The Jazz Workshop

Complete – Full Score-Epitaph written for a 31-piece ensemble was the masterwork of composer/bassist Charles Mingus. The extended suite is comprised of multiple movements reflecting a wealth of compositional styles (not just jazz) thatdemonstrate Mingus' invaluable contribution to 20th-century American music. Since its last performance 15 years ago additional movements have been discovered that were originally intended to be a part of the work. This unique500-page score includes these “missing movements” along with historical and program notes. Prepared and edited under the guidance of Gunther Schuller and Sue Mingus it provides a monumental resource for study andanalysis. The first jazz composition of such magnitude ever to be published it is presented in this edition as he left it: a summary work a portrait for all time of his life in music. “I wrote it for my tombstone.”- Charles Mingus

Jerry Coker's Creative Nudge is an HGH (human growth harmone) for jazz musicians - only legal and void of dangerous side effects. It is an improviser's steroid that stimulates artistic growth by refocusing energy into specific areas of study and practice. Coker speaks candidly to all jazz musicians - from beginners to advanced players - in a manner that is structured, but not pedantic; conversational, yet impassioned. Its 63 pages contain wisdom gleaned by a life dedicated to and enriched by jazz improvisation. -- Steve Crews, master Jazz Pianist and member of the Jamey Aebersold Jazz Quartet I'm all of one chapter into this pamphlet and am blown away by the positive nature of Coker's outlook. I am so glad I bought this and cannot put it down! -- Rick Schrenker, Jamey Aebersold Jazz customer from Massachussetts I love your new book! I just read it and really identified with much of the book - particularly melodies and tunes in my head all day & night. I have also always felt that the pinnacle of playing is not a performance but the practicing. I get a lot more pleasure practicing that I do performing - often because it's my escape into a world all my own and my performances don't compare to what I play at home. I also loved the aesthetics chapter and couldn't agree more. You really brightened up my world! Your teaching guidelines mirror your love of teaching and should be guidelines for all of us! You continue to inspire! -- Rick Simerly, jazz trombonist and Summer Jazz Workshops faculty member Explores the hows, whats, and whys of practice, performance, technique, and musicianship. Sometimes, it only takes a nudge to move your playing to the next level. 6x9 paperback. Why do musicians choose Jazz Improvisation as an outlet for creativity? Why are we creating this music and who are we creating it for? All you need is a little information. Master Jazz Educator Jerry Coker has put together this wonderfully structured text summarizing several important topics regarding Jazz and Jazz Improvisation; giving us all that much needed nudge. Features: Jazz Study Preparation Achieving Maximum Results Vehicle/Tune-Types Instrumental Techniques and Tone Scales and Keyboard Activities Listening and Ear Training Teaching Jazz Repertoire and Much More!

Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ? Maintenance ? Reeds ? Mouthpieces ? Ligatures ? Sound ? Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW?s alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it?s all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here?s the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book?s 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn?t think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, ?Now the Fun Begins?. There are also interesting side comments we don?t often hear like: in the 70s so many young players like Ponzol were trying to get Trane?s recorded sound by working on metal Links because that?s what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn?t have as much spit in the sound for him. It?s interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I?ve never heard anyone else recommend these exercises and yet here they are in Peter?s book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So ?the circle is unbroken? LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.

Par WEIGERT DAVE. Atelier jazz pour basse et batterie : comment jouer en groupe. \' Jazz Workshop for Bass and Drums \' distills years of experience and knowledge down to an easy-to-utilize and understandable method. This course of study is valuable for educators and students alike, and now it is available for the world-at-large to benefit from. This book sould be in every school jazz band director\'s library\' - Peter Erskine. En anglais / Méthode en anglais / Méthode / Guitare Basse et Batterie

