Gigs: One Trick Pony Tonight; Seasonal Grille Tomorrow

A quick reminder to my West Michigan friends that I’m playing with Francesca Amari and band tonight and tomorrow night.

Tonight’s gig is from 8:00 to 11:00 p.m. at One Trick Pony in downtown Grand Rapids. If you’re from around here, you know where it is.

Tomorrow’s gig runs from 6:00 to 9:00 p.m. at the Seasonal Grille in Hastings, right across from the courthouse square. Address is 152 West State Street.

Besides Francesca and me, the lineup consists of Dave DeVos on bass, Bobby Thompson on drums, Wright McCargar on keyboards tonight at the Pony, and Mark Kahny on keys tomorrow night at the Grille.

You can count on good food and a good time. Make it if you can.

I Would Be a Sinner: Rich Lataille Alto Sax Solo Transcription

A couple years ago, while listening to WBLV (a wonderful West Michigan jazz radio station), I heard a tune by the band Roomful of Blues that put a smile on my face and set my insides to dancing. The title was “I Would Be a Sinner” from the CD Raisin’ a Ruckus, published in 2008 by Alligator Records. Predictably, I suppose, considering the name of the band, the tune was an F blues, and the alto sax solo by Rich Lataille was just perfect. I don’t know how else to describe it, and I’m not going to try too hard other than to say that Rich’s tone is beautiful, his technique is surgically clean, and his approach is passionate and smack on the money.

Here are all three choruses, transcribed for the alto sax. (Click on the images to enlarge them.) It probably needs no saying, but I’ll say it anyway: You’d do

well to pick up the CD, or at least download the tune on MP3. I’ve notated some of the important slurs and articulations, but I’ve by no means tried to capture all of them, and you’ll want to hear them. You’ll also want to check out the interplay between the alto and the bari sax in the second chorus, with the addition of other instruments in the third chorus. The counterpoint hearkens back to Dixieland bands in spirit, though the style is obviously different.

And that’s all I need say, other than that this is a great tune, and I hope you’ll enjoy playing it and listening to it as much as I do!

Gig Alert! November 4 with Francesca Amari at Seasonal Grill

The Seasonal Grille in downtown Hastings, Michigan, is a great place to eat, and if you’re a musician, also a great place to play. I’ve done several gigs there over the past year, and from the start I’ve appreciated the owner, Justin Straube, and his crew as people who genuinely enjoy the music, and who treat musicians well. Perhaps that has something to do with a mutual respect among artists, because the fare that Justin serves up is just that: culinary art. I continue to be amazed that food as superb as what you’ll find at the Seasonal Grille comes at such an affordable price.

But enough of my touting the Grille. Let me switch to talking up my friend Francesca Amari. I met her on a big band gig four or five years ago, and we’ve played together ever since as opportunity has presented itself. Francesca is more than a great vocalist and gifted national cabaret artist: she is also an engaging, well-loved performer who projects a wit and sweetness that are totally authentic. In a word, she shines. She loves her audience, her audience loves her, and as a bandmate, she’s just plain fun to work with.

So you see, you have lots of incentive to come hear Francesca and the band, including moi, at the Seasonal Grille two weeks from now on Friday, November 4. We’ll be there with a full rhythm section consisting of Dave DeVos on bass, Bobby Thompson on drums, and Mark Kahny playing keyboards. This is a more ambitious date for the Grille than the piano–sax duos that I normally do there. I’m pleased that Justin was open to my suggestion to bring in Francesca, who will be visiting Grand Rapids that week. This event will be something more than background music for diners, so I hope you’ll come join us. If you enjoy live jazz and show tunes, I can guarantee you a great evening.

Here are all the details in one compact call-out:

Francesca Amari and Friends

Place: The Seasonal Grille

Date & Time: Friday, November 4, from 6:00–9:00 p.m.

Phone: (269) 948-9222

Address: 152 West State Street, Hastings, MI (right across from the courthouse square)

The band will also be playing the previous evening, Thursday, November 3, at One Trick Pony in Grand Rapids. Downbeat for that gig is 8:00 p.m., and Wright McCargar will be filling the keyboard chair. That will be another fun night, so if you can’t make one, then make the other.

See you in two weeks!

Relocated: A Review of Ben Holcomb’s 2011 Storm Chasing DVD

With his newly released second storm chasing DVD, Relocated, Ben Holcomb has done a fabulous job of capturing the action out west during 2011, a banner year for chasers. I just finished watching the DVD with Kurt Hulst. That makes my third time, and I’ve only had the video for a week.

