tag:blogger.com,1999:blog-37962845804364959102024-03-05T05:23:40.243-08:00Win's Bill Evans BlogWin Hinkle is a double bassist and teacher/lecturer on Bill Evans, in Boston and Florida.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-3796284580436495910.post-87434474932554804072012-02-21T06:04:00.000-08:002012-02-21T06:11:03.133-08:00Reading Music on the Jazz BandstandI appologize in advance for the lack of paragraph structure in this post but the wonderful Blogspot editor didn't want to allow them today.
RE: reading music on the jazz bandstand.
I had occaision to offer advice to some other bass players inquiring about collections of fake books and there usability on an iPhone, Android, iPad, or iPod. Thought I'd share this with Bill Evans readers.
You can Google for a CD with about 8 fake books included in PDF format with an index. Warning: the site might be run by the Russian Music Mafia, or a "trap site" designed by ASCAP and BMI to trap you into making a $ transaction so you might wind up in a law suit. But you would run the same risk asking for the same CD from a friend or friend of a friend. I'm no lawyer but either party in a buy, sell of give-away transaction might wind up on the wrong side of a law suit. The sites, just like to old fake book sellers, move around and change names a lot. I assume the iGigBook product adds "usability" to these PDF files, quickly calling the requested file up.
Actually, there is another product that is almost as useful. The iReal B app has the changes, not the melody of 1200 tunes from these books arranged in a very fast, call-up search function and can "play" the changes in a variety of styles, all 12 keys and the choice of any tempo, in a piano, bass and drums format. One drawback is that the piano algorithm knows nothing of the concept, "good voice leading" so it sounds pretty corny. The bass lines are functional but disjointed a lot of the time. There is an editing function so you can correct the old real book bad changes, or spruce them up with a personel touch, and even add more tunes.
The "iReal B" is really the best way to distribute music for jazz players as on-site transposition of older tunes for singer's keys is a must. The chords can also be shown in numbers (here substituting for Roman Numerals) which is the absolute best way for a bass player to learn tunes. The 1200 sets of changes (never say "tunes" or "songs") are available from an associated User Forum, not the sellers of iReal B, to keep things under control.
As far a actally using either product, last night at a jazz concert in a club the headliner pianist called up "I'm Old Fashioned." The younger bassist who wasn't sure of the tune, searched and very quickly found the tune in iReal B on his iPhone and refreshed himself with the changes in a couple of minutes, then played it beautifully. I think I know why he didn't put his iPhone on a nearby music stand - nobody likes to be a "Real Book Reader" on the bandstand. I certainly have criticized this practice in my writings about jazz.
Next week, this same concert venue will feature Ira Sullivan as the headliner. Those who work with Ira know that he is likely to segue into Coltrane's "Central Park West" right at the last note of the old ballad, "The Things We Did Last Summer." You never know what Ira will play, neither does he. The accompaning group must immediately recognize the tune and back him playing it in the right key, and play beautifully. It's a challenge but well worth the effort. An iPhone, iPad, or iPod with a million tunes are useless. You must rely on your ears, your experience, and your musicianship. Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com25tag:blogger.com,1999:blog-3796284580436495910.post-18503355258698975412011-09-11T03:18:00.000-07:002011-09-11T03:18:11.108-07:00<br />
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<span class="Apple-style-span" style="color: #6aa84f; font-size: x-large;">Bill Evans Tune Test - update</span></div>
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<a href="http://3.bp.blogspot.com/-aCXjkA-JoD4/TmyFKCHMvjI/AAAAAAAABFs/wcNs-CH0l5U/s1600/ear+with+screws+2011-09-06+at+11.54.19+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-aCXjkA-JoD4/TmyFKCHMvjI/AAAAAAAABFs/wcNs-CH0l5U/s1600/ear+with+screws+2011-09-06+at+11.54.19+AM.png" /></a>Just a note to let those interested know that I'll be posting the answers to the first Bill Evans Tune Test here on the blog just after the <span class="Apple-style-span" style="color: #38761d;"><b>anniversary date of Bill's death</b></span> coming up in a few days. There have been some very good replies, some right on the money. I have talked about several of the answers right here on this blog or in my old paper publication, <a href="http://www.scribd.com/collections/2291765/Letter-From-Evans"><span class="Apple-style-span" style="color: #38761d; font-family: Arial, Helvetica, sans-serif;"><b>"Letter From Evans."</b></span> I</a>f you don't know the date of Bill's death ask around. It's pretty common knowledge. <span class="Apple-style-span" style="color: #38761d;"><b>Jazz singer Mark Murphy even wrote a song about it. </b></span><br />
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One area where the response has been weak is the listening part - determining the keys and modulation schemes of many of the standards Bill played. <span class="Apple-style-span" style="color: #38761d;"><b>Why play standards in different keys, you ask,</b></span> especially the "in-chorus" modulations where the the first half of a tune is in starts in one key, then the musicians change to a different key for the second half? The scheme is done each and every time, through all the blowing choruses, for everyone. I think I can give you a good reason why this was done by Bill and continues to be done by jazz musicians everywhere.<br />
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When I first worked with the great Ira Sullivan some 30 years ago he started playing "Green Dolphin Street" in C then <span class="Apple-style-span" style="color: #38761d;"><b>when measure 17 came around he played the melody and chord changes in Eb</b></span>. I mentally scratched my head for about 20 seconds (while I was playing) but then realized that I loved "Green Dolphin Street" played this way. It just so happens that "Green Dolphin Street" "tonicizes" with the melody and chords going to Eb on measures 13 and 14.<br />
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("Tonicize" is just a term in music theory meaning to make a temporary change of the tonic or key, then usually work back to the point where you were before you started the tonicization. The music of <span class="Apple-style-span" style="color: #38761d;"><b>Chopin and Wagner, for example</b></span>, tonicizes all over the place. If a piece tonicizes for more than just a few measures then it becomes a modulation. If this modulation becomes an important part of what notes the jazz musician plays in his/her improvised chorus or choruses then it becomes a modulation scheme)<br />
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Normally "Green Dolphin Street" would work itself back to the key of C for the restatement of the initial melody. Ira just stayed in Eb at that point and restated the melody in Eb.<span class="Apple-style-span" style="color: #38761d;"><b> It sounded great and it was not readily recognizable to non-musicians in the audiences.</b></span> They would realize the tune was still "Green Dolphin Street" but some might have scratched their heads and noticed something was different but couldn't exactly put their finger on it.<br />
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Not only does this particular in-chorus modulation scheme work harmonically but it makes the musicians work a little harder and pay more attention to the tune. <span class="Apple-style-span" style="color: #38761d;"><b>The result is usually fresher, more spontaneous improvised jazz which is great for everyone.</b></span> Standards are an important part of a jazz musician's fare but if played the same way, in the same key each time, they can get boring - bad for the musicians and the audience.<br />
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In deciding whether or not to do an in-chorus modulation scheme <span class="Apple-style-span" style="color: #38761d;"><b>the criteria are always musical.</b></span> Does the composition's harmonic scheme lend itself to it? Are the musicians capable of playing the tune in the chosen key area?<br />
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Back to the test questions. <span class="Apple-style-span" style="color: #38761d;"><b>What Bill does with "Come Rain or Come Shine" is just a harmonic enhancement,</b></span> no tonicization nor in-chorus modulation scheme. What Bill does with "Days of Wine and Roses" and "Like Someone In Love" are in-chorus modulation schemes. What Bill does with "Theme From M.A.S.H" is totally different. "M.A.S.H." is a three key, "<span class="Apple-style-span" style="color: #38761d;"><b>full-chorus</b></span> modulation scheme."<br />
As you would expect from Bill Evans, all three are based on musically sound principles and can be done to <span class="Apple-style-span" style="color: #38761d;"><b>similarly constructed standards</b></span>. That is what makes them so unique and special.<br />
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So <span class="Apple-style-span" style="color: #38761d;"><b>screw your ears on and listen</b></span>, with your axe or a keyboard nearby and check out one of the things that make Bill Evans, Bill Evans. And to paraphrase Laurie Verchomin, <span class="Apple-style-span" style="color: #38761d;"><b>always have fun.</b></span> <br />
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Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com1tag:blogger.com,1999:blog-3796284580436495910.post-60654675844786883342011-09-07T02:34:00.000-07:002011-09-08T02:51:05.778-07:00So You Think You Know Bill Evan's Music<br />
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<span id="internal-source-marker_0.09413435333408415" style="background-color: transparent; font-family: Arial; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-style-span" style="color: #38761d; font-size: x-large;">The Bill Evans Tune Test(s)</span></span></div>
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<span class="Apple-style-span" style="color: #38761d; font-family: Arial; font-size: large;"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Announcing The Bill Evans Tune Test(s). </span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Evaluate your knowledge of the music of one who many consider to be the fountainhead of modern jazz piano.</span><br />
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Warning: This test is aimed primarily at musicians who play an instrument and</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline;"> </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">listen to Bill Evans. Some answers you'll know right away. Others might require </span><span class="Apple-style-span" style="font-family: Arial; font-size: 16px; white-space: pre-wrap;">some critical listening or research. Some of the answers can be looked up in a real book but to play fair you should listen to the indicated recording by Bill to discern the answer. There is no prize for having the best score other than the pride of knowing the subject matter. Above all else, have fun discovering the answers.</span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">1. Name the key that Bill always played "My Foolish Heart."</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">2. Name at least four Earl Zindars compositions that Bill performed and recorded.</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">3. It is widely acknowledged that Bill was the composer of the tune "Blue In Green," not Miles Davis. First, how many measures is one chorus? Second, what were the intended performance instructions Bill attempted to communicate to the members of the Miles Davis Band on the album "Kind Of Blue?" You'll probably need to listen to the "Kind of Blue" track a few times to put this into words. Also it's helpful to listen to Bill's solo and trio recordings of the tune on other albums.</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(The standards in questions 4, 5 and 6 are of the type that the second 16 measure segment of the total 32 measure chorus starts out exactly like the first 16 measures. Their structure is that there is no "bridge" but instead two 16 measure halves.)