This time, a new beginner was being re-introduced to half notes, which he'd already encountered when playing the recorder in elementary music class.
ME: So how much is a half note worth?
KID: (hesitates) Half?
ME: Half of what?
KID: A note?
Tuesday, July 02, 2013
Wednesday, June 26, 2013
Kids Say the Darnedest Things About Note Values
A middle-schooler missed an eighth rest, and we were discussing it...
ME: So how much is an eighth rest worth?
KID: I don't remember.
ME: OK...how much is an eighth *note* worth?
KID: One-eighth.
ME: One-eighth of what?
KID: Eight?
ME: So how much is an eighth rest worth?
KID: I don't remember.
ME: OK...how much is an eighth *note* worth?
KID: One-eighth.
ME: One-eighth of what?
KID: Eight?
Tuesday, June 18, 2013
Kids Say the Darnedest Things When They're Running Late
One of them explained his lateness as follows: "I suppose I could blame my tardiness on our pet mongoose...except we haven't gotten one yet. And I don't exactly know what a mongoose is."
After that last sentence, I showed him this. And while he agreed that a mongoose would be a pretty unusual pet, he did note that it was "kinda cute."
Monday, June 03, 2013
Burlington, Part IV: The Part Where I Rave About Dave
BURLINGTON--Some people describe trumpeter Dave Douglas' music as "out." (Those who aren't jazz musicians and aren't familiar with that usage of the word might call it "avant-garde.") And I noted long ago in these pages that the older I get, the "outer" I like, but tonight's concert by Douglas and his quintet at the intimate basement venue known as the FlynnSpace was not only far from "out" to these ears, but it was some of the most engaging music I've heard for this entire long weekend.
Douglas has long been known for his prolific output (and his music now has a ready home, since he started running his own record label a while back) For a while, this music was spread over a rather large number of bands, but lately, he's been concentrating on his quintet, consisting of Matt Mitchell (piano), Jon Irabagon (tenor sax), Linda Oh (bass, with Chris Tordini subbing for her tonight) and Rudy Royston (drums). This group recorded two distinct albums in two days during April of last year: Be Still, a reimagination of traditional hymns and folk songs (with special guest vocalist Aoife O’Donovan, who didn't appear tonight), and Time Travel, an all-instrumental set of contemporary acoustic tunes. These two albums provided the material for tonight's show.
Having been familiar with Douglas' music since a friend turned me onto him about seven years ago, there certainly were familiar elements to be heard. For all this talk of "out," a typical Douglas melody is fairly, well, melodic--even if the notes sometimes take interesting turns or land in unexpected places relative to the chords. The solo work--mostly by Douglas, Irabagon and Mitchell, was both virtuosic and heartfelt, and the mood was appropriately playful or reverent, depending on whether the Time Travel or Be Still music was being played at the moment. Tordini, while not a regular member of the group, provided a solid foundation for things and added a couple of enjoyable, energetic solos, and Royston was full of energy for the entire show.
To this sax player's ears, the really big "find" of the evening was saxophonist Arabagon. Given that the tenor chair in previous Douglas groups has been held by such luminaries as Chris Potter and Donny McCaslin, it's a given that Irabagon is no slouch, and the onetime Chicagoan indeed boasts an impressive resume. He provides not only tasty licks, dazzling technique and clever use of harmonics, but also a warm, enjoyable sound and a definite sense of fun--all of which make him a perfect foil for Douglas. This is definitely someone to watch in the future.
Despite this being my fifth trip to the Burlington Discover Jazz Festival, tonight was my first time to ever see a concert in the smaller FlynnSpace (though I'd seen many of the "Meet the Artist" sessions there, including one with Douglas this afternoon). While I'd like to think he could have drawn well upstairs in the main theatre, it was great to see Douglas and company up close and personal in this club-like setting. The sound was great, and it was easy to see, despite being in the back section of chairs (Note to self: show up more than fifteen minutes early for any future shows here).
So, there's still that question of how "out" this all is, and I believe (as I said in the earlier post linked above, and paraphrasing Dewey Redman) that outness is in the ear of the behearer. To me, the only thing even remotely avant-garde about tonight might have been when Douglas and Irabagon engaged in some collective soloing, but the interplay fit so well together that I didn't even bat an eye (or an ear). And while some of the people who were with us tonight thought it was a little too out for their tastes...well, I might not have liked it at age 19 either. To those folks I would say this: Keep studying the music, and your ears might open up to this a little more. From my standpoint, it was one of the emotional highlights of the four days of headliner concerts here so far: Beautiful writing and beautiful musicianship. I can't wait to see this group again.