I much enjoyed Ben’s maiden voyage DVD, which shows highlights from his first three years of chasing. Relocated improves on that foundation. As its name implies, this DVD reflects Ben’s move from Lansing, Michigan, to Norman, Oklahoma, smack in the heart of Tornado Alley. It also demonstrates Ben’s development as a videographer and producer, as evidenced by the quality of both the content and the packaging. From laid back to intense to pure wow, the moods and dialog in Relocated cover a variety of situations a chaser is apt to experience; and the storms are always the star of the show, which is how it should be.

While I’m on that last subject, one thing I appreciate about this video is its conservative use of background music. I enjoy a certain amount of music for spice, but not a lot. Mostly, I like to hear the environmental sounds of the chase–the crack of thunder, swoosh of the wind, and clatter of hail; the spontaneous comments and interactions of chasers; even the road noise and the sound of the car engine. I want to feel like I’m there, and this video does that for me.

Anyone who knows Ben knows how passionate he is about chasing. He moved to Oklahoma to maximize his opportunities to chase tornadoes, and 2011 rewarded him with a bumper crop. The action starts on April 9 in Mapleton, Iowa, a day that drew a lot of chasers out for an early chase. This section ends with a neat synchronization of freeze frames with music. I won’t say more–you’ll have to see for yourself. I’ll just tell you that it’s clever and nicely executed.

A couple weeks later, on April 24, things appear to have gotten a bit hairy for the Benster out in Baird, Texas. As he trains his camera on a distant lowering, a vortex spins up in the field next to him, and it becomes clear that circulation is establishing itself directly overhead. Call me a wuss, but that is the kind of situation that would make me pee like an elderly aunt in a beer tent, and it evidently inspired Ben to lean plenty on the accelerator, all the while continuing to shoot video. The result is some exciting footage shot at uncomfortably close range, and for me it’s the adrenaline spike of this DVD. Don’t try anything similar at home.

The footage from the May 24 Oklahoma outbreak is outstanding. What more could a chaser possibly want? The Chickasha EF4 grows rapidly from a cone to a powerful stovepipe as it crosses the road and then moves past Ben’s position at a distance of perhaps three-quarters of a mile (just guessing here). The tornado continues to grow into a violent wedge with a collar cloud circulating around it like a monstrous merry-go-round, dropping lower and lower toward an immense dust plume that rises up to meet it. Remember I mentioned that this video packs wow-ness? Well, here is a prime example.

Next, Ben captures a spectacularly beautiful white rope-out of the Shawnee tornado, which crosses the highway, then more-or-less anchors in a field and attenuates into nothingness as debris drifts out of the sky, sparkling in the sunlight. The camera probes high up the side of the disintegrating rope funnel, all the way up to its juncture with the cloud base. Very nice.

The June 20 section, shot in Nebraska with J. R. Hehnly, is one I find a bit frustrating to watch because I missed the tornadoes myself by about an hour. Not Ben. He got great, ongoing footage of a cyclic supercell that kept popping out tubes one after the other. A high point, fairly early in this part of the DVD, is some fantastic multiple vortex action after the first tornado crosses the road in front of the vehicle and then intensifies. You see a gorgeous white cone with suction vortices pirouetting around its base, an elegant egg-beater. It’s my favorite scene in a DVD that’s full of great tornado videography, and I’m caught between admiring the storm’s beauty and wanting to bang my head against a wall. Aaagh! Sixty more miles…one lousy hour sooner…nutz. Bad for me, but good for Ben and J. R.

That’s it for the tornadoes, but Ben has sweetened the deal with bonus footage of the last launch of the Atlantis space shuttle. Right, that has nothing to do with storm chasing, but it was obviously a standout event for Ben, as it would have been for anyone. So why not conclude this 75-minute DVD with a personal glimpse of a historic moment?

Relocated is a thoroughly satisfying video that anyone with a jones for tornadoes and severe weather will enjoy. Be aware, though, that this is the real deal, a realistic and personal presentation of storm chasing as most chasers experience it rather than what reality TV has made it out to be. The camera is often hand-held by a guy who is either simultaneously driving or else trying to gain an optimal view from the passenger seat. That’s part of the package, and it makes for an honest and engaging production.