Ton Van Bergeyk launched his career as a musician during the late 1960s playing blues Harp and Ukulele in a duo setting, but he then switched to the acoustic Guitar and quickly learned and mastered the instrument using fingerstyle techniques. He started to transcribe and arrange classic ragtime compositions for fingerpicking Guitar and was discovered by Stefan Grossman during a tour in Holland. Stefan produced Ton's first solo album, Famous Ragtime Guitar Solos, in 1973. This contained 14 of Ton's arrangements of classic ragtime pieces and became a best seller. In 1975, Ton's second solo album, Guitar Instrumentals To Tickle Your Fingers, was released containing transcriptions and arrangements of novelty rags, early jazz and popular tunes of the 1930s and 1940s. In 1980, Ton's third solo album was released and continued his exploration of arrangements for solo fingerpicking Guitar, this time with a repertoire covering jazz, blues, contemporary pop and country and even Mexican folklore. This album was titled Lulu's Back In Town, Hot Guitar Solos. Ton also participated in several anthology projects, i.e. Novelty Guitar Instrumentals, I Got Rhythm, Masters of Ragtime Guitar, The Entertainer and How To Play Ragtime Guitar. All of Ton's albums are available as CDs as well as direct downloads from Stefan Grossman's Guitar Workshop, (www.guitarvideos.com) and include tab PDF booklets on the CDs. Ton recorded the audio lesson series Fingerstyle Jazz Guitar to teach phrase by phrase and measure by measure some of his most requested arrangements. This volume presents his renditions of Jelly Roll Morton's Kansas City Stomp and King Porter Stomp, the classic American Songbook tunes If I Had You, Moonlight Serenade / Niveau : Facile / Tablatures / Guitare Tablatures

Auteur prolifique et interprète Adrian Ingram vous donne le meilleur début dans l'art complexe de la guitare Jazz. Ingram démystifie les défis de l'apprentissage du vocabulaire de Jazz et déverrouille les secrets de la substitution de la corde. Vous découvrirez les éléments de base de la théorie de Jazz, étendu et modifié les cordes, les pluralités harmoniques, les formulaires et les chansons, et tous ces progressions indispensables qui composent les airs familiers vous aiment. / Guitare / Dvd

Of Mickey Baker and The Alex Sanders Funk Time Band-Mickey Baker best known for his Mickey & Slyvia hit Love is Strange lived in France for the last thirty years of his life. During that time he played jazz as well as delving back into the roots of Black American music. As a result he began to experiment with various country blues techniques and styles. This exploration led to his album Blues and Jazz Guitar of Mickey Baker (SGGW107). At the same time he also began to perform as a solo jazz and blues artist which was quite different than his past where he usually fronted either a jazz or a rock band. His solo blues playing took him around Europe and during the last years of histouring throughout Africa on three occasions. On his last tour of Africa he was joined by the excellent bass player Alex Sanders and Mickey's show was able to expand to the full gambit of his musical experiences - from country blues to jazz. During this tour Alex and Mickey started to compose together and decided to try and record an album that would highlight their sounds and explorations. This is in fact the first jazz rock guitar album that Mickey Baker has ever done. It is full of surprises and intriguing sounds from a rendition of Rachmaninoff's Prelude In C# Minor to the disco sound of Alexander's Funk Time to the 7/4 of Ouagadougou. Plus for this album Mickey combined his skills of being one of the finest jazz guitarists with those of a teacher and prepared a tab/music booklet for students.

Pat Donohue is recognised worldwide as a virtuoso fingerstyle jazz guitarist with a genre-blending fusion of techniques which makes him the perfect teacher for these jazz classics. The overall theme of these lessons is to showthe roots of classic Jazz; leading on to how to arrange a jazz composition and then how to improvise around the arrangement using various techniques. In the first lesson with the help of three great Jazz compositions Patdescribes the arrangements in detail and then guides you towards improvising over them. An exhaustive lesson the DVD holds archival footage of the featured songs including Duke Ellington performing Stormy Weather in1943. A 24 page PDF booklet of the music accompanies these 81 detailed and practical minutes of Jazz classics which will aid and improve your playing.

Rolly Brown has spent a good bit of his guitar career navigating the territory between the more primal and emotional forms of blues and the more cerebral and sophisticated elements of jazz as they apply to the acoustic guitar. In this video lesson he explores the large blurry area where the two closely related genres meet. Beginning with an exploration of how the bass line can imply chords which transform a basic 12 bar blues into a jazz progression Rolly shows how a blues player can add a touch of jazz to his playing and how a jazz player can increase the blues feel of certain jazz standards. This includes discussion of scales blue notes chord movement and chordsubstitution as the student learns several instructive arrangements. A detailed tab/music booklet is included as a PDF file on the DVD. Each tune is taught phrase by phrase and played slowly on a split-screen. Running time 110 minutes. DVD is region 0 playable worldwide. Titles include: Route 66 Drown in My Own Tears and Lover Man. DVD is region 0 playable worldwide.

