It’s been a long time since my last post, for obvious reasons it’s bee quite a year. I am happy to report that the Frost saxophone studio is stronger than every, with six outstanding undergraduate and graduate students set to arrive next fall. An it looks like they will arrive – so far plans are to have all students on campus, although it will be a very different experience for the time being. The distance learning over the last two months has gone very well for the most part, and my students have displayed previous unknown talents for sequencing, recording, editing, and mixing. No one want’s to do any more distance learning than necessary, but can’t deny that it has had some positive consequences.
Gig wise nothing to report (surprise!). I’ll be the first to update by gig list when we get back to work, I know it will happen at some point.
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! Plus 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?
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