I have had Miles High Records for over 10 years and have released 26 CD’s on the label. I have learned quite a lot about the record business and how and what needs be done to give an independent artist maximum exposure. My friend and colleague of many years Tim Hegarty asked me to produce and release a project for him. I hired the best and most swinging  rhythm section i could find in Kenny Barron, Rufus Reid, and Carl Allen. I joined the band for 5 cuts on vibes. The selection of tunes for this project was vital. I needed to have tunes that would clearly establish the credibility factor for Tim Hegarty. Tim is a fine player that many do not know. When you establish credibility in jazz you must address the tradition of the music. Tim’s concept for the CD was a tribute to his teachers he studied with as well as the teachers we all study. Music chosen was written by some of the key saxophone and jazz masters. George Coleman, Jimmy Heath, Frank Foster, Monk, and Joe Henderson. Not hard to find great tunes that those guys wrote. Anyway it was a very inspiring session and following the session on the 1 hour ride home I began listening to the reference mixes from the days work. I was so inspired from playing all day with Kenny Barron that I arrived home at 11pm and began to transcribe his 2 choruses on the tune entitled “New Picture”. I just had to learn this solo. And as a result of my transcription Down Beat magazine has agreed to print the transcription in the their Oct 2014 issue in their “Woodshed section in the back of the magazine. I highly advise everyone to pick this CD up. Tim Hegarty “TRIBUTE”. It swings really deeply from the first downbeat!! www.mileshighrecords.com

ImageImageImageImageImageImageImageImageImageImage

Advertisements

On The Queen Mary ll with James Burton Jr, Xavier Davis, Jason Stewart, and myself.

Sorry I have not blogged in a while, as I sort of got loaded down with the summer activities. Basically I was 3 times to Europe for concerts since the last tour with Lenny White and Bob Franceschini.

From June 18-22 I had the privilege of teaching at The Juilliard summer jazz camp in Atlanta. I was selected to substitute for Carl Allen teaching drums at the camp, and of course playing on the final concert with the faculty. Many of you don’t know this , but I play a lot of drums as I studied with Elvin Jones as a youngster, and was and still am into Philly Joe Jones, Max Roach, Roy Haynes and all the there great jazz master drummers. So teaching and playing in Atlanta brought back many memories of playing with Kenny Kirkland and Rodney Jones when growing up. The camp was great as we taught many talented aspiring high school jazz players. On Friday night final day of camp the students performed in their combos, and the faculty band performed. What treat to play a concert with Ben Wolfe on bass, Frank Kimbrough, Miles Ozaki, Joe Magnarelli, Marc Vinci, and James Burton jr. I had a wonderful time. One of the highlights of the camp as well for me was Joe Magnarelli and I plunge for 45 minutes everyday during a free period we had. What ball jamming with Mags, trumpet and drums. It was wide open and free and left me with that great feeling of freedom in the music.

I returned to New York on June 23rd and had 4 days home before I departed for Europe. I flew to Napoli and spent 4 5 days there playing festivals. One of the festivals I did was the Marigliano Jazz Festival near Napoli Italy. I did several events at that festival. I played one night with the Craig Hartley Trio with Craig on piano, Carlo De Rosa on bass, and Curtis Florian on drums. A great trio. I had a great playing with these cats. They swing their asses off. Next day I rehearsed with the Antonio Ciacca Big Band, and then did my 2-hour workshop on “Language Skills Fro Jazz Improvisation”. The next night I performed as a guest artist with that big band for the final concert of the festival.

Next day I flew back to New York. It was good to get back to NYC as I had a few gigs and spent 3 weeks with my family, which was great. One of the gigs in New York was a tribute to Bobby Hutcherson at Birdland NYC. This event was sponsored by WBGO and I played with George Cables, Buster Williams, and Victor Lewis. Accompanied by 3 other vibes players Steve Nelson, Warren Wolfe, and Jay Hoggard. We played all Bobby Hutcherson tunes. It was a great night with an all star rhythm section. Then on August 3rd I departed on another Juilliard School event. I performed on the Queen Mary ll cruise ship for a week as it gave me a trans-Atlantic ride to Europe which was my destination for some more jazz festivals.

