the assembled musicians, from beginners to more advanced players. Gabriel Santiago, a year old guitarist from San Francisco, echoed that statement. I analyzed it to understand Pats harmonic con- cept.

I dissected it in every single way I could, not Yea Boo - Anita ODay With The All Stars - Yea Boo (Vinyl) by playing it but by fguring out how Pat approached it compositionally. After three days of intensive rehearsals, one-on-one critiques, student jam sessions, two Pat Metheny Trio concerts and individu- al master classes from Metheny, bassist Larry Grenadier and drummer Antonio Sanchez, students performed the page chart to a select audience.

The concert was recorded and then edited by Metheny, who awarded each attendee with a fnished CD on the ffth and fnal day of camp. Metheny wrote the piece, Yea Boo - Anita ODay With The All Stars - Yea Boo (Vinyl) titled Campwith each student in mind, after perusing online videos and workshop applications.

This group was uniquely homogenous in what they needed to work on, Metheny said. They were a very good example of what I hear 97 percent of the time, whenever Im around intermediate-level guitar players who are interested in improvising.

Its just about playing with a rhythm section, playing with the metronome and playing in time. I spent a lot of time talking about groove and placement of the beat. Some of the [diffcul- ty is] having to coordinate two limbs, or hav- ing to pick and pluck and fnger at the same time, but some of it is mysterious.

So I wrote the piece largely to address these recurring problems. Though it is a lot of work for me beforehand, I always get more out of it than anybody else. The students enjoyed one-on-one lessons with Metheny, as well as meeting fellow attendees, some of whom came from as far away as Tokyo and Sydney. However, the workshop wasnt entirely hitch-free. Original sponsor National Guitar Workshop declared bankruptcy 10 days before the scheduled event, jeopardizing students tuition costs for hotel rooms, rehearsal spaces and meals.

Chick Corea, whose NGW-sponsored work- shop was scheduled the following week, was also left in the economic lurch. For 28 years, NGW had provided life- changing musical experiences for thousands of people from around the world, Dempsey said. To know that students who had paid their tuition in full were not going to be able to [attend the workshop] or have any of their tuition immediately refunded was a bitter pill for me to swallow.

I knew that enrollment had been struggling, but I was assured that everything was in place to make this years workshop happen. In the end, the way Pat approached this years program speaks vol- umes about his commitment. Dempsey was out of a job, and Metheny was without fnancial backing for his work- shop, but the guitarist refused to cancel the event. Metheny ultimately paid for workshop expenses out of his own pocket. It was unacceptable to see all these guys lose thousands of dollars, he said.

I would rather take the hit. Im puzzled and very dis- appointed by it, but I also dont know that Yea Boo - Anita ODay With The All Stars - Yea Boo (Vinyl) about it. Its not easy to do anything in the music world these days, but if you have troubles, dont tell us [10 days] before the event. I wasnt going to let the workshop suf- fer. There was no way I would let that hap- pen. I think Chick felt the same. Sure, it was a drag.

While I was staying up for days writ- ing the piece, I was thinking, Not only I am not getting paid for doing this, I am paying to do this! But seeing how well everybody did, knowing that everybody is walking out of there with something that none of us will ever forgetits totally worth it. The workshop was originally scheduled to include guitarist Jim Hall and drummer Jack DeJohnette, who both pulled out when funding was lost. Sanchez, Methenys long- time drummer, stepped in at the last minute to complete the rhythm section with Grenadier.

The pair addressed not only the technical issues of the Metheny piece but also general philosophical and mental attitudes. In clinics, I usually talk about concepts and mentalities, Sanchez said. As musi- cians, we often feel we are destined for great- ness, yet here we are playing a wedding in some little joint.

I talk about how if youre playing a wedding, then its your time for playing weddings. If youre destined for great- ness, youll get there. Its a step in the road. You have to give percent. People who are great always give percent.