Par COMOLLI / CARLES. 'Secouer l'histoire, celle du jazz, celle des Blues People, celle de l'Amérique en lutte contre elle-même, le poids des fantômes du passé, le poids des revenants des esclaves qui reviennent danser la nuit dans les têtes, le free jazz secoue les chaînes du corps noir qui est dans l'histoire blanche, invisible, hors champ.Quand nous avons publié ce livre,c'était en 1971,les Black étaient Panther,Malcom X était mort assassiné etson prophète n'était pas encore vraiment né,Julius Hemphill formait son premier groupe à Saint Louiset Joe McPhee, avec Clifford Thornton,avait déjà enregistré son Nation Time,Spike Lee était à l'école et le rideau de fer était tiré.LeRoi Jones s'appelait déjà Amiri Baraka,le Worshop de Lyon s'appelait encore Free Jazz WorkshopGeorge Jackson était mort assassiné en prison et Mumia Abu Jamal n'était pas encore dans le couloir des condamnés à mort, voilà ce qui n'a pas changé, voilà ce qui a changé.'Philippe Carles et Jean-Louis Comolli. / Poche / Livre / Livres

One of the foremost personalities in the world of Jazz Guitar Larry Coryell has played against the best and here presents an insight into his distinctive and fluid approach.From bebop heroes Sonny Rollins and CharlesMingus to fusion superstars Chick Corea and John McLaughlin Coryell's guitar playing has graced the recordings of the hottest stars in Jazz making him a guitarist of huge reputation and respect. In this three-part DVD seriesCoryell analyses his own Jazz perspective providing an empirical method of solo and chord improvisation.Volume two includes:Creating the improvised lineChord substitutionsImportance of the major/minorseventh soundThe 'Jazz' minor and its related chordsApplying scales to standardsRepositioning chords to fit a single-note lineVocabulary of improvisationBlues phrasing and Bebop sophisticationsGuitaristdevices and techniquesApproaching a solo and small-group performance of the same songDetailed discussion of Autumn Leaves and Coltrane's Moment Of Notice

Pat Donohue est reconnue dans le monde entier comme guitariste virtuose fingerstyle de jazz, avec un mélange de genre de la fusion des techniques. Le thème général de ces leçons est de montrer les racines du Jazz classique - entraînant comment organiser une composition jazz et ensuite d'improviser autour de l'arrangement à l'aide de différentes techniques. Dans cette deuxième leçon, Donohue s'appuie sur les compétences développées en Volume et institue un régime classique plus trois. Une leçon exhaustive, le DVD contient des images d'archives des chansons en vedette, y compris l'exécution de Fats Waller ' Ain't Misbehavin'en 1941. Un livret de 24 pages de la musique accompagne ces 78 minutes détaillées et pratiques des classiques de Jazz qui aide et améliorer votre jeu. / Guitare

One of the foremost personalities in the world of Jazz Guitar Larry Coryell has played against the best and here presents an insight into his distinctive and fluid approach.From bebop heroes Sonny Rollins and Charles Mingus to fusion superstars Chick Corea and John McLaughlin Coryell's guitar playing has graced the recordings of the hottest stars in Jazz making him a guitarist of huge reputation and respect. In this three-part DVD series Coryell analyses his own Jazz perspective providing an empirical method of solo and chord improvisation.Volume three includes:Sweep picking back picking hybrid-picking triplets and applying thesetechniquesBrazilian-orientated rhythm techniquesChords and basslines using just the fingersComping on Coltrane's Giant StepsHow to solo over Giant Steps using harmonic 'shortcuts' and unauthodox changesReharmonization of the melody and the 'blowing' changesReharmonization ideas as applied to Mingus's Goodbye Porkpie HatThe defining characteristics of advanced improvisation