Another voice: Once again, I invite you to read another take on this concert, by Brent Hallenbeck of the Burlington Free Press. We may occasionally say similar things, but I never read his take before posting mine.
Douglas has long been known for his prolific output (and his music now has a ready home, since he started running his own record label a while back) For a while, this music was spread over a rather large number of bands, but lately, he's been concentrating on his quintet, consisting of Matt Mitchell (piano), Jon Irabagon (tenor sax), Linda Oh (bass, with Chris Tordini subbing for her tonight) and Rudy Royston (drums). This group recorded two distinct albums in two days during April of last year: Be Still, a reimagination of traditional hymns and folk songs (with special guest vocalist Aoife O’Donovan, who didn't appear tonight), and Time Travel, an all-instrumental set of contemporary acoustic tunes. These two albums provided the material for tonight's show.
Having been familiar with Douglas' music since a friend turned me onto him about seven years ago, there certainly were familiar elements to be heard. For all this talk of "out," a typical Douglas melody is fairly, well, melodic--even if the notes sometimes take interesting turns or land in unexpected places relative to the chords. The solo work--mostly by Douglas, Irabagon and Mitchell, was both virtuosic and heartfelt, and the mood was appropriately playful or reverent, depending on whether the Time Travel or Be Still music was being played at the moment. Tordini, while not a regular member of the group, provided a solid foundation for things and added a couple of enjoyable, energetic solos, and Royston was full of energy for the entire show.
To this sax player's ears, the really big "find" of the evening was saxophonist Arabagon. Given that the tenor chair in previous Douglas groups has been held by such luminaries as Chris Potter and Donny McCaslin, it's a given that Irabagon is no slouch, and the onetime Chicagoan indeed boasts an impressive resume. He provides not only tasty licks, dazzling technique and clever use of harmonics, but also a warm, enjoyable sound and a definite sense of fun--all of which make him a perfect foil for Douglas. This is definitely someone to watch in the future.
Despite this being my fifth trip to the Burlington Discover Jazz Festival, tonight was my first time to ever see a concert in the smaller FlynnSpace (though I'd seen many of the "Meet the Artist" sessions there, including one with Douglas this afternoon). While I'd like to think he could have drawn well upstairs in the main theatre, it was great to see Douglas and company up close and personal in this club-like setting. The sound was great, and it was easy to see, despite being in the back section of chairs (Note to self: show up more than fifteen minutes early for any future shows here).
So, there's still that question of how "out" this all is, and I believe (as I said in the earlier post linked above, and paraphrasing Dewey Redman) that outness is in the ear of the behearer. To me, the only thing even remotely avant-garde about tonight might have been when Douglas and Irabagon engaged in some collective soloing, but the interplay fit so well together that I didn't even bat an eye (or an ear). And while some of the people who were with us tonight thought it was a little too out for their tastes...well, I might not have liked it at age 19 either. To those folks I would say this: Keep studying the music, and your ears might open up to this a little more. From my standpoint, it was one of the emotional highlights of the four days of headliner concerts here so far: Beautiful writing and beautiful musicianship. I can't wait to see this group again.
Another voice: Once again, I invite you to read another take on this concert, by Brent Hallenbeck of the Burlington Free Press. We may occasionally say similar things, but I never read his take before posting mine.
Sunday, June 02, 2013
Four Really Good MFs Were Playin' Tunes at the Flynn Tonight
BURLINGTON--Among the slew of tenor players in the jazz world, it might be easy to overlook Branford Marsalis, or at least take him for granted. He's not as flashy as a Joshua Redman or Chris Potter, and he spent his early years in the shadow of his younger but slightly better-known brother Wynton. But over all this time, he's been building up a solid body of work, which was on display tonight at the Flynn Center.