Purchasing Information
Purchase price for Relocated is $15.00 plus $2.00 shipping. For more information and to place your order, visit Ben’s site, where you can also buy his first video, My First Three Years, for the same price. Or save $2.00 when you purchase both videos together for just $28.00 plus shipping.

If you’re looking for some great storm footage to while away the hours from now until spring, buy this video. And no, Ben didn’t pay me to say that or to write this review. I took it upon myself to do so because Ben is a good friend, a passionate chaser, and a guy who puts not only expertise but also a considerable amount of heart into what he does. Which is why Relocated rocks, and why it belongs in your video collection.

One for Daddy-O: A Cannonball Adderley Solo Transcription

If you’re an alto saxophonist, at some point you’re going to have to go through Cannonball Adderley just as surely as you’ve got to deal with Charlie Parker. Cannon’s buttery tone, prodigious technique, and ability to consistently and flawlessly deliver solos of pristine inventiveness make him a foundation stone of jazz saxophone.

The transcription on this page showcases Cannon playing on “One for Daddy-O,” a Bb minor blues with a head written by his brother, trumpeter Nat Adderley. The feel is a cool, casual shuffle, with no one in any hurry to get

anywhere. Even as Cannon cooks with passion and dexterity for four bars in double-time, he somehow manages to convey a laid-back mood that makes it sound as if he’s lying in a hammock and will return to sipping his iced tea as soon as he’s finished.

“One for Daddy-O” is one of the tunes in the classic Adderley quintet album Something Else. When you give the CD a listen, check out the call-and-response between horns and piano in the head. Points of interest in Cannon’s solo include:
• Use of the G and D Phrygian dominant scales (mode five of the harmonic minor scale)–ex. bar 6, or the fourth bar into the first full 12-bar form; and bars 28 and 36, or the second and tenth bars of the third chorus.

• Rhythmic variety within an overall 16th-note double-time framework. There are places in this solo where you can hear Cannonball stretching the time like taffy, now speeding up, now slowing down, yet never failing to convey a sense of the underlying pulse. The only thing Cannon doesn’t do with time is lose it, even for an instant. It has been a challenge for me to try to capture in notation what he’s doing in some spots!

• Recurrent ideas–motifs, if you wish–that help to unify the solo. The walkdown to low Bb in bar 4 is a good example; you’ll find variations of it reiterated throughout the solo.

But enough of me talking. Time to get on to the solo. Click on the images on this page to enlarge them. And if you’d like to view more solo transcriptions as well as articles, video tutorials, and technical exercises, you’ll find them here.

I should add that I’m still not certain I’ve properly captured the rhythm of the very last two or three bars where Cannon winds things up. If it’s not spot-on, it’s close, and further listening will tell me whether I need to tweak that section or leave it be. Either way, I’ll remove this last paragraph once that final snippet is taken care of.  Everything else checks out. Have fun with it!

Video Tutorial #2: The Tritone Scale

A while back, I wrote a post on the tritone scale. For my second video tutorial, I thought I’d supplement that article with a brief audio-visual clip. Supplement is the operative word. Besides describing the theory of the tritone scale in somewhat greater detail and probably a bit more lucidly than the video, the writeup provides written examples for you to work with. But the video helps you hear the sound of the tritone scale, and in so doing, allows you to come at the scale from every angle.

People’s learning styles differ, so maybe this tutorial will be more your cup of tea. Regardless, if you haven’t read my written article, make sure to do so after you’ve watched the clip.

On a side note, the video was shot out at the Maher Audubon Sanctuary in rural southeastern Kent County, Michigan. I’m discovering a fondness for producing these tutorials in outdoor settings when I can. With winter closing in, my future productions will soon be relegated to the indoors; right now, though, nature is singing “Autumn Leaves,” and it has pleased me to capture a bit of her performance.

If you enjoy this tutorial, check out my Jazz Theory, Technique & Solo Transcriptions page. And with that said, enjoy the video.

Jazz Friday Night at the Seasonal Grille

Yikes–almost forget to mention, I’ll be playing tomorrow night (Friday, September 23) at the Seasonal Grille in downtown Hastings, Michigan. Come on out, drop a few dollars on dinner with your sweetheart, and take in a little live jazz. The Seasonal Grille is a fabulous place, and the food is not only outstanding in quality, but also just about absurdly affordable.