Never mind the situation; that is the moral of the story. Sanchez led the three drummers through the diffculties of the Metheny chart during group rehearsals. He later tutored them individually, both in a joint-clinic setting with Grenadier and in a separate drummers-only clinic. What struck me when watching Antonio and Pat play together was how an important part of his sound is his cymbals, and how clear he is with his cymbal beat, Barber said.

Pat is clear with the textures he wants from the cymbals, and playing Antonios setup made me understand that each cymbal he uses is meant for something. That was really a revelation. Grenadier catered his approach to the two bassists present using a multi-pronged curricu- lum that covering both the physical and mental aspects of the instrument.

For bass players, there are so many physical issues to deal with, Grenadier said. We talk- ed about how to learn the instrument more prof- ciently and how to feel more comfortable on the instrument.

We also discussed general things, such as how to deal with different drummers and approaches to rhythm and time, and broader things like whats involved in being a profession- al musician and having confdence. Its very helpful to have a teacher early on so you dont get into bad habits. I try to spot those bad habits as quickly as possible. I also try to personalize [instruction] for each student so I am not giving a standardized lecture on bass playing.

Metheny was undoubtedly the toughest of the three when it came to critiquing the musi- cians abilities. During two three-hour-long rehearsals, he asked each guitarist to solo over a series of chord changes, and then he offered his appraisal.

You survived was one comment Metheny made. I wouldnt have made those note choices was another. I told them, I am not capable of being that diplomatic, Metheny said. As far as I am con- cerned, we are doing a concert, and youre in my band, and that is how I am going to treat you. Before the concert Id ask, Let me hear you play this part, or I might say, Dont play here. Play when you solo, but dont play on that ensemble.

At that point, theyve had three days to practice. On the frst day I said, OK, you guys. I stayed up for three days and nights writing this piece. I expect you to stay up for three days and nights practicing it [laughs]. Is the sponsor-free workshop the future for jazz musicians and educators? Like home recording and living-room concerts, the respon- sibility lies evermore with the musiciannot the record label, guitar company or booking agent.

Perhaps intimate workshops will provide the revenue stream once spawned by major record label deals and global tours. Its hard for me to gauge whats really valu- able to people in this culture, Metheny mused. The true value speaks for itself. I always use the analogy of Bach. At the end of a service, how many people say, That was the shit! Like three? Yet those notes are the great- est notes anybody ever came up with. That is the currency that I am lucky to be able to trade in.

The rest of it is day-by-day, minute-by-minute, year-by-year. So the question youre asking is really a cultural question, not a musical question. I am always going to do my best to fnd that place where the rubber meets the road on a musi- cal level. Thats where the value is. How other musicians are going to address those issues has to do with their ability to pay their rent each month. I am always going to have that right there. Its like constantly looking at a speedom- eter going down the highway.

But mostly I will be looking out the windshield. Thats where the action is. You just have to look in the right plac- es, and today, the classroom is the genres biggest venue.

This February, the schools annual Frank Mantooth Jazz Festival, named for Yea Boo - Anita ODay With The All Stars - Yea Boo (Vinyl) late music educator inwill celebrate its 30th anniversary with 40 visiting high school bands and an evening concert by the Count Basie Orchestra.

I attended New Trier in the late s, and I can tell you that the closest the Basie band could have gotten to the music building then was the bandstand in the gym at junior prom. In those days, jazz was an unft intruder into their sacrosanct canon, partially because it was still popular and proftable.

Its one of the odd mindsets of the cultural academy that some- thing becomes eligible for the curriculum only at the point of its possible extinction. That began to happen to jazz in the late 60s, and New Trier responded. Stan Kenton came to the school and wowed the board with a presentation arguing for a place for jazz in the formal curriculum. The jazz program grew rapidly, and by the time Nic Meyer took over as director of jazz ensembles init was among the premier public-school curric- ulums in the country.