</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">4. The standard “Come Rain or Come Shine” has been screwed-up by many a musician. Bill's playing of thetune has pretty much codified the way most play it now. </span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Part One: What key did Bill play "Come Rain or Come Shine?" </span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Part Two: Sketch out the changes that Bill plays on the tune (omit the turn-around). Please do this from listening, not looking in some real book.</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">5. What was the ("in-chorus") modulation scheme that the last trio used for the</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Mancini tune, "Days of Wine and Roses?" Bill Played an "in-chorus" modulation - the first half (16 measures) in one key, the second half (16 measures) in another.</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">6. Bill occasionally played the tune "Like Someone In Love" in the later concerts.</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">What was the "in-chorus" modulation scheme used with that tune?</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(“In-Chorus” refers to actually changing keys within the tune, then returning to the starting key sometime before, or at the start of the next chorus.)</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">7. Bill's last trio performed the "Theme From M.A.S.H." quite often. What was the</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">arrangement or (complete-chorus) modulation scheme that Bill used with that</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">tune? Name the starting key and the subsequent keys the trio played the tune,</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">before returning the first key. Were there added measures to the tune?</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">8. There are three main "types" or qualities of chords used in jazz. Bill's</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">composition "Time Remembered" never uses a particular type of chord. Name the type of chord that never appears in this tune.</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">9. When performing the tune "Autumn Leaves" with bassist Eddie Gomez, there is a point in the playing of the head that Bill and Eddie always play a little sixteenth </span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">note lick together in unison or sometime in thirds. In what measure of the 32 measure chorus does this always occur? (number between 1 and 32)</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">10. What are the origins of the tune "Sugar Plum?" This tune does have lyrics!</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">What 60'-70s folk singer conceived the title and lyrics of the tune?</span><br />
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Well that does it. There are many areas of Bill's which we have not covered. I</span><br />
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 12pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">would love to have readers submit their own Bill Evans Tests questions to me and I'll publish them here. There's a wealth of music to explore and it's great fun to find new ways to experience it.</span><br />
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Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com14tag:blogger.com,1999:blog-3796284580436495910.post-31789255995110511612011-07-27T00:38:00.000-07:002011-07-27T00:58:34.182-07:00Toots Thielemans and Kenny Werner: "Time Remembered" and "Very Early"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCbYc_STn0vCvhdNUCX18AGyHY0c_vWrm5HAgZu7-fa_GjJB1AYM0FFJwMXX-LeTgD3OYwYFxFEj-BtAMoCyP_nuhxgdp43LhJm8ExxNocegavxGWH__eYbJpM7yh9brYj9YUjPTr4cI/s1600/Screen+shot+2011-07-27+at+3.06.22+AM.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 112px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCbYc_STn0vCvhdNUCX18AGyHY0c_vWrm5HAgZu7-fa_GjJB1AYM0FFJwMXX-LeTgD3OYwYFxFEj-BtAMoCyP_nuhxgdp43LhJm8ExxNocegavxGWH__eYbJpM7yh9brYj9YUjPTr4cI/s200/Screen+shot+2011-07-27+at+3.06.22+AM.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5633925880829978578" /></a><br />I recently was turned-on to this very fine performance of two of Bill's tunes by Laurie Verchomin. The Toots Thielemans Quartet performed "Time Remembered" and "Very Early" at a concert probably in Germany in the 90's. The mood and stillness of the band relays the tunes to the audience in perfect respect for Bill. <div><br /></div><div>I'm usually not too keen on performances that include some sort of electronic keyboard but Kenny Werner, pictured here is the epitome of good taste and the electronic sounds work here very well. </div><div><br /></div><div>The music is presented simply, not stretching-out the solos which I would liked to have heard. However, the short versions seem to evoke the spirit that Bill's playing cannot be improved on.</div><div><br /></div><div>Click <a href="http://www.youtube.com/watch?v=WQVjwgyZcwk&feature=share">here</a> to enjoy.</div>Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com1tag:blogger.com,1999:blog-3796284580436495910.post-47004766045188248832011-04-22T08:06:00.000-07:002011-04-22T13:40:13.961-07:00Bill Evans Trivia<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHIUDERTsMuqeuoDR73985DFUdUL50eLMeUcXCu4CH2FQ0Pu5moFtdpIRiOpxfs9Kld7yglw0rJuWDg75vc1CGEUB7WiIENyKbfte9zRyEf2vx2K5aIVLG33Ux83wq1Jard_ToPAmAtGQ/s1600/KOB-opt-pic.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 306px; height: 233px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHIUDERTsMuqeuoDR73985DFUdUL50eLMeUcXCu4CH2FQ0Pu5moFtdpIRiOpxfs9Kld7yglw0rJuWDg75vc1CGEUB7WiIENyKbfte9zRyEf2vx2K5aIVLG33Ux83wq1Jard_ToPAmAtGQ/s320/KOB-opt-pic.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5598510435612794850" /></a><br />Several months ago I asked readers if they knew of other tunes that Bill performed in "circular form," playing in one tempo then another, then either another or back to the same starting tempo. Each version is twice the tempo of the first, hence this was done with ballads. I indicate a chorus as an (x). "1x" is the original ballad tempo, in the following sample case make it 60 beats/per/minute. "2x" is twice as fast as the previous version, in this sample 120 beats/per/minute. "3x" is twice as fast as the previous version, or 240 beats/per/minute. And you come back to the first tempo the same way you left it, in steps, for example, 1x-2x-3x-2x-1x. <div><br /></div><div>Bill did this regularly on his tune "Blue In Green" (credited to Miles Davis) 1x-2x-3x-2x-1x with each soloist playing as many choruses as they wish but always coming back to the 1x version. </div><div><br /></div><div>Bill basically did one of two things with drummer, Jimmy Cobb. He either told him nothing, or told him to keep the same pulse and style, no matter what the horns and every one else did. I'm not sure what he told he bass player, Paul Chambers. Paul seems to have used his ears, realized the changes were going by twice as fast, then twice as fast again and played the right notes in the right places. He did not go into 4 for fear the drummer might which is a very good thing here. The result, be it intended or unintended added to the overall magic of "Kind of Blue." <div><br /></div><div><div>If you listen carefully to the first recording of this tune on "Kind of Blue" you'll hear Bill play it in all 3 tempos. Miles kinda gets it, playing in the 1x and 2x versions but not going back to 1x to finish his soloing. Cannonball doesn't get it at all, playing only the 2x version, all the way. Coltrane doesn't solo all on this tune. </div><div><br /></div><div>Other tunes that Bill regularly did this on were "Detour Ahead" and in the later part of his career he also did this regularly with "I Loves You, Porgy," still playing a solo piano version. These were 1x-2x-1x versions. </div><div><br /></div><div>________________</div><div><br /></div><div>Another bit of trivia is the last name of Bill's first (common law) wife, <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Ellaine</span>, the gal who committed suicide. Her last name was Horowitz.</div><div><br /></div></div></div>Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com1tag:blogger.com,1999:blog-3796284580436495910.post-72546269764951646592011-03-30T17:30:00.000-07:002011-04-13T21:45:35.517-07:00Review: “The Big Love” by Laurie Verchomin<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBzUVZYjPxArn-HgKqtuhZ7IsQ4imDgw2dM4_Ed-g80fCtWhYG8SPTB72sFy5peYhDOZDWztNG8LVuvx4_kQiTA7MxQp8wsnWu8ZUNFxa47m6MPlzED1yxLT9pp8k2NDMCTiv960DJsVg/s1600/the-big-love-sized.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 145px; height: 229px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBzUVZYjPxArn-HgKqtuhZ7IsQ4imDgw2dM4_Ed-g80fCtWhYG8SPTB72sFy5peYhDOZDWztNG8LVuvx4_kQiTA7MxQp8wsnWu8ZUNFxa47m6MPlzED1yxLT9pp8k2NDMCTiv960DJsVg/s400/the-big-love-sized.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5590035818798306770" /></a><div style="background-color: transparent; font-family: 'Times New Roman'; font-size: medium; "><span id="internal-source-marker_0.9158357640262693" style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><br /></span></div><div style="background-color: transparent; font-family: 'Times New Roman'; font-size: medium; "><span id="internal-source-marker_0.9158357640262693" style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Available from <a href="http://www.laurieverchomin.com/">www.laurieverchomin.com</a>, 144 pages. (Currently only available from the author’s web site) Contact </span><a href="https://mail.google.com/mail/?view=cm&fs=1&tf=1&to=laurie@laurieverchomin.com"><span style="font-size: 13pt; font-family: Arial; color: rgb(255, 51, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap; ">laurie@laurieverchomin.com</span></a><span style="font-size: 13pt; font-family: Arial; color: rgb(51, 51, 51); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "> to purchase. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Preface</span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Before I actually read</span><span style="font-size: 11pt; font-family: Arial; color: rgb(255, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "> </span><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">this book, I had heard various comments about it, some flattering, some not. As there seemed to be no one stepping up to the plate to do a review, I purchased the book from Laurie and volunteered to review it for Jan Stevens’ web site, “The Bill Evans Web Pages.” It was a complex challenge, increasing my understanding of Bill and Laurie’s relationship as well as revealing deeper visions of Bill’s everyday living, loving and creating. Reading and re-reading this book, like listening to Bill’s music, has been a life-changing experience for me as I expect it will be for you. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">“The Big Love,” is a love story, but unlike most. The stark realities of Laurie’s coming-of-age before meeting Bill, and later, the dried up riverbeds of Bill’s addiction are detailed in a narrative that might be shocking to some readers. Laurie writes in a sort of prose that is still liquid and finding its form as the book progresses. You might consider some of it explicit, maybe PG-13, even though quite appropriate to the situation. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">In addition to her relationship with Bill, Laurie goes into great detail about the ups and downs of her personal life. We experience vivid details of her transformation from a young girl growing up in Canada in a semi-dysfunctional family. She</span><span style="font-size: 11pt; font-family: Arial; color: rgb(255, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "> </span><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">experiences some difficult situations and sexual encounters through a fast-paced transition to adulthood. Her relationship with Bill figures prominently.</span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Edmonton, Alberta, Canada</span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">After an education that included music theory and a growing understanding of jazz, Laurie has her first encounter with Bill Evans while she is waitressing</span><span style="font-size: 11pt; font-family: Arial; color: rgb(255, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "> </span><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">at a place called the Mayflower Restaurant on 97th Street in Edmonton. The Railtown Jazz Society had booked the trio to perform in this “church/disco/Chinese restaurant.” It proves to be a trial by fire for her as she has not seen an audience so entranced by the music that they ignore the waitress trying to serve them drinks. None are big spenders as most are students and professors from Grant McKuen Community College where she was once enrolled. