Miscellaneous:The lamest edit wars

If you don't own or haven't heard of The Visual Miscellaneum by David McCandless, I highly recommend that you purchase it immediately. Or at least subscribe to his blog. It's the ultimate coffee table book. It has the power to inform, amaze and even spur conversation (or debate) amongst you and your guests. Oh, and everything is presented with a lovely layout. You must see it to know what I mean. Anyhow, I was thumbing through this today and came across his page on the Wikipedia:Lamest edit wars. And if you have time to kill, I highly suggest you read this shrine to insignificance (insignifica?). I suppose that there's something for everyone here, but I particularly enjoy the debate over the Pink Floyd song, "Money".

"Sure, it's a song with an odd rhythm, but what exactly is the time signature? The band, which has no musical training, have said 7/8, most people say 7/4, experts will go as far as to say 21/8."

I just like the bari sax solo, personally. But what the hell... 7/4.

"Jazz": A bad word?

Read David Adler's post on pop music crossing over into jazz territory. Adler brings up a trend that interests me. I touched on the idea of the "new standards" way back in December, and this article treads close to my point. I must admit that I'm often surprised when untrained ("pop"?) musicians don't know their seventh and ninth chords, but I've always assumed this as a result from a lack of formal musical training. While I think this is sometimes the case, I also understand that most pop music rarely ventures into "extended" or "chromatic" harmony to the extent that jazz music does. Although, after reading this, I guess I'm half right. Why?

The main point that interests me in Adler's article is the mention of the session musicians that played on many recordings of the late 1970s and early 80s. An accomplished jazz musician can play anything. Literally anything. That explains all the great Motown recordings and Philly soul recordings, but what about rock music? It seems like the word "jazz" is instantaneously synonymous with "prog" or "smooth" rock/pop music of this era (also known as "yacht rock"). Yuck. Jazz has become a bad word. And for this, I am deeply shamed.

Allow me to demonstrate: I'm in my late twenties. I (clearly) do not like Steely Dan, but I (obviously) love Stevie Wonder. While both are incredibly similar in terms of harmony and song construction, they stand apart in terms of aesthetics and taste. Both use jazz chords and unusual progressions, but how often do you hear a Stevie Wonder song song played across all genres of music as compared to Steely Dan? Who speaks to a larger audience? Who will continue to do so?

Some artists use their knowledge and musical ability to write tasteful pop music that crosses over to a more general audience. This idea is no different from the Tin Pan Alley writers in the early 20th century. Simply put, popular music gets played. This is what I consider to be a significant quality of the "new standards": communication.

FAQ: Understanding Jazz Chords and Symbols

(EDIT: This post's content seems to emphasize harmony without context, but I can assure you that this is most definitely NOT how harmony works. If you're reading this for some clarity on the means behind chord symbols, you've come to the right place. But understand that I've presented these symbols and meanings without regard to functionality.) I recently had a student ask me to recommend a book that would be a good resource on jazz chords and, more importantly, how to decipher the symbols for each chord.  My immediate thought was, “Book?!  There’s no book on that!”  Of course, I’m sure there’s probably a few hundred that deal with that particular topic in great detail.  However, I’m in no mood to go looking through book after book after book for good examples.  So, I went immediately to Google to find simple guides online.  There were plenty, but only a few stood out for their clarity, thoroughness and simplicity.  My main complaint was the spelling and labeling methods for each chord and the tendency of most guides to get bogged down in technicalities (i.e. intervallic structures and alterations).  People need a SIMPLE guide to this topic without being hit over the head with a ton of theory.

My guide to the CORRECT spelling and labeling of simple jazz chords: Basic Jazz Chords

If you feel like knowing a bit more, here’s a guide to deciphering lead sheets (borrowed from an article by Keith Felch in JazzEd Magazine): Deciphering Lead Sheets

Simple, right?  I’ll create a more extended guide with chord extensions and further alterations for my next update.

The University of Houston MSM Jazz Festival 2010

So, you're thinking about attending the 2010 Jazz Festival, but you're still not sure if you should throw down the cash, eh?  Well, who can blame you?  Ten dollars for a ticket can be a lot these days, after all.  Perhaps I can help.  If I tell you what's going on, would that entice you?  Maybe?  OK, good enough for me...

