But that was somewhere else. The chill days of winter are upon us, and the same log in the Leinster fireplace as last year is burning cheerfully. Given the gloomy old day, the Chopper Read Ballroom took a while to warm up. Curtis, Happysnaps Findlay, Noel, the Captain, Neil the G and meself opened the batting and it went downhill from there. Continue reading
I have a couple of vacant spots in my teaching schedule which may appeal to dedicated students wishing to pick particular areas for focussed study.
- Where? – I teach at the MLC Music Academy, Barkers Road Kew, and the
- times available – for lessons of duration either 45 or 60 minutes, weekly or fortnightly – lie between
- 4.00 p.m and 5.30 p.m Wednesday and Thursday afternoons.
Subject areas can include:
- Functional harmony – major and melodic minor scales; cadences
- Other scale types
- Improvisation and melodic patterns
- Jazz articulation and phrasing
- Piano voicings
- Ear training.
Interested ??- email me – Noel Matthews – at firstname.lastname@example.org.
Excerpts from the book “Jazz At Ronnie Scott’s” by Kitty Grime: publishers Robert Hale London
Stan Getz: Ballads intrigue me. I let the mood do what it wants. I never intend to do anything, it just comes out as the piece dictates. You’ll notice that I never even close my eyes, but my mind is on the music. Everything comes from within, no images are conjured up that are based on what I see.
There are some ballads on which I don’t play anything but the melody – Lush Life” is one of those – the melody is so beautiful it says everything for me.
I rarely feed off another instrument in the group, because I never hear just a single piece in the rhythm section. I hear the entire underpinning; piano, bass and drums. When I improvise, I do it on top of them collectively, not individually. I subconsciously work on three levels simultaneously – my inner feelings, the tune and the rhythm section.
Ronnie Scott: During those moving, poignant ballads of his you could have heard a pin drop. And if anyone had dropped a pin, he’d have got a look from Stan’s baby-blue eyes which would have felled a polar bear.
I have yet to see/hear ANY big band (local or otherwise) feature a sax section that does a “Supersax” chorus entirely from memory . . . and it’s no fluke, if you want to go further and check out their take on Four. This band is uniformly good across all sections! And they seem to be enjoying their work at the same time? Don’t miss it!
the Youtube link is http://youtu.be/IbDx1qvbtDA
Some quite rare Bill Harris trombone from about 9 minutes in is an added bonus . . .
I can’t believe it’s true until I’ve watched the whole thing myself. It starts with a duet between Charlie Parker and Coleman Hawkins (which we’ve seen before). Then to pile riches on riches Lester Young pulls up a chair and as if that weren’t enough Harry Edison and Ella Fitzgerald get on the bandstand. To round things out Flip Philips smokes on tenor and Hank Jones, Ray Brown, and Buddy Rich hold down the rhythm section. Can it get any better?
Jazz on the Tube
P.S. Please share Jazz on the Tube with your friends and colleagues. If they like jazz, they’re going to love this.
From Noel: Call me old-fashioned, but I consider this to be possibly the most meaningful presentation of the blues I have ever seen or heard. Everybody playing or singing their own story, and all in the ensemble groove.
Listen to Billie Holiday at http://www.jazzonthetube.com/page/8.html