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Either due to the fact that she is inexperienced as a waitress, or the cheapness of the audience, or a combination of both, she is $50 short at the end on the night and has to borrow from a friend to tally-up with the bartender. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">After the concert she and Bill get together. Laurie communicates her experience with the bartender to Bill while they spend the evening together at her apartment with other friends. Bill gave her a short note and his phone number written down on the back of one of his manager’s business cards asking her to call him. Several days later she gets her first letter from him with $50 enclosed to repay the debt to the friend. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Bill seems to be immediately convinced that he wants to have a long term relationship with the twenty-two year old and invitations and travel arrangements are made for Laurie to join Bill on his tours and performances. This culminates in Laurie eventually joining Bill, not just in hotel rooms while on tour, but as a resident of his apartment in New Jersey for his gigs in the New York City Area and the down-time between performances. After a meeting with Bill’s manager Helen Keene, Laurie is given the title of road manager.</span><span style="font-size: 11pt; font-family: Arial; color: rgb(255, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "> </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">The saddest part of “The Big Love” is an event that I thought somehow escaped Bill and his addiction - paranoia. I know that paranoia can be a normal part of an addict’s thinking, but somehow I thought Bill Evans was immune, since he seemed to continually compose and perform on a level that transcended those medical symptoms. Alas, that was not the case and when you read this section, it smacks you in the face. Be prepared for it dear reader. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Laurie delivers much of Bill's personal life to the reader - vivid descriptions of their love and growing bonds to each other as well as the sinister ogre of Bill’s addiction and its consequences. Along the way, we are permitted a close-up look at Bill’s crafting of the song “Laurie,” from a basic sketch, through various permutations, blossoming to the final version. Simultaneously, we watch his illness progress to the missed nights at the trio’s last engagement at Fat Tuesday and, ultimately, to his death. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">The book is fascinating and hard to put down partially due to Laurie’s prose. Here is an excerpt from Laurie’s description of Bill Evans holding court at the Village Vanguard. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "> </span><br /><p style="margin-left: 36pt; margin-top: 0pt; margin-bottom: 0pt; "><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">“He assumes his position, face draped gently over his hands on the keys. He tilts his head to one side - listening - and I see his face, the sallow skin stretched over the broad forehead, eyebrows raised in astonished agony or ecstasy, his eyes closed behind dark glasses, mouth and jaw open.</span></p><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><p style="margin-left: 36pt; margin-top: 0pt; margin-bottom: 0pt; "><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">This is the expression he has at home composing at the piano. This is the expression he shares with me when we make love. This is his most intimate expression - egoless, vulnerable - full of truth and beauty.</span></p><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><p style="margin-left: 36pt; margin-top: 0pt; margin-bottom: 0pt; "><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Smoke curls up from ashtrays, filling the darkened red and black room with an eerie blue haze. No one speaks, everyone is in accord. We are all in accord with the intangible feeling of inner beauty decompressing from the depths of our neglected souls - surfacing.</span></p><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><p style="margin-left: 36pt; margin-top: 0pt; margin-bottom: 0pt; "><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">We are remembering who we really are. Remembering our place in the perfection of everything. The place beyond words and feelings.”</span></p><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">All in all, this a great addition to the small library of written words about Bill. I would place it second only to Peter Pettinger’s great work, “How My Heart Sings.” You'll also learn the name of Bill's main drug dealer in the last chapter of his life, an anagram of the tune, “Yet Ne'er. Broken,” a name that I've been trying to figure out for years. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Win Hinkle</span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Feb. 27, 2011</span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Boston, MA</span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">www.bewinblog.blogspot.com</span></div>Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com2tag:blogger.com,1999:blog-3796284580436495910.post-10300071319830256232011-03-30T17:17:00.000-07:002011-03-30T21:25:47.822-07:00Another Great Recipe From Win's Kitchen<span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>Baked Cod (portions for two)</span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><br /></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span></span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><br /></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>Buy about a one pound, thick fillet of Atlantic Cod or Halibut (never </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>Tilapia) and cut it into two pieces. In a shallow bowl melt 1/3 of a </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>stick of butter and add the juice of 3/4's of a fresh lemon. Add a </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>pinch of Dill weed (or fresh Dill), a pinch of Sea Salt, a tiny pinch of white </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>pepper and a pressed clove of garlic. On a plate, place an appropriate </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>amount of seasoned, toasted breadcrumbs. Dip fillets in butter </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>mixture, then breadcrumbs and place in baking dish that has been </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>lightly coated with cooking spray or olive oil. Bake on top rack of </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>375 degree oven for 25 minutes. Serve with rice and fresh green salad. </span></span><span class="Apple-style-span" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); font-size: medium; "><span>Use left over butter mixture as sauce if desired.</span></span>Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com33tag:blogger.com,1999:blog-3796284580436495910.post-50130690384289607682011-02-01T07:59:00.001-08:002011-03-30T17:53:32.364-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbwlZVwebejJ_ZMa79YAQ1cqO4KP29GD0_QNgnE43vQ6PigWb8fR-W3XbNOmRJQFGJasLdyCLzkLDI9EDHQrR-inY15Sl_d-BouW_WnZSO9KZaoXLRCRansKxcovgWmDH2Fb1H5xayq28/s1600/James-at-piano-2005-small.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 351px; height: 265px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbwlZVwebejJ_ZMa79YAQ1cqO4KP29GD0_QNgnE43vQ6PigWb8fR-W3XbNOmRJQFGJasLdyCLzkLDI9EDHQrR-inY15Sl_d-BouW_WnZSO9KZaoXLRCRansKxcovgWmDH2Fb1H5xayq28/s400/James-at-piano-2005-small.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5568751480782953650" /></a><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: transparent; font-family: 'Times New Roman'; font-size: medium; "><span id="internal-source-marker_0.7056178210768849" style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><br /></span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: transparent; font-family: 'Times New Roman'; font-size: medium; "><span id="internal-source-marker_0.7056178210768849" style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">(above, pianist/composer James Drew) </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: transparent; font-family: 'Times New Roman'; font-size: medium; "><span id="internal-source-marker_0.7056178210768849" style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><br /></span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: transparent; font-family: 'Times New Roman'; font-size: medium; "><span id="internal-source-marker_0.7056178210768849" style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">As Arnold might say, “I’m Back!” Sorry about taking 2 years off from adding any new items to this blog but as of today this will change. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">On a semi-sad note one of my best friends, classical composer, jazz pianist Jame Drew passed away from a sudden illness on Dec. 23, 2010. James was my music partner for several years when he resided in Florida. He was a monster musician who kept me on my toes, learning new tunes and expanding my improvisatory abilities in new directions. In the spirit of celebration rather than mourning I’ll be adding a lengthy tribute to him in the next few weeks at this blog. If you knew James or heard him play I’d be interested in hearing from you. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">Of course James was a Bill Evans fan but very much into developing his own thing, going his own personal way in jazz. We had some musically satisfying experiences as well as some humorous ones, especially with saxophonist Alan Eager who was attempting one of his comeback appearances, this time in Central Florida. Our partner in crime for several gigs was great Central Florida drummer Barry Smith. Make sure you talk to Barry sometime for his take on James. </span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span><br /><span style="font-size: 11pt; font-family: Arial; color: rgb(0, 0, 0); background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">As you learn more about James I hope you enjoy his playing as much as I did. I’ll miss him very much. </span></div>Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com1tag:blogger.com,1999:blog-3796284580436495910.post-46780941961973818012008-12-31T10:42:00.000-08:002008-12-31T11:13:23.626-08:00Freddie Hubbard dies at age 70Having made a new year's resolution to post more frequently here is a short email response I wrote to the double bassist listserv (2xbass) today at hearing a sad response to the passing of Freddie.<br /><br />from Don, a fine bassist living in Oklahoma.<br /><br />"This is too sad." <a href="http://www.msnbc.msn.com/id/28424855/">link</a><br /><br />My Response<br /><br />As an older musician I don't feel sad when I hear of the passing of<br />the great jazz musicians. Death is just the next location on the tour,<br />the next hotel you need to check into, you might get to play with<br />others who have left that earthly scene and gone to that heavenly jam<br />session or great gig in the sky. It's easier to handle this way rather<br />than thinking it's completely nothing at all. I believe that Freddie<br />is still playing, writing tunes, putting new albums together, it's<br />just for a different audience now.<br /><br />It's like seeing a dark, unknown location-hotel on the end of the tour<br />sheet and you'll never exactly what-where it is till you get there.<br />You just have to maintain a positive attitude, do what you do, play<br />the way you play, and hope for the best, like maybe playing on Scott<br />LaFaro's bass before the accident, or playing "Cherokee" with Bud<br />Powell, which happens to be playing on my stereo at this moment. I<br />don't know if I would ever have chops, musical scope, and<br />bass-validity to play with Bill Evans.<br /><br />I realize that jazzers may live a little harder life than classical<br />performers - they are likely to play a gig for short bread, or not get<br />paid at all - but they have sacrificed to contribute to the art -<br />which is fantastic for us listeners. We all will meet the same fate,<br />just have to be ready for it - which is the hard part. That's where<br />SS, 403b, 401k, IRAs, Roth, Keogh <a href="http://et.al/" target="_blank">et.al</a>. help meet that change in<br />life/death.<br /><br />RE; jazzer vs classical, short bread and such -<br /><br />Guess I count myself lucky to have played in a decent symphony for 17<br />years, making 403b and Social Security contributions. I'm also lucky<br />to have worked in the "straight world" making at twice what I did in<br />the symphony (IBM and others).