Remembering “I Remember”: A Tribute to Phil Woods

My introduction to the magnificent alto saxophonist Phil Woods back in my music school days came in the form of a vinyl LP titled “I Remember.” I had been hearing of Woods’ lyrical approach and decided to acquaint myself with it. So off to the music store I went, and returned with the record album that was Woods’ tribute to some of his departed friends and musical influences–Paul Desmond, Cannonball Adderley, Oscar Pettiford, Charlie Parker, and others. The tunes, written by Phil, captured something of the personality and unique qualities of the men he had eulogized in the album.

I remember my first hearing of “I Remember.” I slapped the record on the turntable, dropped the needle, and proceeded to be utterly blown away. Phil Woods not only possessed complete mastery of the alto sax, but he also had a gorgeous, full-bodied tone and a personal, trademark sense of swing by which I’ve been able to instantly identify him ever since. Best of all, though, Phil played beautifully–and I’m using that adverb here in its strict sense. Phil’s playing on that record was truly so beautiful and so passionate that in places, it literally moved me to tears.

I have in mind the tender, deeply moving ballad “Paul,” written in tribute to Paul Desmond. Phil’s solo on that tune just took my breath away, and having listened to it again recently, I still am left speechless by its perfection. “Paul” is very possibly the most creative, flawlessly executed, and heart-wrenchingly lovely rendering of a ballad that I’ve ever heard, and its first impact on me was to raise up Phil Woods forever in my mind as the man to emulate when it came to ballad interpretation. In that I’m far from alone. Countless alto players over the years have looked to Woods as a jazz waymaker, fount of ideas, and source of inspiration.

My stack of LPs is long gone, and when I finally got to thinking about “I Remember” again a couple years ago, I couldn’t find it in a CD edition. It appeared to no longer be in publication, and regretfully, I consigned myself to never again listening to Phil’s beautiful playing on that album.

Jump forward to this Christmas. My sister Diane gave me my very first iPod (have I mentioned that I’m a slow joiner?) plus thirty dollars worth of iTune gift cards. So iTune shopping I went, and guess what I found? Of all the myriad albums to choose from, I chose “I Remember” as my first download.

You can’t imagine how thrilled I am to reacquaint myself with the collection of tunes that was my first exposure to Phil Woods. It seems impossible that thirty years have passed since that time, but today, “I Remember” still has the same effect on me as it did back then. Having developed a degree of expertise on the alto sax that I didn’t possess in those days, I find Phil’s playing to be, if anything, even more awe-inspiring and beautiful than when I first heard him. “Julian” still makes me want to shout for joy. “Charles Christopher” still floors me with its incendiary bebop.

And “Paul” still makes me cry.

New Years Eve Gig at the Cobblestone

Man, this year has blown by fast, hasn’t it! Five days from now we’ll have turned the corner into circa 2011. New Years Eve is the last of the big holidays. After that, we get down to the business of doing winter up here in the circumboreal region.

So what are you doing for New Years Eve? How’s about enjoying it with Steve Durst and me at the Cobblestone Bistro here in Caledonia, Michigan? We’ll be playing jazz standards through the dinner hours from 6:00-10:00 p.m.

Let me tell you a bit about the Cobblestone, because it’s a jewel. Located on the east side of M-37 (aka Cherry Valley Road) on the south end of Caledonia, the Cobblestone is designed for ambiance. Step inside and you’ll find an elegant, modestly sized dining room that features a fireplace, a waterfall fountain, superb cuisine, a selection of world-class wines, and a very nice bar. We’re talking destination dining right here in little old Caledonia. If you’re looking for a cozy place to spend the evening with your special someone, you’ll be absolutely delighted.

Of course, besides all of the above, this New Years Eve you’ll also get Steve on the keyboards and me on the alto saxophone providing live jazz to complement the mood. So come and enjoy dinner with us in one of the nicest settings you can imagine. Here’s the info:

• Date & Time: December 31, 6:00-10:00 p.m.

• Place: The Cobblestone Bistro & Banquet Center

• Address: 9818 Cherry Valley Ave. SE (M-37), Caledonia, MI

• Phone: (616) 588-3223

If the weather proves to be as warm as is currently forecast, this New Years Eve should be perfect for a night out. Spend it with us at the Cobblestone! I hope to see you there.

A Diminished Whole Tone Lick

The diminished whole tone scale (aka super locrian scale, altered scale, altered dominant scale, Pomeroy scale) is nothing if not colorful. A mode of the ascending melodic minor scale built on that scale’s seventh degree, the diminished whole tone scale encompasses virtually every alteration to a dominant chord that you can think of: #5, b9, #9, and #11. It’s commonly used over dominant chords of various alterations, and is ideally suited to the V+7#9.

The name “diminished whole tone” refers to the scale’s two tetrachords. The bottom tetrachord derives from a half-whole diminished scale, and the top tetrachord suggests a whole tone scale. For example, connecting the tetrachord B, C, D, and Eb with the tetrachord F, G, A, and B will give you a B diminished whole tone scale: B, C, D, Eb, F, G, A, B. (In actual use, you’d want to think of the Eb enharmonically as a D#, the major third of a B+7#9 chord).

diminished-whole-tone-exercise_0To your right is an exercise that will take you around the cycle of fifths with one of my favorite diminished whole tone licks. (Click on the thumbnail to enlarge it.) I like the lick for three reasons. It starts and finishes on the highly consonant major third of the altered dominant chord, but in between it spotlights the altered tones of the chord (#5, b9, #9). It emphasizes the half-step relationship between the third and #9, and between the b9 and the chord root. And it outlines the major triad built on the raised fifth of the altered dominant–e.g. the #5 of a D+7#9, A# (Bb enharmonically) gives rise to a Bb major triad.