Since then, Meyer has added an emphasis on improvisation and lis- tening. The most accomplished improvisers are the most avid listeners, he said, but I had no desire to fx something that was not bro- ken. When youre handed something like that, a big part of your job is just not to screw it up. Preserving the status quo takes energy. The program Meyer inherited was largely the work of Jim Warrick, who came to New Trier from Ohio in and directed the jazz program for 28 years.

He added a fourth band to the curriculum. But his most enduring innovation was a festival that focused on sec- ond bands and eliminated competition. In that frst year, I saw the need for a jazz festival, Warrick said in a phone interview. But I had learned to hate the whole compet- itive scene where everyone brings in his top band.

It meant that sophomores and freshmen couldnt compete fairly. I thought we need- ed a festival for the second and third bands. I didnt want music to be a numbers game mea- sured in trophies. The kids are the trophies, not the statues. When you make it competi- tive, you create winners and losers, and thats not healthy. Music isnt a sport. Titular awards are given to individual solo- ists, but as a gesture of achievement, not a spoil of victory.

Clinicians can pick who they want in recognition of reaching a certain standard, Warrick said. But its not competitive. And thats how it has remained. Every year these kids come, Meyer said, and have this day in a non-competitive environment. This was the philosophy on which weve built the festival. There are other non-competitive festivals. But Im not aware of any that is spe- cifcally for second bands.

Over the decades, a history has accumulated. Warrick remembers a episode when an exhausted Gillespie arrived after a fight from Australia and a hour drive from Canada. During a long, very soft conga solo, he said, I was convinced he was sleeping on stage.

Then there waswhen a briefcase was stolen from Mercer Ellingtons green room. It contained his bands entire payroll, its fnancial records and medicine for Ellingtons phlebitis. The leaders health and the bands existence were suddenly at risk. What amazed me was how much of a gentle- man Mercer was through it all. No temper, no name-calling. Still on New Triers wish list? Road warriors, Meyer called them. Fortunately, no band has ever lost money during a visit to New Trier.

Artie Shaw came closetoo hip for the room, Warrick said. But both he and now Meyer take pride that the Mantooth Festival has handed a lot a great experiences to stu- dents and never handed New Trier a bill.

Baker will be replaced by fellow faculty member Brent Wallarab. Wallarab kicked off the jazz season with a performance by the ensemble on Sept. Details: indiana. Monroe helped establish an international network of Berklee-afliated schools in 12 countries, including Berklees new campus in Spain, Berklee Valencia, and was a pro- found inuence on former students such as Branford Marsalis, Miguel Zenn and Donald Harrison.

Details: berklee. Details: rutgers. Details: laguardiahs. Patitucci is there to help unleash the jazz bass player in you. The ArtistWorks music school is all about reinvention, and the vision is simple: Provide a solution to one-sided learning experiences online. Founders David and Patricia Butler creat- ed ArtistWorks inwith the intention of offering interactive feedback and diligent guidance to players of all experience and skill levels.

A key component to this unique learning experience is ArtistWorks Video Exchange Accelerated Learning Platform, where all of their visually taught subjects can be learned, from jazz bass and other stringed instruments to classical piano and rock drums to DJ scratching. The programs encompass 14 styles of music. I checked them out and saw that they were producing a very high-quality online school, he said.

Patitucci worked with ArtistWorks for a year-and-a-half in pre-pro- duction, and the school formally launched in July. This program, he said, represents a real break from traditional methods of learning an instrument, and Patitucci was determined to cover all the bases.

Because the curriculum goes from beginning to intermediate and advanced, theres plenty of information available for a player at any level, Patitucci explained. I spent months writing this curriculum, and it took me a week in California to flm all the lessons. I also recorded play-along tracks in my home studio and wrote pages upon pages of exercises, which comprise a large meth- od book thats downloadable in PDF form for each student.

A special bonus to professor Patituccis online experience is footage of the bassist performing with pianist Jon Cowherd and drummer Brian Blade.

Patitucci is thoroughly convinced of the methodology for the newly developed Video Exchange Learning program. The format is unique, he said, because whenever a student needs help with any aspect of the curriculum, they flm themselves play- ing and asking questions with instrument in hand. I receive the video, take my notes, diag- nose and answer via a return video.