<br /><br />If you hear of a jazzer having to work a day job never think less<br />of his dedication to the art. He (she) simply is taking care of<br />business and still making time to work on the art. We all work towards the art in different ways and capacities.<br /><br />end of response.<br /><br />Happy New Year to all. May the new year have frequent times and dedicated thought processes devoted to jazz, especially Bill Evans.<br /><br />Don't forget to check Jan Steven's great web site, the <a href="http://www.billevanswebpages.com/index.html">Bill Evans Web Pages</a> for the latest Bill news and features.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.billevanswebpages.com/index.html"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 259px; height: 132px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitZuMpeeUF5CcFORJLHr950UaqDzfonMJxHs4LvOxaCN1_dMPIWgTpsEFsbqfJ3Mye6ORmDt3DwF31x22EPPCab7XTknK4bVP9RlgI9PAiCatrNrSsZhXOtQ2DsE8FyxXGvvQdc3x0LM/s320/websitelogo.jpg" alt="" id="BLOGGER_PHOTO_ID_5286031560817330962" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br />Bill Evans Trivia Question:<br /><br />Which tune, or tunes, did Bill "doubletime the changes" to, other than his own "Blue In Green" when performing? Respond to bighinx@gmail.com.<br /><br />Later.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com3tag:blogger.com,1999:blog-3796284580436495910.post-31129633976458456332008-10-21T10:48:00.000-07:002008-10-21T11:04:43.374-07:00Here's Something For YouSorry about the infrequency of posts to this blog - I had some personal issues that needed resolve.<br /><br />Below is a review I wrote some months ago. Eliane and Marc have done a remarkable thing with this recording, taking a tune a tune that was definitely a work in progress and transcribed it, written lyrics for, and recorded it and released it to the public. It will probably end up as one of those back-of-the-binCDs in the Eliane Elias library that will be something of value for Bill Evans fans but not holding any interest for the Eliane Elias fan. I still go round and round in a bipolar way in my affection for it and distaste of the obvious bravura it took to produce. As time goes by this might be resolved but I doubt it. It will always be something to listen to and attempt to work out. <br /><br />"Here's Something For You"<br />Eliane Elias, piano<br />Marc Johnson, bass<br />Joey Baron, drums<br />Blue Note records<br /><br />At first I was very excited by this album. I guess I've listened to maybe 25 different tribute albums dedicated to Bill and this one tops them all in the category of bringing new things to see the light of day. Some players just go through the motions of reading through Bill's tunes, or the standards associated with Bill, unable to distill from themselves, that rich essence of reaching into one's self and looking for that specialness that we all recognise as Bill Evans. Some of the best that I have heard include those by John McLaughlin,Egil Kapstadt, The Danish radio Jazz orchestra/Jim McNeely, Richie Beirach, Warren Bernhart, Enrico Pieranunzi , and French singer Elene Dee. One of my favorites is guitarist Harold Alden's tribute, "Your Story" on Concord records, a player and label you wouldn't normally associate with Bill Evans type music. Then there are several players who I hope will someday, make Bill Evans tributes, like bassist RayDrummond who loves Bill's music. All of the afore mentioned need to listen to this new Eliane Elias CD. She, with the help of husband Marc Johnson have set a different standard.<br /><br />On first hearing the CD does not seem to be that adventurous, due to the short track length, set by Eliane. There is a review in All About Jazz stating that the title tune is from a tape that Bill gave Marc containing some new tunes he was working on. The last track of the album titled "Introduction ..." starts with this track, the original cassette tape. As you listen to the track play you can hear Eliane take over from Bill, playing the melody of the tune and adding a few of the lyrics. The tape that Marc gave to Eliane might be from the Bill's 50th birth day party. The complete version with all lyrics is the second track of the CD. This re-enforces the intent of Eliane to cater to radio stations air play standards, at least older radio air play standards - no long tunes and the first tune of the CD being up-tempo.<br /><br />The title tune is something that Bill was developing at the end of his life. For years I always thought it was just pianistic meanderings on the first part of the melody of "Who Can I turn To," but it was a real tune that Bill was working on. It also appears on the tape circulating of Bill playing at EdSteinberg's home, probably in New York before a gig in March of 1980, as the last tune Bill plays. He introduces on the tape, "here is something I'm gonna play for you, it's sorta show-like." I have guessed that Mrs.Steinberg, or some lady friend of Dr. Ed Steinberg payed Bill to come play for her. The tape is marred by Dr. Steinberg making and taking phone calls in the background. One of the calls is for Bill, to call back the person when he gets home - that's why I think it's in the NYC area.<br /><br />Marc Johnson gets a chance to stretch out on the tune "But Not For Me." If you want to see Eliane playing the title tune can go to this YouTube post. Marc is also playing Scotty's LaFaro's bass as rebuilt by bass luthier, Barrie Kolstein, on one tune, the ballad "My Foolish Heart" (perhaps more tracks - we need to ask Marc about that.) It is great to hear Scotty's bass again, played by Marc. Marc treated this project with respect and love. <br /><br />Jazz set at Scullers<br />Eliane Elias Trio<br />Marc Johnson - bass<br />Ronnie Hart - drums<br />(Ronnie live in Boston as was called for the dates as he worked with Marc before with Stan Getz. Elaine does not carry a drummer with the group. Hearing Ronnie play here makes me wonder if he ever listened to Eliane or Bill Evans for that matter. He pretty much bashed ahead with no regard for group dynamics.<br /><br />Eliane and Marc were selling and signing the featured CD after each set. Eliane says in the liner notes to the "Here's Something for You", "I had the choice to do long improvisations of fewer tunes or bring more songs to the record with enough soloing to bring them to life." Well, that just did not work - no "life" for the most part. I don't thinkEliane has the chops to play much more than the head or initial statement of the melody, one or two short improvised choruses with no real chops or purpose to explore the tune, filled with the same simple devices she uses in all her playing, then their might be a short bass solo, the head again, and out. Her lack of ability was verified when playing in a live club scene where there are no time limit restrictions. Her playing live is just like the recordings, short and filled with cliches whereas there is plenty of time for one of Marc's extended bass solos which he does so well, such as what he played on the tuneDesifinado" at the end of the first set.<br /><br />As far as what she did regarding taking what might have been Bill's last compositions, transcribing it, adding lyrics that are sensitive to what Bill brought us - this is a great thing. It serves very well as a tribute album, just not a jazz album in any sense of what Bill gave us.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-7307579369127654632008-03-14T12:32:00.000-07:002008-03-14T13:10:20.810-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cb-C3naKSyeOK1vR0y8M3yQ_unxXE_pGdwqLrDzOo8apj7vsYqVOJk56bbnEuEWyq4K5GR610yyODt0MS1kG0G5v4in2Vfsay9oxZmL6ly_I8Rwi7cRXqW60MXN12tOlq0Xg2rF8alk/s1600-h/berklee-tkts.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cb-C3naKSyeOK1vR0y8M3yQ_unxXE_pGdwqLrDzOo8apj7vsYqVOJk56bbnEuEWyq4K5GR610yyODt0MS1kG0G5v4in2Vfsay9oxZmL6ly_I8Rwi7cRXqW60MXN12tOlq0Xg2rF8alk/s320/berklee-tkts.jpg" alt="" id="BLOGGER_PHOTO_ID_5177690947088411906" border="0" /></a><br /><br />Concert Review<br />All Keys Concert<br />Piano Department Faculty Concert March 6, 2008<br />Berklee College of Music Performance Center<br />Pianists: <a href="http://www.berklee.edu/faculty/detail.php?id=445&type=last_name&value=Tiernan&skip=0">Stephanie Tiernan</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=42&type=last_name&value=Brackeen&skip=0">Joanne Brackeen</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=1082&type=last_name&value=Tanksley&skip=0">Francesca Tanksley</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=307&type=last_name&value=Mulroy&skip=0">John Mulroy</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=10&type=last_name&value=Arcaro&skip=0">John Arcaro</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=83&type=last_name&value=Covell&skip=0">Jeff Covell</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=486&type=last_name&value=Winter&skip=0">Bob Winter</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=1081&type=first_name&value=Carmen&skip=0">Carmen Staaf</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=438&type=last_name&value=Thomas&skip=0">Bruce Thomas</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=72&type=last_name&value=Christopherson&skip=0">Robert Christopherson</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=152&type=last_name&value=Germain&skip=0">Tony Germain</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=460&type=last_name&value=Wardson&skip=0">Greg Wardson</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=148&type=last_name&value=Gardony&skip=0">Laslo Gardony</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=246&type=last_name&value=Limina&skip=0">David Limina</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=203&type=last_name&value=Jenson&skip=0">Matt Jenson</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=1027&type=last_name&value=Cline&skip=0">Rebecca Cline</a>, <a href="http://www.berklee.edu/faculty/detail.php?id=1072&type=last_name&value=Blanco&skip=0">Leo Blanco</a>.<br /><br />It is amazing that one school can boast this many piano faculty. Berklee, in addition to being a jazz and pop-music school advertises that it also has a classical piano department. I don't know whether any of this list of faculty teaches classical or not. I can tell you that several of this list probably teach and perform in the pop area rather than jazz. It was a long concert and I did not stay to the bitter end as some of the later performing artists were touted as playing other keyboards in the concert, including those belonging to a laptop. There was also a great deal of non-acoustic hardware on the stage and since I heard all but the last 3 faculty listed and had not heard that extra hardware I counted myself as being lucky and left as I didn't want to press my luck.<br /><br />It was a pleasurable surprise to see Joanne Brackeen's name as faculty. I have always loved her playing and have most of her trio albums. She played a duet with Stephanie Tiernan entitled "Moon Out," a massive reworking of the tune "Moonglow." The initial stride treatment became a point of departure for Joanne and Stephanie to take the audience by the hand, taking them "where no man has gone before" to paraphrase the opening title of the old TV series, "Star Trek." The gals were dressed in turn-of-the-century outfits. I don't think there was an ostrich feather left in Boston as their costumes used them all.<br /><br />Francesca Tanksley did a trio version of "Nardis" with able assistance by members of the drums and bass faculties. She played quite nicely if exuberantly. She swapped 8's, 4's, 2's and tried to do 1's as Bill's later trio did. It's difficult to get things coordinated with a drummer and bassist you don't work with all the time, on a very reverberant stage, and with a decidedly non-jazz sound reinforcement crew but they did pretty well. I want to hear more of Francesca.<br /><br />Next came Jeff Covell with guest Jim Cameron on tenor. Jeff tinkled on the piano for intro then launched into a sort of medium swing ostinato outlining a D minor to Eb 7 tonality - riff , reminiscent of Stan Kenton's "Intermission Riff." The tune turned out to be "Alone together." He used the same idea each time for the first 8. It was interesting and but got to sound a little cumbersome when played repeatedly. Jeff chose to play a lot of left hand bass lines. When piano players do this I'm reminded of an old friend's philosophy who's also a jazz pianist. When I worked with him as a duo, bass and piano, he would admonish me not to play in four. He said if you do that, the audience starts missing the drummer. When Jeff played so many walking left hand bass notes I missed the bass player in the group.