Though Marsalis has worked with groups of a variety of sizes over the years, it's his quartet (Joey Calderazzo, piano; Eric Revis, bass; and "new" drummer Justin Faulkner, who's been with the group for three years but only one recording) that serves as his primary vehicle. During a pre-concert interview/Q&A session with noted jazz writer Bob Blumenthal, he stated that the reason for doing this was similar to why so many of the great classical composers kept returning to writing for the string quartet: "Because it works." And with the longevity of this working group, they've been able to build up a solid repertoire of original compositions and the occasional standard that encompass a variety of styles.
After making his name as mostly a tenor player, Marsalis has spent quite a bit of time on soprano sax lately, even recording a classical album on the little horn a while back. And while his soprano work often does have a classical bent to it, his tone quality on it is full and beautiful (and, yes, in tune), and the improvisation never strays far from jazz.
The group's newest recording, released last August, is called Four MFs Playin' Tunes, and that's certainly both cheeky and understated, as these are no ordinary MFs. The presence of Calderazzo alone adds a major element to this group, as it becomes a powerful trio in its own right when the leader isn't soloing; the pianist also adds many fine compositions to the mix, including tonight's opener, "The Mighty Sword," which also serves as the lead track for the newest album. Revis provides a solid foundation throughout, especially on the ostinato bass lines that underpin so many of the group's tunes, and he adds tasty solos when called for. New drummer Faulkner, younger than his bandmates, provided energy and creativity throughout. In the pre-concert session with Blumenthal, Marsalis stated what he believes to be the problem with many jazz musicians these days: The tendency to go for technique at the expense of communication and emotional connection with the listener. And while some of his tunes may be a bit angular and less-than-singable by the average Joe on the street, there is certainly a lot to be enjoyed here by jazz fans who aren't working musicians themselves. While the programming may have been unusual--the group closed with the ballad "As Summer Into Autumn Slips" (also from the new album), after playing what Marsalis dubbed the "big song" (did anyone get a title on that?)--there was a lot to be enjoyed tonight. And the encore, "Tiger Rag" (yes, that one) closed the evening in rollicking fashion. He may get taken for granted a lot, but I for one am glad that Branford is around; he's making great contributions to the music that can't be ignored. Another voice:,/b> Brent Hallenbeck of the Burlington Free Press has his take on the concert.
Though Marsalis has worked with groups of a variety of sizes over the years, it's his quartet (Joey Calderazzo, piano; Eric Revis, bass; and "new" drummer Justin Faulkner, who's been with the group for three years but only one recording) that serves as his primary vehicle. During a pre-concert interview/Q&A session with noted jazz writer Bob Blumenthal, he stated that the reason for doing this was similar to why so many of the great classical composers kept returning to writing for the string quartet: "Because it works." And with the longevity of this working group, they've been able to build up a solid repertoire of original compositions and the occasional standard that encompass a variety of styles.
After making his name as mostly a tenor player, Marsalis has spent quite a bit of time on soprano sax lately, even recording a classical album on the little horn a while back. And while his soprano work often does have a classical bent to it, his tone quality on it is full and beautiful (and, yes, in tune), and the improvisation never strays far from jazz.
The group's newest recording, released last August, is called Four MFs Playin' Tunes, and that's certainly both cheeky and understated, as these are no ordinary MFs. The presence of Calderazzo alone adds a major element to this group, as it becomes a powerful trio in its own right when the leader isn't soloing; the pianist also adds many fine compositions to the mix, including tonight's opener, "The Mighty Sword," which also serves as the lead track for the newest album. Revis provides a solid foundation throughout, especially on the ostinato bass lines that underpin so many of the group's tunes, and he adds tasty solos when called for. New drummer Faulkner, younger than his bandmates, provided energy and creativity throughout. In the pre-concert session with Blumenthal, Marsalis stated what he believes to be the problem with many jazz musicians these days: The tendency to go for technique at the expense of communication and emotional connection with the listener. And while some of his tunes may be a bit angular and less-than-singable by the average Joe on the street, there is certainly a lot to be enjoyed here by jazz fans who aren't working musicians themselves. While the programming may have been unusual--the group closed with the ballad "As Summer Into Autumn Slips" (also from the new album), after playing what Marsalis dubbed the "big song" (did anyone get a title on that?)--there was a lot to be enjoyed tonight. And the encore, "Tiger Rag" (yes, that one) closed the evening in rollicking fashion. He may get taken for granted a lot, but I for one am glad that Branford is around; he's making great contributions to the music that can't be ignored. Another voice:,/b> Brent Hallenbeck of the Burlington Free Press has his take on the concert.
