A little more than halfway through the semester of the pandemic and we are surviving and even throving in some regards. Managing to get a fair amount of playing in on campus, although in small groups and spread out. The audio and video product is impressive, but neverthelass we are all getting pretty antsy for live music to return in it’s prior glory. Time will tell -there is a lot of pent up energy!
I am also pleased to see the realease of Cheap Thrills featuring the music of tenor saxophonist Rick Margitza by the South Florida Jazz Orchestra. I was a treat to leading the sax section on this recording. I’d also like to shout out Troy Robert’s newest album Stuff I Heard. Troy has outdone itself on this one, playing bass as well as multiple saxophones.
The new year did bring some pleasant developments. I’m very happy to announce Brian Lynch’s new big band album The Omni-American Book Club has won the Grammy award for Best Large Jazz Ensemble Recording. You can hear me blow alongside Dave Liebman on the 4th track “The Trouble With Elysium.” Crazy chords! The sax section is all Frost alums and my former students, anchored by lead Alto Tom Kelley. Frost jazz sax alum Michael Thomas’ Terazza Big Band has also been nominated in the same category, and features another of our NY based sax alums, Troy Roberts (not to mention a number Frost grads on other instruments filling out the band)
Please check out the the South Florida Jazz Orchestra’s’ wonderful new release of the music of Gary Lindsay, “Are We Still Dreaming”. I’m supremely honored to be performing on this recording alongside so many gifted musicians. Gary’s music is beautiful, unique, and eminently satisfying on every level. This recording is long overdue. Still waiting to hear about the release of the SFJO’s recording of the music of Rick Margitza. Stay tuned! I hear it will be soon!
Older links (these will take a while to load – be patient!:
Upper Structures: The Unifying Element Between Chords, Scales, and the Melodic Line:
Some of the grand questions we attempted to answer:
Is there any logic behind all these scales, chords, and names?
We talk about modes, but what does “modal” mean?
If there is just a mode name how do I know what chord to play?
How is it voiced to get the right sound?
Are there any principles that tie all this chord scale theory
We need to hear it – but what is “it”?
Are there any shortcuts?
What can we learn from completely intuitive “ear” players?
More Links (or use the menu bar at the top of the page):
To subscribe to the e-mail list of Gary Keller or the Miami Saxophone Quartet, click here and enter “subscribe” in the subject heading.