<br /><br />John Mulroy came on the stage by himself which was a welcome relief since this was a piano faculty concert and I wanted to hear the individual pianist's stuff. Mulroy's tune was an original called "Coin Toss," at times following a complex chord progression, perhaps with descending seventh chords, alternating with what was almost a blues. Mulroy was the first solo pianist to really makes use of a polite touch on the instrument and it was a pure pleasure to listen to. The tune sort of skittered between different tonalities, never over-bearing and always intriguing to the ear. I must get a lead sheet of that tune - which is probably the most sincere complement I can pay to the performer.<br /><br />Next came John Arcaro for a solo piano tune. From his first few notes I could tell that he, like Mulroy, knew what the word touch meant regarding the piano. John played the great standard, "I Should Care" in a beautiful solo piano treatment, not unlike Bill Evans might have played, playing a variety of chord voicing, chord substitutions, and always varying the texture of the setting. His playing and insight into the tune, and the instrument was a continual pleasure from beginning to end. He also used a modulation scheme that Bill Evans might have played, starting in the key of C, moving to Eb after a few choruses, brightening things up considerably with a move to F then bringing it all back home to C again. Of all the pianists I heard that night I made it a point to find out more about him, where he is playing, and looking for a situation where I might get the opportunity to sit in with him.<br /><br />Another two piano team played next, Bob Winter and Carmen Staaf. I can see where some of the faculty helped the long concert along by teaming up. These guys were delightful, playing the perennial favorite "Willow Weep For Me," first in a straight ahead style, then in an exciting Latino version where pianist Staff really shined. Winter's playing was the glue that help contain the powerful Staff's playing and made for a beautiful "sturm und drang" type of presentation.<br /><br />Next the announcer, John Limina, (whom we heard later on the updated Hammond B3 organ) announced that the next tune was in tribute to NYC pianist Fred Hersch who was "very ill" and that pianist/faculty member Bruce Thomas would play Fred's composition "Ballad." Bruce played it tenderly and musically. I immediately emailed Fred when I got home and inquired about his illness. He responded with a return email the next morning stating that he had been very sick but he is fine now, good news for those of us who love his music.<br /><br />Bob Christopherson followed with an original composition, "Natural Evolution" on solo piano. Bob also demonstrated a nice sense of touch. the music was interesting, tonal, with a nice sense of harmony but my immediate thought was that Bob's playing was plasma in search of some sort of bottle to pour it in to. The music was fine but just needed some form to go along with it.<br /><br />A two piano version of "Softly As A Morning Sunrise" followed, played by Tony Germain and Greg Wardson. It was interesting in spots but seemed to go one or two choruses too many. The playing was a little too energetic for me and I detected no identifiable sections where one player soloed and the other accompanied, which is and absolute must in this type of format.<br /><br />Next came pianist Laszlo Gordony who played something he called "In Transit" which appropriately was a signal to me that I had better be in transit out of there. The announcer, Limina, started a tribute to Chicago organ trio style of blues/jazz playing as I made my exit. Things were getting a little loud and commercial sounding for my taste so it was a good time to leave.<br /><br />I look forward to more concerts at Berklee. My apologies to Matt Jenson, Rebecca Cline, and Leo Blanco - I hope to hear you play on another occasion. There is an upcoming tribute concert to recently deceased Herb Pomeroy on April 1st. Herb is the only jazzer that I know of who has a scale named after him.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com15tag:blogger.com,1999:blog-3796284580436495910.post-12087483501316007842008-02-18T18:41:00.000-08:002008-02-18T18:49:48.119-08:00Walking Bassics by Ed Fuqua<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp1.blogger.com/_u-Ief07__qs/R7pCM41GIRI/AAAAAAAAAA0/jWHxp-mvtso/s1600-h/walkingbassics.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://bp1.blogger.com/_u-Ief07__qs/R7pCM41GIRI/AAAAAAAAAA0/jWHxp-mvtso/s320/walkingbassics.jpg" alt="" id="BLOGGER_PHOTO_ID_5168516311542014226" border="0" /></a> Walking Bassics<br />The Fundamentals of Jazz Bass Playing<br />by Ed Fuqua<br />a Sher Music Publication<br /><br />I heard of the bassist Ed Fuqua several years ago and was prompted to investigate further as my wife's maiden name is Fuqua. When I saw this book at Chuck Sher's web site it gave me reason to find more information about him and what better way to start than by reviewing his bass method book.<br /><br />Walking Bassics is just that. It goes through several exercises and helps establish the right mind set for any bassist to get into walking. And, of course, if you don't agree that walking is the basis for all mainstream jazz bass playing you are probably playing a bass guitar and might not ever long to move up to the "real thing," a big double bass.<br /><br />Ed states the four basic ways that a bassist can delineate the chord changes then he demonstrates each of these with a written line and that line is played by Ed and a minimalist drummer and pianist on the included CD. Then these four methods, or note choices, can be combined in various ways to play great bass lines.<br /><br />On page 8 there is a quote by Ed that really sums up all jazz playing on all instruments, "Getting the sound of a tune's chord progression in your ears is vital to getting your head out of the way and letting your ears do the driving." To that end Ed advocates building a "chord line" chart. This is a process that works for all jazz musicians, not just bassists. For years I advocated that all jazz instrumentalists learn to play a walking jazz bass line on their instruments. This helps students develop a melodic but simple bass line for single voice instruments (like trumpet and sax, not guitar and piano) to learn to "comp," helping the soloist in the improvisation class know exactly where he/she is with regard to the chord changes and the form of the tune. (You can even pair like or different instruments up, to take turns soloing and comping - helping the soloist to keep his place in the changes, and the form, without having to read the tune from the music stand.) It is even possible to teach drummers to do this, first with the form, then by playing snare drum phrases in imitation of the melody or common riffs associated with the tune.<br /><br />Ed's first chord line chart is based on the changes to "September In The Rain," a very typical 32 bar tune and a very good choice to illustrate his points. The only thing I missed from Ed here is emphasis in delineating the form of the tune, in this case a 32 bar chorus with AABA form. Since the 32 bar song forms are completely foreign territory to today's youth it would behoove the jazz teacher to spend some time on this subject. A "fifth" item to emphasize in addition to the chord line would be the form. I have my jazz students use a 8 column, 4 row table, 32 cells, one for each measure and its chord changes, to notate the chord line. This graphic representation makes the "blocks" of the tune's harmony easier to visualize and remember.<br /><br />Another thing I would add is for all bassists to reach a level of simple jazz theory to be able to play chords on the piano or keyboard. Hearing the changes and the ability to "pre-hear" where the tune is going is something every bassist will need to "let your ears do the driving." I guess that some would argue that jazz theory and "jazz keyboarding" be taught elsewhere, perhaps in other classes. The benefit of the bass teacher teaching these is self evident - no one can teach what the harmony and form structure of a tune from the bass- perspective to the bass student better than the bass player himself.<br /><br />Ed's sound on bass in the accompanying CD has just the right mix of "ping" and "ring" and is a great recorded sound to emulate. He also spends considerable time on the "drive," or sense of propelling things forward that a bassist (and drummer) must develop when playing mainstream jazz. The second half of the book is complete transcriptions of Ed's lines on the CD. I will recommend it to students as a first book to assimilate when working on a great walking technique and "feel." This is a great book and a necessary one for all bass players in the learning mode (including older students). (Ed, if you read this please get in touch. bighinx@gmail.com)Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com3tag:blogger.com,1999:blog-3796284580436495910.post-3463662209634449222007-12-14T09:35:00.000-08:002007-12-14T09:39:26.900-08:00Tony Bennett, "The Music Never Ends"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsGlnKgqNYi5TkcrV1Pi-hjGJ8DzsZeNREdtArJuQrOQW1i1nZCzi5F2xVXnxbC8ka80IlH0z5oRI9ZsP91dZitRr6FjVqcsT_aPgkl-nu-1mUT1XcqSWdPa5m7BLpjcmNNOelfHYqR4/s1600-h/Tony-and-Bill.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsGlnKgqNYi5TkcrV1Pi-hjGJ8DzsZeNREdtArJuQrOQW1i1nZCzi5F2xVXnxbC8ka80IlH0z5oRI9ZsP91dZitRr6FjVqcsT_aPgkl-nu-1mUT1XcqSWdPa5m7BLpjcmNNOelfHYqR4/s320/Tony-and-Bill.jpg" alt="" id="BLOGGER_PHOTO_ID_5143884102588545826" border="0" /></a><br />"He played like an ocean in a storm," says Tony Bennett about Bill Evans in this 2007 retrospective about Tony's career on the PBS TV show, "American Masters, The Music Never Ends." When this show airs on your local PBS station make sure to have your Tivo, DVR, DVD recorder, computer, or VCR in the record mode as you will be treated to segments of Bill and Tony's appearance on the Johnny Carson Tonight Show as well as some notable footage of this country's greatest singing artist.<br /><br />If you don't have the two Tony Bennett/Bill Evans collaborations you need to get them. The most memorable track to me is Tony singing Bill's "The Two Lonely People." Of all Bill's tunes this one is the perfect torch song with fantastic lyrics that beg to be sung. Also the tune, "The Bad And The Beautiful" makes a rare appearance and is sung very well here by Tony. Both CDs are available from Amazon and the usual sources.<br /><br />Tony is always gracious and respectful to the Great American Songbook as this show pays homage to all of those who have gone down his path, from Jimmy Durante to the "chairman," Frank Sinatra. The production is directed by Bruce Ricker who at one time, produced the largest catalog of jazz videos available under his Rhapsody Films label. Clint Eastwood acts as sort of an anchor and probably paid the tab for this production. Tony needs no prompting in talking about his career and paying homage to the greats of his art form. In many ways the art of singing great songs is sort of dying and I hope this production will be the spark that prods others to continue along this road less traveled.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com1tag:blogger.com,1999:blog-3796284580436495910.post-36719700189518295382007-12-11T04:53:00.000-08:002007-12-11T05:05:21.842-08:00Pianist Dave Peck<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_qXldvRBJa-DbN_jyrBJd8twEC9LVhBPtvKa7TRByrVBr77Y4r3FAnqSZjUQLmgeowFTdw0M42mL_dh_Nbj-q1mx-ep7Z_mwmCqazZNtgegMaJLNL8thwlN7_EKkYGDs7imRoxUUQMPs/s1600-h/Dave-Peck-Pic.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_qXldvRBJa-DbN_jyrBJd8twEC9LVhBPtvKa7TRByrVBr77Y4r3FAnqSZjUQLmgeowFTdw0M42mL_dh_Nbj-q1mx-ep7Z_mwmCqazZNtgegMaJLNL8thwlN7_EKkYGDs7imRoxUUQMPs/s320/Dave-Peck-Pic.jpg" alt="" id="BLOGGER_PHOTO_ID_5142698499494121490" border="0" /></a><br />I first became aware of pianist Dave Peck some 15 years ago. His music making has a magic, understated quality reminiscent of Bill's early playing. That magic has continued to grow over the years and recently I had the privilege to hear him play again. Two cuts from his new CD release, "All of You" and "How Deep Is The Ocean," as well as a short interview with veteran jazz broadcaster Jim <span class="misspell" suggestions="Wilek,Wilkes,Walker,Wile,Walk">Wilke</span> are available from <a href="http://www.npr.org/templates/story/story.php?storyId=16627111">NPR station <span class="misspell" suggestions="KP LU,KP-LU,PLY,KP,PL">KPLU</span></a> in Tacoma WA. Please do you ears the favor of listening to Dave's trio with Jeff Johnson on Bass and Joe <span class="misspell" suggestions="Barbra,Barbara,Laborer,Barberry,Labourer">LaBarbera</span> on drums. The altered space that Dave plays at the start of "All Of You" as well as the great trades between the pianist and Joe <span class="misspell" suggestions="Barbra,Barbara,Laborer,Barberry,Labourer">LaBarbera</span> in "How Deep . . ." will be a pleasant experience for your ears and soul. I really look forward to hearing the rest of the CD. I also hope that this trio can have the opportunity to play together as often as possible - they are capable of some very serious music and I welcome it. If you cannot find Dave's recordings in your local music store go to <a href="http://www.davepeckmusic.com">www.davepeckmusic.com</a>. Your ears will thank you.