Then, both videos are coupled and placed on the site for everyone to beneft from. In addition, students communicate with each other on the site in forums, encourag- ing each other and asking each other ques- tions. I communicate with the students in the forums, as well. I have a student in Australia whos a professional bassist and a professor at a university jazz program. Previously, he had to fy to New York or wait until I traveled to Australia on tour to take a lesson with me.

Now, he can study hundreds of lessons at his own pace, in his own home, and still get per- sonal feedback from me. Hes a very active participant on the website, and he helps the younger students as well. A casual glance at the Lessons Lists shows how detailed the course descriptions are.

Subjects include a wide array of issues: dealing with calluses, blisters and muscles; bass sound production; working with major and minor octave scales; ear training and rhythm exercises. All of these educational topics are approached in depth for each of the three levels of diffcultybeginner, interme- diate and advanced. Given that Patitucci had been around prior to the onset of Internet-related educa- tion, it was relevant for him to compare this new approach to the methodology behind his more traditional teaching.

The world is completely different now, Patitucci said. There were far fewer materi- als available to learn how to play jazz music. We learned from listening to records, going to hear live music, and trial and error. The tech- nologies that young people manipulate with ease nowadays didnt exist when I was grow- ing up. The curriculum currently is designed for an acoustic bass. Because Patituccis career also included a signifcant amount of electric bass-playing, hes also considering a lesson plan for that demographic.

Eventually, I will also put together a full curriculum for electric bassists who are look- ing to learn jazz, Patitucci said. Currently, Nathan East is on our site teaching pop and rock styles on electric bass.

When asked how he navigates his career as an edu- cator with his busy life playing, recording and touring, Patitucci said that hes constantly jug- gling his priorities, which include a teaching position at Berklee College of Musics online Jazz Bass, Anyone? The nice thing about Berklee and ArtistWorks is that my schedule is pretty fex- ible, he said. Im an artist in residence at Berklee and teach a one-week residency each month.

My ArtistWorks teaching can be done from home or on the road. With the prolifer- ation of technology these days, the fact that all of Patituccis work can be conducted online is just as convenient for the bassist as it is for all of his students.

In the s, he said, I released two instructional videos and Ive been teaching and giving master classes for decades. I feel I have had a chance to learn a lot about educa- tion because I have been teaching most of my life. In the s and 50s, there were no jazz programs anywherejust some com- mercial dance band programs, said drum- mer Justin DiCioccio, associate dean and chair of the jazz arts program at MSM.

The program here was classical, but many of the students who came to the Manhattan School were jazz musicians. John Lewis was a clas- sical composition major here. Max Roach was a classical percussion major. Dick Katz was a piano major. Other then-rising jazz masters such as Ron Carter, Donald Byrd and Yusef Lateef also studied classical music at the school. They laid the foundation for monumental jazz careers beyond the classroom, helping to prompt the creation of an offcial jazz pro- gram.

Dick Lowenthal was appointed as the programs frst director in MSMs jazz program was one of the frst developed within a conservatory, said DiCioccio, who has taught at the school since the jazz programs inception, joined the faculty full-time in and took over leadership seven years later.

The program originally focused primarily on the big band tradition and combo playing. Though big bands and combos continue to be key to MSMs curriculum, DiCioccio has spent his tenure shaping a new perspective that he hopes will carry the school into its next three decades and beyond. Our whole curriculum is based on the philosophy of the complete artist musician of the 21st century, DiCioccio said. That artist is equal parts performer, writer and pedagoguethree leaves of the same clo- ver.

In practical terms, this philosophy lets DiCioccio easily answer the inevitable ques- tion from parents and prospective students as to whether one can earn a living in jazz. Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. It appears your browser does not have it turned on. Please see your browser settings for this feature. EMBED for wordpress. Want more? Advanced embedding details, examples, and help!

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