Saturday, June 01, 2013
Don't Worry...a major artist can do an entire show without performing his signature song, and the audience will still Be Happy about it.
BURLINGTON--Day Two of the Burlington Discover Jazz Festival is in the books, and tonight was definitely something special, as the amazing, beyond-category vocal master Bobby McFerrin brought his new "spirityouall" show to the Flynn Center.
The new recording of the same name finds McFerrin presenting fresh interpretations of a fine collection of great American spiritual numbers in a variety of styles. He was inspired by the work of his father, the noted operatic baritone Robert McFerrin, Sr., and this album shares three songs with one recorded by the elder McFerrin in the late 1950s...but the results are all Bobby, doing the things he's known for best: Vocal percussion, dazzling impersonations of instruments, and seamless transition from deep bass notes to extreme falsetto within a note or two.
Though McFerrin is best known for his solo vocal endeavors (and with a talent like his, a band is not even necessary in most cases), he is backed by a full band on this new effort, and what a band it is: Keyboardist/accordionist Gil Goldstein (who's worked with pretty much everybody who's anybody in the jazz world), multi-instrumentalist David Mansfield (who counts guitar, violin and lap steel among his arsenal), guitarist Armand Hirsch, bassist Scott Colley (featured on several of the last Michael Brecker tours I saw) and drummer/background vocalist/guitarist Louis Cato (whose singing blended so well with the leader that some of us thought he was McFerrin's son). The band provided the perfect accompaniment to the dazzling vocals as the styles changed between gospel, country, blues, and--of course--jazz.
It's hard to decide on a highlight of the concert, because the whole thing was a highlight from start to finish (running nearly two hours without an intermission, and only the shortest break before an encore that was well-earned in this case. Every tune was a true gem, no matter what the style (and it wasn't uncommon for something to take a stylistic turn mid-song). Part of the charm of it all was that it was never certain when McFerrin would take the place of any instrument that was playing, and the solos and melodies were simply all over the place, yet delightfully so.
He was also engaging with the audience, inviting people to come up to the mic and contribute a verse of "He's Got the Whole World In His Hands" and even taking requests for a while; whether he truly knew the song or not, he and the band would give it a try. (And thankfully, requests for "Don't Worry, Be Happy," shouted from near where we were sitting in the balcony, were either unheard or ignored.)
On the page for this album on McFerrin's website, he says the following: "What I want everyone to experience at the end of my concerts is . . . .this sense of rejoicing. I don’t want the audience to be blown away by what I do, I want them to have this sense of real joy, from the depths of their being. Then you open up a place where grace can come in.” I think it's safe to say that tonight's audience left with a sense of joy and were blown away by what you did, Bobby. So glad you could grace us with your presence tonight.
Another voice: Arts writer Brent Hallenbeck of the Burlington Free Press also has a review of the concert.
The new recording of the same name finds McFerrin presenting fresh interpretations of a fine collection of great American spiritual numbers in a variety of styles. He was inspired by the work of his father, the noted operatic baritone Robert McFerrin, Sr., and this album shares three songs with one recorded by the elder McFerrin in the late 1950s...but the results are all Bobby, doing the things he's known for best: Vocal percussion, dazzling impersonations of instruments, and seamless transition from deep bass notes to extreme falsetto within a note or two.
Though McFerrin is best known for his solo vocal endeavors (and with a talent like his, a band is not even necessary in most cases), he is backed by a full band on this new effort, and what a band it is: Keyboardist/accordionist Gil Goldstein (who's worked with pretty much everybody who's anybody in the jazz world), multi-instrumentalist David Mansfield (who counts guitar, violin and lap steel among his arsenal), guitarist Armand Hirsch, bassist Scott Colley (featured on several of the last Michael Brecker tours I saw) and drummer/background vocalist/guitarist Louis Cato (whose singing blended so well with the leader that some of us thought he was McFerrin's son). The band provided the perfect accompaniment to the dazzling vocals as the styles changed between gospel, country, blues, and--of course--jazz.
It's hard to decide on a highlight of the concert, because the whole thing was a highlight from start to finish (running nearly two hours without an intermission, and only the shortest break before an encore that was well-earned in this case. Every tune was a true gem, no matter what the style (and it wasn't uncommon for something to take a stylistic turn mid-song). Part of the charm of it all was that it was never certain when McFerrin would take the place of any instrument that was playing, and the solos and melodies were simply all over the place, yet delightfully so.