<br /><br />Also check out <a href="http://www.kplu.org/listen_now.html">KPLU FM jazz streams</a>. Living in an area with no real jazz programming I constantly search the web for high quality streaming jazz. Two stations really stand out as programing quality music and good fidelity,<a href="http://www.wgbh.org/">WGBH FM</a> in Boston (where I'm moving to) and <a href="http://www.kplu.org/">KPLU FM</a> in Tacoma WA. <a href="http://www.wbgo.org/">WGBO FM</a> in Newark NJ plays some great music but unfortunately the bad quality of their stream makes it unsustainable.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-51116748581591119352007-12-06T15:13:00.000-08:002007-12-06T15:21:31.479-08:00New Mark Levine Publication<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeL9hZH7TBdyahT0DyTllQhT94onP3_etI61GVMNGo_W6dWSvosheiAFEp9xAY-ZDh4_yGk5rfA1GiMLMgudkJlLZaKEx2eIWWqKL_Gb_D4Iw4QkYO6PmZA3kIIJd9xmci36NdqVK0sGI/s1600-h/levine.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeL9hZH7TBdyahT0DyTllQhT94onP3_etI61GVMNGo_W6dWSvosheiAFEp9xAY-ZDh4_yGk5rfA1GiMLMgudkJlLZaKEx2eIWWqKL_Gb_D4Iw4QkYO6PmZA3kIIJd9xmci36NdqVK0sGI/s320/levine.jpg" alt="" id="BLOGGER_PHOTO_ID_5141003860017942530" border="0" /></a><br />Pianist-educator Mark Levine has written another in his series of great piano publications, "The Drop 2 Book" available from Sher Music Co. www.shermusic.com. Drop 2 is a simple method in which a closed right hand voicing of the chord with the melody note in the top can be opened up for a different sound. The second note of the closed position voicing is dropped an octave. There can also be "drop 3" but drop 2 is the more common choice preferred by pianists and jazz arrangers. The book isspiral bound so it sits flat on your instrument and there is an attached CD with recordings of each example in the book.<br /><br />"Chording" the melody of a tune, or the improvised melody for the more adventuresome, is a very common tool of the jazz pianist. Pianist George Shearing based his whole style on it. When Bill Evans was age 16 or so he went through a George Shearing period of practicing everything in a single or two handed chordal style. It's a fantastic way to really learn the harmony of a tune and applying it directly to a melody.<br /><br />Mark starts with a sixth-chord approach on the chord tones and a diminished chord on passing tones. Then he gradually takes the user through "tweaked" versions of the chords to add different colors. Then the major seventh chord approach is explained and applied, giving a more modern like sound. The "tweaked" options become more plentiful and more demands are made upon the user to decide for himself if the resultant color is appropriate for the tune being played. The user may end up with fourth based chord voicing which is another technique, arrived at circuitously here.<br /><br />To summarize, this book is a lot of fun to go through and can prove to be an invaluable step in developing a style vocabulary for the jazz pianist. Highly recommended.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-88469656078534668992007-12-06T15:02:00.000-08:002007-12-06T15:13:02.439-08:00My response to Jan Stevens plugJan,<br /><br />Thank you for a great write-up of the <b>Letter From Evans </b>free availability on your web site, <a href="http://www.billevanswebpages.com/">The Bill Evans Web Pages</a>. It is very well done. The server where the pdf's are located has had a few problems in the past but it seems to have been upgraded recently. I think the download capacity is enough to handle those who want to download the publication.<br /><br />When I first published <b>LFE</b> I was pigeon-holed by Orrin Keepnews and a couple of others as starting a "fan magazine" - Keepnews has always considered <b>LFE</b> to be only a "fan rag" and nothing more. Of course, I wanted it to be more and to some degree, I was successful in communicating to others my deep respect for Bill, his family, and my commitment to his music. Thank you for continuing to devote your personal time to "keeping the flame alive" with your comprehensive website, the one constant beacon of Bill's effect on you, and giving others the valuable information that we all seek to continue our search for the poetry, the sensitivity, the powerful personal way of swinging that Bill pursued.<br /><br />We both know how scary it is to let oneself get so inextricably attached to one artist who said so much and continues to reach all sensitive musicians with his many recordings. Bill's magic continues to reveal itself on the umpteenth listening of the standard repertoire of his recorded output such as the all too few LaFaro-Evans-Motian tracks. Each time I listen I hear some new magic in the unique communication and role-playing explorations that Bill and Scotty made on those sides. When listening I might be reminded of a particular musical avenue that the trio took which I want to explore even more deeply. We each try to speak our own mind when we play this fantastic art form called jazz but sometimes Bill's powerful musical statements will consume our ears, hearts and minds, exercising a control on our personal music making. Sometimes that ethereal life-force of Bill's magic can consume us in all of life's roles. Some (perhaps our shrinks and maybe our family) might think this to be a dangerous pursuit. It is, and we both know that occasionally we must stand outside ourselves, examining the effect of this powerful force on our personal lives, in order to swim up to the surface and take a breath of reality, lest the force totally consume us. But, I think this power Bill holds over us has been good - it drove me to produce <b>Letter From Evans</b> and it continues to drive your wonderful web site.<br /><br />Along this magical Bill Evans "Fun Ride" my wife and I met a couple who were ardent <b>LFE</b> subscribers on a trip to California. I'll call them "John and Marsha" here. John was an amateur pianist and stricken with the "Bill Evans Force." My wife and I were having wine and some snacks at their place on the northern California coast as they put us up for the night. We were talking about Bill, listening to particular tracks and inevitably the tune "My Foolish Heart" came up in our conversation. Recently I was listening to WGBH-FM in Boston on there website - There is a jazz DJ show called Eric in the Evening - Eric played the Bill Evans cut of "Young and Foolish" (with Sam Jones and Philly Jo Jones) which is played the way Bill performed "My Foolish Heart" - an extremely slow ballad where the tempo is so slow that all forward motion seems to be in some alien time zone. The challenge in playing at those slow tempos is to keep the energy happening. Bill was an expert at that - it is a jazz skill challenge that few contemporary players can meet. First John went to his piano and started to play the opening notes. He stopped after about 3 measures and found one of Bill's tracks of this tune on his stereo and played it, of course it silenced us all. After the track finished John whispered something to his wife and left us to be by himself in another part of the house. Marsha later explained to us that John had been fighting the early stages of what might turn out to be Alzheimer's Disease. The music had grabbed hold of John's brain and would not let go. It immersed him in the music so much that he could no longer communicate with the rest of us on this planet and needed to be by himself for a while.<br /><br />When I see any reference to "My Foolish Heart" I am immediately in church and this tune is a hymn. It may be paradoxical to some jazzers who are used to taking any tune and making it fair game to do it in any way or style. I am sorry but tradition is just too strong for this tune. There will be no no "My Foolish Heart" cha-chas, mambos, meringues, or screaming up tempo shouts. What would Billie Holiday do? It's at the opposite end of the tempo spectrum of say a Charlie Parker version of "Cherokee," or "The Song is You." The only way it can be done is a death-ballad, slower than your heart beat while sleeping, maybe the same tempo if your were in a coma. Like I said before, no one is playing those slow hot wind tempos any more, and that makes it even more important to carry on the tradition, keep the flame burning.<br /><br />When I was publishing LFE Bill's hold on me was similar to John's predicament. I needed to stop and "come up for air" in order to keep myself sane, personally, and for my family. But I am glad that I did get so personally involved with the "force" and I want to share that experience with others, hence my action of making the publication freely available to all who want it.<br /><br />Recently I was playing bass with a keyboardist who categorized himself a "jazz musician" and proceeded to play "My Foolish Heart" as an up-tempo vocal. After about 4 measures I just quit playing and let him and the vocalist attempt to finish by themselves. Naturally, the vocalist found it difficult to squeeze all the lyrics into the reduced time and she quit singing after about an 8 measure attempt. Due to my preconceived perception brought on by Bill Evans I could not render, nor contribute to that questionable musical endeavor. The keyboardist called me again but I found an excuse not to work with him again. It was a bad experience I want to forget but it made me realize just how much Bill's take on things affects me.<br /><br />Thanks again, Jan.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com2tag:blogger.com,1999:blog-3796284580436495910.post-58701729160107031012007-11-21T08:48:00.000-08:002007-11-21T08:51:53.353-08:00slight changeDue to a server issue the LFE pdf files need to be downloaded with the following URL -<br /><br /><a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www2.selu.edu/orgs/34skid/html/3.pdf" target="_blank">http://www2.selu.edu/orgs/34skid/html/3.pdf</a><br /><br />where "3" is the number of the issue you want to request, 1 through 26.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-80658605724624748132007-11-18T15:05:00.000-08:002007-11-18T15:11:48.438-08:00Forgot to add something important. I will accept any donation for the copies of <span style="font-weight: bold;">LFE </span>should you feel so moved. My address until Dec 14 is 19866 Century BLVD, Apt. 103, Germantown, MD 20874. Thank you. You are welcome to make comments and I have the opportunity to read them.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-711404698472891232007-11-17T20:33:00.000-08:002007-11-17T20:48:10.074-08:00LFE now available for freeI know it has been a while since I posted anything - hope to be a little more regular in posting in the future.<br /><br />I have made available, for free, all the past issues of <a href="http://www.selu.edu/34skid/html/1.pdf"><span style="font-weight: bold;">Letter From Evans</span></a> at my old SELU website. Just go to http://www.selu.edu/34skid/html/1.pdf where 1.pdf can be 1.pdf through 26.pdf corresponding to each of the 26 issues. The redone version of the "Midnight Mood" transcription will be uploaded to the same site by next week. You can get the free pdf reader at adobe.com.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-69842711568598744482007-06-25T14:48:00.001-07:002007-06-25T14:55:16.963-07:00Great Review of BE Sunday at the Village Vangard <br /><br />Just read a great <a href="http://100greatestjazzalbums.blogspot.com/2006/03/sunday-at-village-vanguard-waltz-for.html">review</a>. The author also mentions another great Evans recording "Serenity" which to my opinion is also deserving of the "100 Greatist Jazz Performances " especially the first track "Re Person I Knew." Check both out. <br /><br />(note to whomever - whenever I type in a title or label for the blog post it comes out in the Farsi language. That is why I let it default to the date.)Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-41750846373522415312007-06-07T13:18:00.000-07:002007-06-07T13:34:38.327-07:00First, thanks to <a href="http://mwengerd.blog.usf.edu/2007/06/05/but-this-one-goes-to-eleven">Matthew Eli Wengard</a> for his links and kind words about this blog. Be sure to check out his <a href="http://mwengerd.blog.usf.edu/2007/06/05/but-this-one-goes-to-eleven">blog</a>. Also Matthew maintains a jazz calendar for the city of Tampa and other city/counties in West Central Florida. That kind of work is difficult and thankless, but necessary. There are some great jazz musicians in Florida and if you are in that area check 'em out.