On the cruise I had a great time playing drums and vibes with James Burton Jr., Xavier Davis, and Jason Stewart. On this setting I did a really interesting thing that I really have never done before. I played drums and vibes. So I would start every tune on drums and when the bass player was soloing I would fade away from the drums and move to the vibes and then take a solo with piano and bass only for a while. Then when finished I would subtly move back tot the drums and finish out the tune. The crowds loved it, and it was a new experience for me as well. Usually it is one or the other. Not both.

After arriving in Southampton the car transported us all to Heathrow airport in London and everyone went their own ways. I went on to Italy where I had a few gigs. One of them was the Isbani Jazz Festival near Salerno. It was a great night of music and I sold lots of CD’s.

Anyway after a few hits in Italy I returned home. Easier said than done as the car my manager sent for me to drive the 2.5 hour drive to Rome was 4o minutes late and then when we finally got on the road we had a flat tire that the driver could not change, and I subsequently missed my flight from Rom-London where I needed to catch my return flight that the Queen Mary 2 had provided. Anyway it cost my manager 434 euro to get me on the last flight out of Pescara Airport, which was 30 km from where the car broke down. Pretty much one of those act of god nightmares we all go through sometimes. Either way I arrived safely home after many hours traveling, but really exhausted. I am off the planes until my California tour and residency on Oct 4th, and then off to Europe again in November with my new band with Bob Franceschini, and Adam Nussbaum called. (THEM)

All in all a great summer with great music. For now it is back to Juilliard Jazz and my other teaching gigs at New Jersey City University and The New York Jazz Workshop.

Played drums and vibes on the QE ll. WHat a ball!

James Burton Jr, Jason Stewart, Xavier Davis, mark Sherman on the Queen Mary ll

Bobby Huterson Tribute at Birdland in NYC with George Cables, Buster Williams, Victor Lewis, and 3 other vibes players. Warren Wolfe, Steve Nelson, and Joy Hoggard.

Marigliano Jazz Festival Napoli italy

 

 

Isbani Jazz festival view

Isbani Jazz Festival

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!

This slideshow requires JavaScript.

Today I was on the panel of faculty members from the Juilliard School jazz department for a forum on the subject matter “How To Practice”. The panel was made up of department chair, and drummer Carl Allen, saxophonist Ron Blake, pianist Frank Kimbrough, bassist Ben Wolfe, drummer Kenny Washington, and myself. What an honor to do this, as well as it is a subject matter that I feel very strong about, as I have preached this to students globally for many years. I have seen so many of my students over the years return to the next lesson having not improved. Many times it is because their practice method is not good. As human beings we always want to improve fast, and be the best quickly. Unfortunately this approach does not work. Whoever  invented the expression “practice makes perfect” should be hung. It is a bad guidance quote. It should read “Perfect practice makes perfect”. There is that fine line between practicing properly, and not.  Many student come back week to week saying ” I practiced 5 hours a day”, but I do not see an improvement relative to 5 hours a day for a week. That to me means the student has wasted a lot of time.  Practicing wrong will surely waste your valuable time. That is what I spoke about. Practicing slow, and building the speed up slowly, rather than going fast and repeating constant mistakes. Focusing on one phrase, or measure at a time. How to practice scales, and other skills we work on as players, of jazz, and classical music. The other five of my esteemed colleagues had fantastic things to say, like learning the music away from the instrument in your head. Focusing on one thing at a time. making a practice journal. Using a stopwatch or kitchen timer to force yourself to practice one scale or drill at a time for a specific amount of time. Things like this. Anyway it was a really informative forum for the students who are already some of the finest young jazz students in the country, as the curve at Juilliard is extremely high. Getting into the school is probably one of the most competitive auditions nationwide. They just don’t accept anyone. I think it is even harder to get in than when I attended, and the year I got in they accepted only 2 students out of maybe 100 or more applicants. Myself, and Dan Druckman, the  current 2nd percussionist in the New York Philharmonic, and head of the percussion program in the classical percussion department at Juilliard. I really believe in this type of forum/masterclass, as with a group of faculty members such as the one mentioned here, the students get a really deep look at how these seasoned pros have dealt with the topic throughout their own quest for improvement. I sure wish they had a jazz program run by someone like Carl Allen when I went to Juilliard, although my extensive classical training has served me well in my own career, and has made me a better all around musician. I was watching these students suck up every word we said, as each faculty member got up, and spoke for 20 minutes or so, about there method for practice, and improvement. The funny thing was we all basically have similar approaches, but different wording, and slightly different concepts, but each approach was valid, and spelled the same formula for success. Those students are very fortunate to have faculty members who care enough, to take their valuable time to do this type of class. What a fantastic environment to learn in, being surrounded by this faculty of people like Rodney JonesRon Carter, Kenny Barron, Steve Turre, Eddie Henderson, Andy Farber, Billy Drummond, Bob Stewart, Antonio Ciacca, Joe Temperly, and the six mentioned above (forgive me if I forgot anyone). Next week’s forum is with legendary drummer Jimmy Cobb. I will be there!