He was also engaging with the audience, inviting people to come up to the mic and contribute a verse of "He's Got the Whole World In His Hands" and even taking requests for a while; whether he truly knew the song or not, he and the band would give it a try. (And thankfully, requests for "Don't Worry, Be Happy," shouted from near where we were sitting in the balcony, were either unheard or ignored.)
On the page for this album on McFerrin's website, he says the following: "What I want everyone to experience at the end of my concerts is . . . .this sense of rejoicing. I don’t want the audience to be blown away by what I do, I want them to have this sense of real joy, from the depths of their being. Then you open up a place where grace can come in.” I think it's safe to say that tonight's audience left with a sense of joy and were blown away by what you did, Bobby. So glad you could grace us with your presence tonight.
Another voice: Arts writer Brent Hallenbeck of the Burlington Free Press also has a review of the concert.
Thursday, May 30, 2013
Blogging from Burlington
It's been quite a while since I've done a concert review on here, but I'll be spending the next several days at the Burlington Discover Jazz Festival, and it's my intent to review the four concerts we'll be seeing starting tomorrow night: Dr. Lonnie Smith Trio and John Scofield's Uberjam Band on a twin bill; Bobby McFerrin; the Branford Marsalis Quartet, and Dave Douglas.
The wi-fi at the hotel is rather spotty at this point, so the reviews may not be as timely as I'd like them to be, but they will be completed after I get home at the latest. Here's hoping that these reviews will become a regular part of this blog again...
The wi-fi at the hotel is rather spotty at this point, so the reviews may not be as timely as I'd like them to be, but they will be completed after I get home at the latest. Here's hoping that these reviews will become a regular part of this blog again...
Wednesday, May 29, 2013
As Predicted, Kids Continue to Say the Darnedest Things About Geography
The
kid from last week who thought Vermont was in Canada was having fun with
that today, repeatedly telling me to "have fun in Vancouver, Canada."
After letting him know that he was only off by an entire coast, he
eventually said, "So Vancouver is really in Minnesota, right?"
Tuesday, May 28, 2013
Kids Say the Darnedest Things When You Reject Their Fundraising Efforts
KID: Would you like to buy some candy to help my church?
ME: I'll have to use that lame-but-true teacher excuse in this case: if I bought something from you, I'd have to buy something from everybody.
KID: But not everyone here goes to my church. (points to kid across the hall from him) This guy hates God!
(He was kidding, of course, and the alleged God-hater took the joke in good fun.)
ME: I'll have to use that lame-but-true teacher excuse in this case: if I bought something from you, I'd have to buy something from everybody.
KID: But not everyone here goes to my church. (points to kid across the hall from him) This guy hates God!
(He was kidding, of course, and the alleged God-hater took the joke in good fun.)
Friday, May 24, 2013
Kids Say the Darnedest Things About Famous Classical Compositions
Since
I slacked yesterday and didn't post, here's a bonus KSTDT: Last week, I was
letting a student know that we'd be starting the very basics of
improvisation the following week...
ME: So next week, we'll go the piano room and start improv.
KID: But I don't play piano!
ME: You won't be playing piano; you'll be playing your sax. I don't
play very much piano myself, but I can play the two chords we'll use for
your first improvisation.
KID: The only thing I can play on piano is that "Da da Da da Da da Da da Daaaaaah."
ME: Ahh yes, "Für Elise."
KID: Yup--by Mozart something-or-other.
(To his credit, the kid did pronounce "Mozart" correctly...)
Kids Continue to Say the Darnedest Things About Geography
I have a feeling that a lot of kids will say the darnedest things before I leave on my trip next week. It happened again...
ME: Next week, we're taking the jazz band to a festival in Vermont.
KID: Vermont--that's in Canada, right?
ME: Close-- it's right next to it. And that's funny; the other day, a kid thought it was in New Hampshire.
KID: Well, I was closer.
ME: Actually, you're equally close; Vermont borders New Hampshire on the east and Canada on the north.
KID: I'm still closer.
(I did have to concede that the part of Vermont where we'll be is slightly closer to Canada than New Hampshire.)