<br /><br />I have completed a lead sheet to "<a href="http://docs.google.com/Doc?id=dd2jn77t_79gdwt4w">Spartacus Love Theme</a>" as played by Bill Evans, most notably on the "Conversations with Myself" album where he overdubs himself for three tracks of simultaneous wonderful music. This recording needs to be re-issued and remixed as the existing version has some very strange emphasis on parts of Bill's playing that are more accompaniment than the solo line. It was probably one of those situations where Bill, for reasons unknown, did not participate in the mix down. In spite of that it remains a tour-de-force of great music.<br /><br />When Bill performed "Spartacus" he added a lot more that was not in the original Alex North score as well as altering the original melody somewhat. The lead sheet takes that into consideration and, at the same time, I try to simplify the basic premise of the "tune."<br /><br />Sorry about the poor music notation but I have a love-hate relationship with Finale 2006 and right now it's "hate" as I could not find a way to simply change the time signature in the lead sheet template.<br /><br />Pianist <a href="http://www.kennedy-center.org/programs/millennium/archive_month.cfm?month=2&year=2003#">Steve Strunk</a>, (video performance link halfway down screen) whom I knew at Florida State University some 35 years ago and who now teaches at Catholic University in DC is part of a four piano team, <a href="http://www.skymind.org/jpc/jpcindex.html">The Jazz Piano Collective</a> that regularly performs arrangements and transcriptions from "Conversations" and the follow-up recording "Further Conversations." Pianist <a href="http://music1.uoregon.edu/About/bios/larsons.html">Steve Larson</a> of the University of Oregon has transcribed several of the "Conversations" for performance by the group and hopes to complete the "Spartacus" transcription in late August.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com4tag:blogger.com,1999:blog-3796284580436495910.post-5359698094091284932007-06-04T08:14:00.000-07:002007-06-04T08:18:01.085-07:00"Midnight Mood"<br />I mentioned in an earlier post about finding someone with a good music notation program to re-enter the transcription of "Midnight Mood" from the "Alone" album done by Art Tofanelli in my former print publication, "Letter From Evans." It's a great transcription and has not been published anywhere else. Art did not have a music notation program at the time so he altered a CAD application which he used in his day job for music. The music is quite readable but would look a whole lot better in standard notation. The <a href="http://docs.google.com/Doc?id=dd2jn77t_32fvkv6j">first page</a> can be viewed <a href="http://docs.google.com/Doc?id=dd2jn77t_32fvkv6j">here</a>. send me an email if you are interested in doing the work for the Bill Evans cause. The only remuneration I can offer is your name as a music preparationist on the music itself as well as the tremendous satisfaction of doing something worthwhile for the Bill Evans community.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com3tag:blogger.com,1999:blog-3796284580436495910.post-16771204200713812022007-06-02T14:37:00.000-07:002007-06-02T15:13:21.711-07:00The Sound Check - When the Presentation Obscures the Performance.<br />You never know who's listening out there. <br /><br />Disclaimer:<br /><br />As a musician myself I certainly understand the difficulties of getting gigs and making music. But the following situation shows that some complications of presenting the music can be avoided if we all were more aware and listened to our surroundings. I am very lucky to tour with a sound engineer with great ears and good sense. The engineers at this event may also have had that expertise - we'll never know for sure. <br /> <br />I recently had the opportunity to listen to the Ravi Coltrane Quartet play a sound check and was astounded at how the "presentation machine" of sound reinforcement engineers and the musicians themselves prevented the music from happening in a unique acoustic environment. Their inability to come to a consensus on how to present their music in a different venue than they are used to prohibited the art from happening - to the point that I stayed away from the concert knowing that I could find better music in my home or in my head that evening than attending that concert.<br /><br />The sound check was billed as a "workshop" for student musicians to attend and be introduced to a professional jazz group and perhaps learn something about the presentation and performance of the art of jazz. Of course, it was just a sound check, four musicians and three sound reinforcement engineers playing on unfamiliar rented instruments, microphones, sound mixers, auditorium speakers, six stage monitors for four musicians, (with the exception of Ravi Coltrane's saxophone) all trying in vain to get accustomed to the instruments or electronic machines and the sound they produce individually, how the acoustic of the venue either enhanced or curtailed the various colors and dynamics of each player as then perhaps investigating how they might put these newly altered skills together as a group to make the music they are used to making in other venues. All of this took place two hours before the appointed concert time, probably because they just flew in from another venue. <br /><br />Did it work? Were they able to make adjustments, put the right mix in the monitors, use suitable microphones for the idiosyncrasies of the room, eliminate any feedback or unwanted vibrations from occurring either in the sound system or acoustically on the stage? No. They didn't even come close and the music, musicians, and especially the audience suffered. <br /><br />First, the hall was very small, a neighborhood community-center auditorium designed as a large acoustically-live living room, seating no more than a hundred people. The facility is new and usually has worked very well for small ensembles. The stage floor is wood without a concrete base and does have some resonance of its own which might be desirable for small choral and dance presentations but can produce some spurious, unwanted feedback with instruments, acoustic or amplified. It was amazing that none of the participants on stage noticed that the facility was designed for un-amplified performances. The sound crew had loaded enough amplification apparatus to fill an acoustically dead hall ten times that size and it sounded like they had started with that assumption - mic everything and put everything into all the six monitors, as well as the large house system. Sometimes I think that sound crews get paid by the pound, considering the weight and size of the stuff they bring into a venue. <br /><br />The Instruments:<br />The piano was a small grand, the action a little stiff but still a loud instrument even in such a small room. The sound crew solution, open the top all the way, use two very sensitive condenser mics, one about a foot away from the action section of the instrument and another about a foot away from the lower, longer bass strings of the case. The result? They made a decent sounding Yamaha instrument sound like something much less, amplified way out of proportion to the room. The mics also picked up reflected sound from the stage and from the wooden top of the piano making for some real problems.<br /><br />The bassist, Drew Gress, usually a sensitive musician very attuned to the tone of his instrument and how it is perceived by the listener, was using one of the cut down, portable basses which are designed for airline travel rather than tone quality. The bass tone was none existent, sounding like a badly set up Chinese instrument you might find in a public school. The instrument had no real bottom to the sound and almost no sustain in any register. The sound was thumpy, metallic and non-descript. <br /><br />The bass amplifier was the ubiquitous Gallien-Kruger MB-150-112, known for its small size and ability to give a natural sound at low levels, perfect for the double bassist to use as his personal monitor and sometimes provide the only needed bass amplification on stage and for the hall. However, this GK was fried. One of its previous users had pushed it past its limited capabilities and the cone of the speaker had become separated from the coil, producing that sizzling, small sound one might get out of an old fashioned radio when played too loudly. The technical term is "clipping," a raucous distortion that is absolutely unwanted in an acoustic band. <br /><br />The poor sound of the GK was directed by means of a line output into the house mix and also into the various monitor mixes around the stage, making for unwanted feedback of a horribly clipped, distorted, poorly created bass tone. Eventually the sound engineer removed the bass from the monitors but the house level remained to be too much for the room. <br /><br />The drum kit was a standard Yamaha set, with the heavier plastic heads preferred by rock and roll drummers. The snare, tom toms, and cymbals really had no color of their own and seemed incapable of producing the various colors needed for a good jazz performance. The drummer didn't even attempt to get various colors out of the cymbals by playing closer to the crown or taping the bottom, or anything else. He didn't seem to be bothered by the colorless, noisy monochromatic plastic sound except that he did fill the bass drum with a rag that helped stifle it a bit, more in keeping with the ideal jazz bass drum sound, barely felt and not at all over-powering. The tone of the ride cymbal was the same as the crash cymbal, boring noise. I don't think the drummer even brought his own cymbals. <br /><br />The drums themselves were amplified with a snare drum mic, two Shure SM 41 condensers overhead, mics noted for a good overall pickup of the upper and mid registers but at the price of having a very low signal-to-noise ratio. The bass drum was miced with some sort of bullet shaped mic, as if the bass drum needed to be miced at all.<br /><br />The drummer himself was not to be forced into playing at any softer level then he was used to, in spite of the extremely live acoustic. He must have assumed the it was up to the sound reinforcement guys to bring everyone up to his noisy dynamic level, which was way too loud for the room. He only tried brushes once on a ballad but seemed very anxious to get back to his sticks. If ever there was a room that required constant use of brushes or sticks played very lightly, it was this one. This fact was totally ignored by the drummer and the sound men. Good drummers, when confronted with this situation, will alter the drums to produce a wider dynamic range and rainbow of colors with which to accompany others in the musical demands. The cymbals can be taped, the drum heads muffled with a rag stretched over the head, and the player can play with his hands on the various surfaces instead of sticks, using the high hat in creative ways, or just playing the on the stands that hold the cymbals. This drummer was simply not interested in doing any of that, at least at the sound check. <br /><br />Ravi Coltrane was amplified by a very sensitive mic directly in front of his horn. It was better when he turned away from it as it brought out the the worst of his sound and individual tone color. The sensitivity of the mic and high level also produced a lot of unwanted feedback as the other instruments bled into it. Ravi has a beautiful open sound on the tenor which sounded great before they turned the mics on. <br /><br />What Should Have Happened.