Blog

I think we might go overboard sometimes by suggesting that there is only one legitimate improvisational language in music and it comes from Bebop/blues/jazz. We tend to require some historical quote from the "jazz language" or it is ignored or labeled that it doesn't speak and isn't legit music. Sometimes we can be a bit closed minded to the point of prejudice with the idea that everyone has to play "jazz/bebop/blues" to be worth anything as an improviser.

I just thought I'd pass this on. A quick story.

I gave finals today. Each student had to perform Donna Lee in 3 keys and solo.

Anyway let's make it short. All but one student is left in the room. He plays Donna Lee in 3 keys. It was the best performance of the whole class.

When he got done he looked up at me and he was shaking. He said, 'I'm sorry, I tried'. I couldn't believe it. I couldn't believe the demons that were just in his head while playing this. If his head would have been cleared he would have got done and said, "wow". Instead he thought he failed.

I went through the lessons and books last night and I was floored. There's so much knowledge here I can't believe it. I was blown away.

I just hope you guys are combing through all the lessons and pulling stuff out and working through things one at a time. That's important ONE AT A TIME. (ok maybe 2)

I just got back from Chris' and checked out Tom Beckham playing music from his new cd. He had Chris Cheeks on sax. I went with Patty (who's a faculty member of the site).

It was great music and great playing. Tom studied with Ed back in the day and me and patty saw some of his influence still resonating. Tom is a great vibe player and interesting approach and really interesting lines.

His new CD is called 'Rebound' which I bought and will check out. I hope he puts up a link to where you guys can buy the CD.

Mike here you go. Some tunes I wrote.

Hey tony, I'm curious as to what type of music you compose and what it sounds like. Can you post some of it?!

Hi everyone,

I was wondering if anyone had to deal with blisters. Once in a while I get a blister on the index finger of my right hand because of the rubbing of the mallet against my finger.

My main problem: sweaty hands + friction + Burton grip = blister.

I know callosity is common for conga players and that they use some kind of tape to protect their fingers and hands.
Usually I apply a Compeed blister plaster for prevention. Unfortunately I was too late this time so I have to deal with that lump on my finger again.

I was just thinking. (That's where my dad would say 'How did it feel?'.

I spent last night jamming with a bass player. We took some tunes got together and put them through a bunch of keys. I said to him I liked doing this with 'just the 2 of us' because if there were other players they'd be off to the side playing the new keys while I was soloing.

And then bam!!! Why not do this live, and you guys play along. You won't bother me, because I can't here you. We'd pick the songs and you guys would play along. Play the root of the chords, play the chords, play whatever you want.

In a lot of my tunes lately, I have been using mallet 4 for the melody, which is not the normal stick for the Miceli grip, which I use. I have been doing a lot of 3 note chords/arpeggios with mallets 1,2,3. This is another example of me using mallet 4 for the melody (I think I am playing it a little too fast).

I referenced Tony's intro to his grip in the "Check This Out", above. He talks about how different grips lead towards different styles of playing.

Barry

I thought this was neat.

http://www.youtube.com/watch?v=-ElNEuV2z4k

Barry