Paul Lesinkski will be joining me on keyboards. We’ve done a good number of piano-sax duos through the years; he’s a fantastic musician, a good friend, and someone I love playing with. You’ll like what you hear.

Here are the details:

The Seasonal Grille
150 West State Street
Hastings, MI
Time: 6:00–9:00 p.m.
Phone: (269) 948-9222

Hope you can make it!

Fourth Patterns with Altered Dominants

This post builds upon a jazz improvisation post I wrote a month ago titled Fourth Patterns: Three Exercises to Build Your Technique. That post gave you some quartal patterns to practice that took you around the cycle of fifths. While I pointed at the harmonic possibilities, I left you to sort them out for yourself. In this post, I’m providing a specific application by applying fourth groupings to altered dominant chords (V+7#9).

Click on the image to your left to enlarge it. The first thing you’ll encounter is a brief exercise that takes you through a fourth pattern moving by whole steps, first down, then back up. It’s a simple exercise. Once you’ve got it down, practice it starting on the note F instead of Eb; you’ll be using the same notes you’ve already practiced, but you’ll reverse the direction of the patterns.

From there, play the same exercise starting on the note E. You’ll now have a different set of notes. Finally, start on the note F#. Once you’ve worked that into your fingers, you’ll have covered all the possibilities.

Moving On to Application

The material you’ve just practiced is designed to help you develop technique specific to the application that follows. Now we’ll move on to that application, as indicated by the chords.

For each chord, you’ll find two groupings of the fourth pattern spaced a major second apart. Together, the two patterns contain the following chord tones: #9, b9, b7, +5, +4*. The patterns are arranged in eighth notes that resolve to a consonant chord tone, thus:

    •  In the first two bars, the b9 resolves to a whole note on the chord root.
    •  In the second two bars, the #9 resolves to a whole note on the major third of the chord.

I’ve written down the applications for six keys. I’m sure you can figure out the remaining six on your own, and you should. Don’t be lazy! You need to become familiar with all twelve chords. Moreover, I encourage you to experiment with variations on these patterns. This exercise will open up your technique for altered dominants–and other harmonic applications–but you should view it as a springboard for further exploration.

As is so often the case, the material I’m sharing comes to you fresh from my own practice sessions. It’s a chronicle of my personal learning curve, and I hope it assists you in yours.

If you found this article helpful, you’ll find many more like it on my Jazz Theory, Technique & Solo Transcriptions sub-page.

Practice hard, practice with focus–and, as always, have fun!

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* If you add two more tones–the chord root and the major third–you’ll get a complete diminished whole tone scale. In this application exercise, the whole notes use those two missing tones as resolutions.

Video Tutorial #1: The Augmented Scale

The time has come for me to kick it up a notch on Stormhorn.com with my first video tutorial on jazz. This one is on the augmented scale, a favorite of mine.

I feel a bit presumptuous taking this step, since I’m putting myself out in front of you, my musical readers, in a new way that suggests a high degree of expertise. The reality is, I’m a mostly self-taught saxophonist who lives in a rural, bedroom community of Grand Rapids, Michigan, where you can still drive just a few blocks to find plenty of corn and cows. That said, I know what I know. More important, I’m a perpetual learner, and I like to share what I’ve learned, often as I’m still in the process of learning it. This video tutorial represents my effort to offer you more value by, er, augmenting your learning experience. (Pun intended. Rimshot, please.)

In the Jazz Theory, Technique, and Solo Transcriptions section of my Jazz page, you’ll find a good number of written articles on the augmented scale, complete with exercises, to supplement this video. One thing they can’t do, though, is familiarize you with the sound of the scale. That’s where this tutorial comes in handy. I hope you’ll enjoy it.

Saxopedia: Introducing a New Saxophone Website

A few days ago I received a note from Italian saxophonist Gianfranco Balena informing me of his new website, Saxopedia. Having checked it out, I’m taking a moment to recommend that you do the same if you’re a saxophonist–or, for that matter, if you’re a jazz instrumentalist of any denomination.

Saxopedia is clearly a labor of love on the part of Mr. Balena, and it looks to be a site that will be regularly updated. Of particular interest is the index of jazz solos. Featuring links to over 1,000 free solo transcriptions that cover a huge array of well-known saxophonists, this is as exhaustive a compendium of solos for memorization and study as you’ll ever find. It’s a terrific resource, and you owe yourself a visit. Once you’ve been there, I’m betting you’ll return for more. I will, that’s certain.