<br /><br />Several years ago I heard the Phil Wood Quintet play in a slightly larger venue but with the same resonant wooden floor and similar sound reinforcement attributes. About 5 minutes into the sound check, Phil stopped everything, told the sound crew to unplug all microphones and leave the stage. Then, just to be sure, he asked that all sound electronic components be turned off, except for the small bass amp, trusting his acoustic-minded bassist, Steve Gilmore to use judicious amplification. Drummer Bill Goodwin is the kind of drummer who can produce enormous amounts of needed energy within a soft dynamic. Phil announced the tunes without a mic from the stage. It was a beautiful concert and the audience was very attentive and appreciative. <br /><br />The Ravi Coltrane sound check that I heard was so bad that I had no need to attend the concert that evening. That decision was further substantiated by the choice of tunes. <br /><br />Ravi's Choice of Music<br /><br />Having looked up Ravi's history online I was quite gratified to see that he is doing his own thing rather than trying to mold himself into some kind of legacy of his father. He was two years old when John Coltrane died and never knew his father except through his music. Most critics say that his sound is more like Joe Henderson. However, I detected a searching quality in his soloing that is definitely more Coltrane than Henderson. The band only does one of the traditional Coltrane tunes - a 5/4 version of Giant Steps which was one of the tunes the band warmed up on and not very well I might add. Specifically the piano player was really not making the changes, choosing to sort of play free over the changes, rarely synchronising with the chord changes. "Giant Steps" is a bebop tune, period. It has complex changes and that is one of the challenges of playing the tune. If you aren't up to the challenge then don't play the tune. <br /><br />It was interesting that there was a young jazz musician in the audience who asked, after they had played "Giant Steps," with no announcement, if the band played "Giant Steps." Ravi replied that "we already played it, but we'll play it again." The young student frantically looked through his book of tunes for his lead sheet sheet on "Giant Steps" and tried to follow along. The expression on the students face was amazing - he could not recognise the tune from what they played. I could tell roughly that the changes were "Giant Steps" but in a strange meter. I figured it out finally, sitting in my seat, a few moments after the second playing. They were playing it in 5/4 alternating the 2 and 3 accents on different sections of the tune. This was verified after the sound check was over when I went up to talk to bassist Drew Gress. It's too bad that Ravi didn't take the time to explain that fact to the audience, especially that young student. <br /><br />I was also bothered by the other tunes the band read through. All seemed to be composed by Ravi and consisted of non-functional chord changes with an angular, melody designed to never to be singable, at fast tempos. All of the players had to read the tunes from a music stand, except for Ravi but he had a music stand in front of him anyway. It bothers me that Ravi expects his musicians to play decent jazz while reading a tune in front of a live audience. In going over one tune, the bassist had to stop and check on a section of the tune that was not jiving with what the piano player was playing. It turned out that they had different versions of the chart, the later version having a section repeated that wasn't in the previous one. What is so disappointing is that they had planned to play that tune for the concert that evening. No one seemed to have knowledge of the tunes under their fingers yet except Ravi, the composer, and the drummer who did not use charts and I assume chooses not to read music. <br /><br />Actually the drummer had the right idea. How can one play jazz solos on a tune he still has to read on the gig? I'm a firm believer that a player must "internalize a tune" (with homage to bebop Guru David Baker) before soloing on it in front of an audience. Many times I have been asked to solo on a tune I was not totally familiar with and I usually declined, letting someone else in the band more qualified than I solo on the tune. Sometimes it pisses off the leader and I may have lost work because of it but that's my story and I'm sticking to it! I can always play great music by myself in my living room. <br /><br />In closing I hope these guys can get it to together. I loved Drew Gress when he played with pianist Fred Hersch. He was using a familiar bass and amplification system and never over-powered, always getting a beautiful warm personal sound. This was not the case with Ravi's band. The band had another date in West Virginia then were going on to a 9 day tour in Brazil, then back to New York. I don't know what venues they will encounter there but I hope they listen more to what is going on with the room and make the adjustments necessary, even if it means dismissing the sound crew. <br /><br />I worked a sound reinforcement contract for the National Flute Association, in between my music and teaching dates. There were over a hundred sessions in the designated hotel, each with sound reinforcement requirements. One was the great flutist Jimmy Walker who works in the studios in LA. He was playing a new concerto for flute with a 60 piece local pick-up symphony orchestra. I placed a mic on stage with a switch for announcements, well in-front of the orchestra and made sure it was turned off. Then I placed a high quality Neumann mic about 7 feet in front of the soloist. At the rehearsal sound check, I walked around the large square room and found that Jimmy's sound was so strong it penetrated to the back row, even when the orchestra's percussion and brass section were pumping it out. After the rehearsal I told Jimmy that I was leaving the solo mic on stage just for looks only - the cord was not even plugged in to the sound system and that his sound was projecting fine to the back row. He gave me a knowing nod and said "fine." Later that evening after the concert members of the audience came up to me and complimented on how "natural" the sound was and how great the balance was between the solo flutist and the orchestra. One guy asked "what kind of microphone did you use - that was great." I just smiled and told him the model of the unplugged mic. The board members of the association later told me that sound was great for the entire conference and the best that had used so far. <br /><br />Sometimes no amplification is the best amplification.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com4tag:blogger.com,1999:blog-3796284580436495910.post-11999924711471086322007-04-12T05:49:00.000-07:002007-04-12T13:31:22.704-07:00Non-Music post - Yuri Gagarin AnniversaryNon-Music post - Yuri Gagarin Anniversary<br /><br />Occasionally I'll do a non-music, non-Bill Evans post. This one is a little auto-biographical. Please ignore if you don't care for it. Bill Evans' mother was Russian and his early exposure to music was at a Russian Orthodox Church in or near North Plainfield NJ.<br /><br />Today is the anniversary of Yuri Gagarin's trip to space, the first person to circle the Earth in orbit. See stories <a href="http://news.google.com/news?q=Yuri+Gagarin&hl=en&um=1&sa=X&oi=news&ct=title">here</a>.<br /><br />I was thirteen years old on April 12, 1961 in the eighth grade attending <a href="http://www.evanshs.ocps.net/">Maynard Evans</a> (no relation to William John Evans) Junior/Senior High School in Orlando FL. That evening I was listening to short wave broadcasts and happened to have the family reel-to-reel tape recorder (which my mother had on hand to record her organ and piano playing in order to become a "pop music" musician) nearby when the English language version of Radio Moscow was broadcasting the news of Yuri Gagarin's successful orbit. I immediately put the machine into record mode and placed the microphone near the radio speaker as the station started to play a recording of Yuri's first words from space, simultaneously into English.<br /><br />My adrenalin shot through the roof as I listened to the four minute segment over and over, imagining myself in the cockpit of the first real spaceship. I was very much into things scientific at that age and kept myself occupied for hours listening to short wave radio from far away places such as Quito Ecuador, Havana Cuba, the BBC, and especially Radio Moscow since it was in the middle of the Cold War and the very idea of communist countries was a sort of forbidden fruit to a rebellious thirteen year old. Also I was a little weird in that I liked the strange whistles, static, and other short wave noises just as much as the strange languages and voices - maybe that was a precursor of my future interest and commitment to music. <br /><br />On the previous day in Mr. Barber's Civics class, it was show-and-tell-news-item-day and I was unprepared as usual. Mr. Barber had really made his disappointment with my unpreparedness known to the entire class as well as to me personally. I came up with the bright idea of taking the tape I had made of Radio Moscow to class to play as a belated completion of the assignment.<br /><br />I guess I had developed a sort of empathy with John Barber as he was the most rotund faculty member at that time and I had a propensity to be rather large myself. My only saving grace was that I'm tall and John Barber was only medium height and his rotundness was more noticeable.<br /><br />When I arrived at school that day I did a little preliminary leg work during home room. I chased down the location of the Audio-Visual room and affirmed that I could use one of the school's <a href="http://www.retrothing.com/2006/09/3m_wollensak_t1.html">Wollensak</a> tape recorders for a project in fifth period, if I came and picked it up and set it up in the classroom myself. I convinced the AV manager that I knew how to use a take-up reel and thread the tape as the unit we had at home was similar.<br /><br />Fifth period came and I explained what I wanted to do to Mr. Barber. He was hesitant at first . Communism and anything from or about Russia was sort of a specialized "tabu" and reserved for the "Americanism vs. Communism" course which all students were required to take in the ninth grade. Also Mr. Barber was doubtful when I told him about the Russian man in space. The news had not sifted down to local print or broadcast media. I assume that any news from Russia was treated very gingerly by the American press because of the Cold War. The media probably felt obligated to wait for official government (U.S.) confirmation of such an outlandish news item.<br /><br />After I was given a hall pass by Mr. Barber to go get the Wollensak, bring it to the classroom and set-up the unit, the class was almost half over. I played the tape of a very garbled voice from far off outer space, speaking Russian, with accompanying English translation. The mellifluous female English announcer ended the segment with words to the effect that it was a great day for Mother Russia and that the great and powerful people of the Soviet Union were the first to put a man in space, showing the advanced stage of Russian technology over that of the U.S. Hearing the recording again thrilled me just as much as listening at home.<br /><br />The student's reaction was again, boredom-as-usual. Mr. Barber was supportive but skeptical of the validity of the event since it was a Russian broadcast. He used the remainder of the class time introducing us to the word, "propaganda."<br /><br />I went home with mixed feelings, not sure if I had earned the respect of fellow classmates, or more importantly, Mr. Barber. That same evening I listened to more short wave and especially the BBC. Around 10 PM I heard the BBC make a similar announcement about the Russian Cosmonaut. Finally, confirmation from another source.<br /><br />On the next day the morning paper, the Orlando Sentinel, had the Russian Cosmonaut's journey as front page news along with a picture of Yuri. That morning at school, needless to say, I had a big smile on my face. When fifth period Civics rolled around I was feeling pretty good. The student's response was the same but Mr. Barber gave me a nod, a wink, and said, "good job yesterday." From that moment on, Maynard Evans Junior/Senior High school took me a little more seriously and I gravitated towards a college prep curriculum. The eight grade was also the year I started beginning band, on trombone, which was to have an ever greater effect on me than the scooping the local media with the account of the first man in space.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0tag:blogger.com,1999:blog-3796284580436495910.post-26954688526521335752007-04-06T11:52:00.000-07:002007-04-06T12:02:58.407-07:00Been working on 2 tunes that Bill played and recorded, "Midnight Mood" and "Spartacus Love Theme." Spartacus seems to haunt my dreams each night lately, especially the Conversations (Verve) recording where Bill overdubs himself in three distinct tracks. Trying to decide just how much of Alex North's original score Bill absorbed and mutated into that performance. Trying to assemble a lead sheet of Bill's way of playing it.<br /><br />The Joe Zawinul tune, "Midnight Mood" and the "Alone" (also Verve) performance has been transcribed by Art Tofanelli in the old newsletter "Letter From Evans" very accurately but with a crude music notation system that Art devised himself from a CAD application. Need to find someone who has the time and patience to enter it into a modern music notation program. Sometimes I still confuse Bill's recording of this tune with that of "Up With the Lark" a similar waltz.Winson C. Hinklehttp://www.blogger.com/profile/12344645684605351734noreply@blogger.com0