On Friday evening at 7:30pm, The Texas Music Festival Jazz Project will be performing.  This is Houston's all-star big band comprised of top-notch Texas musicians playing a wide array of music written for the classic big band setup.  If you like swing, you're in luck; if you like bebop, you'll be happy as well; if you like a great ballad, prepare to be wowed; even if you like contemporary music that's a little harder to understand... well you get the point.  The point being that this band can play anything and everything and they do it VERY WELL.  As I said, the band is full of top-notch players and there are plenty of solos to be passed around, so you won't be disappointed!  It will be an entertaining and exciting evening.  Here's the roster:

Saxophones David Caceres, Kelly Dean, Dr. Woody Witt, Warren Sneed, Karl Fulbright

Trombones Dr. Armin Marmolejo, Ed Lowe, Bruce Melville, Ryan Gabbart, Jim Pedigo

Trumpets Danny Wilson, Mike Harris, Dennis Dotson, Steve Brown, Noe Marmolejo

Rhythm Section Mike Wheeler, guitar; Matt Lemmler, piano; Anthony Sapp, bass; Joel Fulgham, drums

Playing the following:Outside In, Tom Garling A Little Minor Booze, Willie Maiden Dauphin Dance, arr. Bob Mintzer Take the ‘A’ Train, arr. Gordon Goodwin A Flower is a Lovesome Thing, arr. Mike Tomaro Housewife from New Jersey, Tim Hagans Soft Lights and Sweet Music, arr. Michael Abene Wade in the Water, arr. Matt Lemmler Skylark, arr. Mike Harris Let’s Eat Cactus, Gordon Goodwin Ecaroh, arr. Rob McConnell

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And can you believe it?!  Saturday evening features even more big band jazz!  On Saturday night at 7:30pm, the UH Jazz Orchestra will perform with featured guest artist, Brian Lynch on trumpet.  I know, I know... it's ridiculous how much good music you'll need to see this weekend, but trust me, it's TOTALLY worth it.  Brian will be playing a slew of his own compositions and arrangements (which are incredible to hear and incredibly hard to play, check this one out) with the students in the UH Jazz Orchestra to close out the weekend's festivities.  And this isn't your ordinary college big band, all these guys (and girl) can PLAY!  Get ready to be amazed at the level of virtuosity this band has.  You still want to see a program, don't you?  No worries!

Saxophones Bob Eason, Darrel Materum, Eric Bustamante, Zach Spruill, Scott Baker

Trombones Tim Dueppen, Henry Darragh, John Grimmett, Thomas Neal, Jaime Ramos, Glen Scarborough

Trumpets Steve Brown, Cameron Kubos, John St. Julian, Kristen Finley, Zachary Lerner

Rhythm Section Robert Wolf, guitar; Michael Ward, guitar; Landon Petersen, guitar; Joel Love, piano; Henry Darragh, piano; Glen Ackerman, bass; Gerald Massoud, bass; J.D. Guzman, drums; Terence Hobdy, drums; Chad Tumminello, drums

Playing the following:Point Aconi, Aaron Lington Things Are Getting Better, arr. Rob McConnell The Palmieri Effect, Brian Lynch Blue Moon, arr. Brian Lynch Guajira Dubois, Brian Lynch Peer Pressure, Brian Lynch One for Mogie, Brian Lynch

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And if all of that STILL isn't enough for you, did you know that you can see visiting middle school and high school jazz ensembles perform on each day, all day for FREE?  You would probably be surprised by how many of these groups sound great, also.  There's a lot of talented youngsters in Texas, so come see for yourself!  Oh, and you can also check out the free clinic featuring Brian Lynch and and the UH Jazz Orchestra at noon on both days, too.  Free?!  Yes!  See you there!

(All events take place in the Moores Opera House)

UH Jazz News: Trip to Colorado and 12th Annual MSM Jazz Festival

What's going on with Ryan in the new year?  2010 holds a very busy schedule, especially for the University of Houston Jazz Orchestra.  The group traveled to Colorado from January 26-30 to perform at the Colorado Music Educators Association Convention/Clinic.

UHJO in Colorado

The band did great in both their performances, one at the convention (held at the historic Broadmoor Hotel) and another at the Air Academy High School.  I'm pleased to report that reviews were more than favorable and the University of Houston was represented well by the Jazz Orchestra and Wind Ensemble!  All this, PLUS a day of skiing at Breckenridge!  It was an excellent trip!

The 12th Annual MSM Jazz Festival, featuring Brian Lynch

Another year, another jazz festival... But I can guarantee that it won't be business as usual.  The 12th Annual Moores School of Music Jazz Festival looks to be a weekend full of musical excitement and energy at the University of Houston.  The festival takes place February 19 and 20, 2010 as two all-day events, featuring performances from local and visiting middle and high schools in an adjudicated setting.  Each evening will feature a concert showcasing new and old compositions of big band music; Friday evening’s concert (2/19) is the Texas Music Festival Jazz Project, featuring professional Texas musicians, and Saturday evening’s concert (2/20) is a performance by The University of Houston Jazz Orchestra with guest artist, Brian Lynch.

Brian Lynch is a Grammy Award-winning trumpeter with many albums and accolades to his name.  An active performer, composer and educator, Lynch’s presence will be an experience that any jazz lover or student will not want to miss!  He will be playing his own compositions and arrangements, ranging from straight-ahead swing to Afro-Cuban styles.  In addition to his Saturday evening performance, he will be giving free clinics to the general public each day at 12pm.  If you appreciate music at all, you will not want to miss this weekend of jazz madness!