Jazz in Los Angeles


MONDAY MAY 7  THE NEW YORK JAZZ WORKSHOP BEBOP/POST BOP COMBO BLOG MARK SHERMAN

I was the drummer for combo yesterday, but of course it does not hold the combo back as I love to play, and can control any situation from that vantage point. Having grown up studying with Elvin and playing a lot I can really give the combo the feel it needs, and spread the depth of the rhythmic structure of the music itself. Much of my concept on piano and vibes has arrived as a result of my rhythmic concept, which I got, from playing the drums.

We had Vinnie on bass, a newcomer who played very well, and our other normal diligent players. Dave, Rob, and Matt. We ran through Birdlike (Freddie Hubbard), Black Nile (Wayne Shorter), Beatrice (Sam Rivers), After You’ve Gone, and we attempted to play T Monk’s Pannonica. A difficult set of changes to master. After we played Black Nile the second tune we played, I stopped the band and began to talk about anticipation, and the technique of thinking ahead of the changes, and actually playing ahead in order to command the direction of the line. I demonstrated how being ahead of the changes is always best, and that falling behind is a terrible place to be. Trying to catch the train as it sails by. I demonstrated this a bit at the piano, and then instructed each player to take more choruses of soloing on Black Nile, but this time to play 1-2 quarter notes ahead of the changes. Well I never heard Matt Mayer sound so good. He was jumping ahead and resolving in a way that he never did before. This technique is a vital part of improvisation. Especially when dealing with lots of changes at fast tempos. Playing ahead of where the music actually is in real time is a very effective, and sensible way to be in control of the music and not to get caught by the changes. It has always worked for me, and it was a thrill to hear it change Matt and the others approach on negotiating the changes on the tunes. That anticipation drill helps you lead the direction of the music. After all the music will not stop, so it is easier to be ahead of the game, and use silence or resolution to allow the music to catch you, than for you to be behind the changes, trying to run after the music while negotiating the harmony. Sort of like being ahead of the ball game in the ninth inning, rather than playing catch up ball!!!

Deep stuff really if jazz improvisation is your life as it is mine!!!


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With Herbie Hancock

With Herbie Hancock

With Benny Golson

With Benny Golson

With Carl Allen

With Carl Allen

With Lenny White

With Lenny White

I am so proud to be a graduate, and on the faculty of The Juilliard School. Last night at school there was an incredible evening of celebration for Ron Carter as he has turned 75 years old, and a new Juilliard scholarship was launched in his honor. Fifty thousand dollars awarded yearly to a deserving student in the program. With Danny Glover as the MC for the evening, the program  packed Lincoln Center’s Alice Tully Hall. Just a great presentation of  many of Ron’s tunes arranged by the students, and performed with the guest jazz masters. There were also performances by the Ron Carter nonet, and the Juilliard Jazz Orchestra performing selections from Ron’s big band recording. A who’s who of jazz history was there to support this event. It was a ball to hang with many of my colleagues from the faculty, as well as the legendary guests that performed with the students on the concert. What a great opportunity for the Juilliard jazz students to play with, Hubert Laws, Benny Golson, Herbie Hancock, Buster Williams, Russell Malone, Ron Carter, Carl Allen, and Lewis Nash.

When I was at Juilliard I was playing in the orchestra with the likes of Sexton Ehrling, James Conlon, Zubin Mehta, George Solti, Leonard Bernstein and others. They had no jazz program at Juilliard when I attended. Wynton Marsalis and I used to just jammed in the hallways to find somewhere to play. What a program. What a night. Just amazing!

file://localhost/Users/marksherman/Desktop/Cadence_Sherman.pdf

 http://www.youtube.com/watch?v=61engPoZg1c

AT The AES show in NYC

On my recent California tour I had the good fortune of  getting offered to record at The Apogee Electronics recording studios. Apogee is known for their high end A-D converters, and microphone pre amps. They are globally recognized as the number one digital audio solution. Anyway it was the first recording where the Mic pre amos from the new unit called the Symphony IO were used. ANyway it is the best recording I have done to date. Sonically it is out of this world. Musically the same. Bill Cunliffe, Charles Ruggiero, and John Chiodini are the 3 of LA’s finest players that helped me live the dream of recording some of my favorite tunes growing up in music. Tunes by the great jazz masters Charlie Parker, Bud Powell, Dizzy Gillespie,  John Coltrane etc. These musicians brought the music to life in an organ trio setting. The result is  greater than I ever expected. Apogee used my tracks to demonstrate the sonic brilliance, and warmth of the Symphony IO with the attached video, and audio at the recent Audio Engineering Societies show in New York City this weekend. Anyway it is a true honor to be an Apogee artist, and to have recorded at the Apogee studio (Berkeley Street Studios) in LA last week.

John Chiodini

John Chiodini

Charles Ruggiero

Bill Cunliffe