Wednesday, May 22, 2013
Kids Still Say the Darnedest Things About Geography
When I
mentioned the upcoming college jazz trip to Vermont, the kid nailed the
area of the country but missed badly in terms of sovereignty...
KID: So you're going to Vermont?
ME: That's right.
KID: Isn't that in New Hampshire?
ME: Right next to it.
KID: Oh yeah--it's a state!
KID: So you're going to Vermont?
ME: That's right.
KID: Isn't that in New Hampshire?
ME: Right next to it.
KID: Oh yeah--it's a state!
Tuesday, May 21, 2013
Kids Say the Darnedest Things About Modes
I was reviewing them with a kid earlier in the year, and he thought he remembered all the names...
KID: I know all the scales: Dorian, Midolyxian...Mixolyxian?
KID: I know all the scales: Dorian, Midolyxian...Mixolyxian?
Monday, May 20, 2013
Kids Say the Darnedest Things About Musical Elements (and Food)
Another one that got caught up in the pipe until now...
A while back, a student came up with this gem: "I don't like scales...unless I'm eating fish."
A while back, a student came up with this gem: "I don't like scales...unless I'm eating fish."
(But even then, wouldn't you remove the scales before eating?)
Friday, May 17, 2013
Kids Say the Darnedest Things When Their Teachers Bend the Rules
I
just realized that I've stockpiled quite a few Kids Say the Darnedest
Things quotes that never got posted during the year...so I'll post one
of them every school day from now till the end of the public school
semester (unless any new ones come up). Here's the first one, from a high schooler...
KID: We watched a "visual representation" in English class.
To "enhance our understanding" of To Kill a Mockingbird. Because we're not allowed to watch "movies."
(For everything in quotes above, the kid was making air quotes with his fingers.)
KID: We watched a "visual representation" in English class.
To "enhance our understanding" of To Kill a Mockingbird. Because we're not allowed to watch "movies."
(For everything in quotes above, the kid was making air quotes with his fingers.)
Friday, May 10, 2013
Kids Say the Darnedest Things About Alternate Fingerings
Here's
how a student described his reluctance to switch from side Bb to bis, even
when it made the arpeggio in question a lot easier to play: "It's like
switching religions."
(I spent the rest of the lesson repeatedly encouraging him to join the Church of Bis.)
Wednesday, May 08, 2013
Kids Say the Darnedest Things About Other Sections in the Band
I
was reminding a student of the importance of keeping going after making a
mistake when we're in "performance mode," and I was treated with this
gem...
ME: Imagine what the whole band would sound like if everyone stopped whenever they made a mistake...
KID: Our trumpets wouldn't even play!
(Cue sound of trumpet section being thrown under the bus...)
ME: Imagine what the whole band would sound like if everyone stopped whenever they made a mistake...
KID: Our trumpets wouldn't even play!
(Cue sound of trumpet section being thrown under the bus...)
Monday, May 06, 2013
Kids Say the Darnedest Things (Written Edition)
I was
amused by a handmade recruiting poster for the high school colorguard
that I saw today. According to the poster, Reason #1 to join is "Get
tan."
(Reason #2, in case you were wondering, is "Make tons of friends.")
(Reason #2, in case you were wondering, is "Make tons of friends.")
Thursday, May 02, 2013
(College) KIds Say the Darnedest Things About Professional Licensing
The
subject of medical excuses for missing class came up, and someone
wondered if anyone who was a doctor would be able to write his/her own
excuse note in that situation...
ME: We had a doctor in big band who lasted about 2 weeks. He even came to auditions in scrubs! But he was still interning, and he always ended up being on call during rehearsal times and having to leave.
KID: So what, he didn't pass his bar exam or something?
ME: We had a doctor in big band who lasted about 2 weeks. He even came to auditions in scrubs! But he was still interning, and he always ended up being on call during rehearsal times and having to leave.
KID: So what, he didn't pass his bar exam or something?
Wednesday, May 01, 2013
Kids Say the Darnedest Things About Math
This
beginner was learning about dotted quarter notes and reviewing the idea
that a dot placed after a note adds half the value of that note...
ME: So how many beats is a quarter note worth?
KID: One.
ME: And what's half of one?
KID: Zero?
ME: So how many beats is a quarter note worth?
KID: One.
ME: And what's half of one?
KID: Zero?
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