 

I had a really nice time yesterday doing a master class for the drummers in the Juilliard School’s jazz program. First of all I was thrilled to get the call as I spent 5 long productive years in the building. Anyway what a beautiful set up they have now. When I went to Juilliard there was no jazz program and Wynton Marsalis, Dan Block, and Rob Waring, were the only jazz players in the school, but we studied classical music at school. Now there is a separate wing for the jazz department, and the director Carl Allen has assembled an incredible faculty and curriculum for the program. Carl a well-known and seasoned veteran drummer apparently is doing an incredible job running this program. In the 3-4 hours I spent there yesterday, I was greeted by many of my favorite musicians from the faculty. Had a little hang with Frank Kimbarro, Ron Carter, Eddie Henderson, Rodney Jones, Carl Allen, Billy Drummond, and Kenny Washington. These guys are all top of there field. At the master class I had 5 or 6 drummers and Carl Allen, Billy Drummond, and Kenny Washington attending the class. Tough company to impress. It all went well and was a really nice loose environment to teach in. Basically I was there to help the drummers open up more to the vibes and the harmonic language skills needed to play jazz. They are great young drummers already or they would not be at Juilliard, but widening the scope is a great thing for them. That is the goal of course.

I was so honored that Carl Allen, Billy Drummond, and Kenny Washington were there. ALl three are at the top of the drum world, and Kenny Washington and I have known each other 40 years. We met in high school at Music and Art High School in NYC when we were 13 or 14 years old. He was then and continues to be a true be bop master on the drums. A jazz master as are all the names listed above, but Kenny was playing with Betty Carter and Johnny Griffin when he was 17 or 18 years old, and he never attended college. The music was his college, and he is a true master. Just goes to show you if you want to learn something you can do it yourself. All the recordings are out there for you to draw from, transcribe, and simply memorize. Kenny desperately as a youngster wanted to sound like Philly Joe Jones. He memorized and mastered that style, and turned it into a huge career, and he developed his own sound. Just amazing!! Great to see Kenny. He had been teaching all day and waited a few hours just to see my master class. I was so happy. Then Kenny and I took a walk down to the 3rd floor to try and find our great friend and colleague from high school Danny Druckman, who is currently director of the percussion dept at Juilliard, as well as a percussionist with the New York Philharmonic. We did not find Danny, but I showed Kenny the infamous orchestra rehearsal room 309. I explained to him how this is where Danny Druckman and I spent countless hours rehearsing with the likes of Leonard Bernstein, Sir George Solti, Sixten Ehrling, Zubin Mehta, Herbert Von Karajan, and so many more genius conductors who came through Juilliard week to week for concerts. The room has an incredible feeling. You walk in this room and you can feel the history. I sure did!!

Afterwards a little hang at a local restaurant with Rodney Jones who has been one of my best friends for around 40 years as well. He is absolutely the most incredible  person. Highly accomplished spiritually, as well as being one of the globes finest guitarists and teachers. All in all a great day, a thrill for me, and a great honor to be called upon to do the master class at Juilliard.