Have fun with the exercise. If you’re not familiar with the diminished whole tone sound, it may take a while to get it into your ear, but you’ll be glad you did.

Look for more exercises, helpful articles, and solo transcriptions on my jazz page.

Playing with Another Horn Person

Last night I moseyed over to Noto’s in Cascade and sat in with Kathy Lamar, Bob VanStee, and Bobby Thompson. Kathy is a fantastic vocalist, and with Bob on keyboards and Bobby on drums, she has a rhythm accompaniment with abilities equal to her own. In recent months I’ve popped in a few times and joined in, and I’ve always enjoyed myself, but never more than last night.

It had been a while since I’d made it out to Noto’s, and I thought I’d call my friend Dave DeVos and see if he wanted to join me out there. He did, and when I walked through the door he was already there, setting up his electric bass. Even better, Dan Jacobs was there with his fluegelhorn, which created a format I’m particularly fond of.

This was my first acquaintance with Dan, but I’d heard of him and had touched base with him on Facebook. Dan is an accomplished player, and sharing the stage with someone of his caliber is a joy. I love to hear what another capable instrumentalist is doing; that fresh influx of inventiveness and technique tweaks my creativity, suggests new ideas to try, and overall kicks me in the butt. Best of all is the interpersonal exchange, the trading fours and switching back and forth between melody and improvised counterpoints, that kind of thing.

As an alto saxophonist, I think I like sharing the stage with a trumpet/fluegelhorn player even more than with a tenor sax player. The variety in sound and approach is greater, and even visually the contrast is striking and, to me, more interesting. Of course, there are some challenges. At least I find there to be. The main one is to play with that other horn person without overplaying. Often enough, I’ll just bow out, and I noticed that Dan did the same last night. Actually, I find that approach enjoyable. It’s nice to just put down one’s horn and enjoy what the other guy is doing. We usually learn more by listening than by talking, and that maxim can certainly be applied to jazz, provided the person we’re listening to has something to say. Dan does, and it was really nice to hear him last night and get a chance to make a little music with him.

Dan, if you happen to read this, you’re great! Thanks for the melodies. I look forward to next time.

Some New Audio Clips for Your Listening Pleasure

Last Monday I got together with Ric Troll (guitar), Dave DeVos (bass), and Randy Marsh (drums), and we rehearsed a few of Ric’s original tunes in his studio, Tallmadge Mill. These guys are wonderful jazz musicians, and Ric is a composer of long standing. His music can be chewy stuff to work through, but this last session the tunes started to gel and we got some pretty nice grooves going.

Ric recorded the whole session, so I’m able to share some sample tracks with you. What you’ll hear are the tunes in rough, but there’s some very nice playing going on.

The New Hip is a basic 12-bar blues, but Ric’s head suggests a soloing approach different from your standard bebop. Attempting to free myself from cliches, I incorporated a more angular style.

The Urge is a fun tune with a high-energy A section and a swinging, cooler-sounding bridge that offers a lovely contrast.

Orcs has been the most challenging number, with it’s polymetric approach and shift to 7/4. It is coming together, though, and will be one heck of a tune once we’ve nailed down the form and the feel. Listen to Randy–the guy just tears it up on the set! Here’s a second take for all you double-dippers.

If you like what you hear, check out my Jazz Page for more sound samples as well as solo transcriptions, articles, and exercises of interest to improvising musicians.

Angularity Exercises

angularity-exercise-1-msczMuch of my playing is pretty boppish, and I’ve wanted to break it up with some different flavors and larger intervals. Lately I’ve been toying with some exercises on angularity involving couplets applied to the augmented scale, and I thought I’d share the wealth. Click on the thumbnail to the right to enlarge it.

The first two exercises are ones I’ve been woodshedding for about a week. They go well, as indicated, with altered dominant chords, but of course they work in any situation where you’d use an augmented scale. While the written exercises specify a B+7b9 chord, you can also use it with an Eb+7b9 and a G+7b9.

The third exercise outlines a half-whole diminished scale and will function as such. I’ve paired it with a B7b9, but it also works with a D7b9, and F7b9, and an Ab7b9.

While it probably goes without saying, play each exercise through the entire range of your instrument and through all twelve keys (“keys” being used here for lack of a better word). Since both the augmented and diminished scales are symmetrical scales, much of your work is done for you. You need learn only four versions of the first two exercises and three versions of the third one.

Happy woodshedding! And if you find these exercises helpful, check out the rest of the offerings on my jazz page.

A Table of Non-Diatonic Tones and Their Common Uses

A while back I shared some ideas on how jazz improvisers can make optimal use of the added flat sixth tone of the major bebop scale. I pointed out that, besides its obvious use as a passing tone that evens out the scale and allows players to move seamlessly from root to octave (or third to third, or fifth to fifth, etc.), the flat sixth also functions readily in a number of harmonic contexts common in jazz.

Yet, useful as the flat sixth (or sharp five) of the major bebop scale can be, it is nevertheless only one of five non-diatonic tones that occur in a major key. In addition, the tonic, supertonic, subdominant, and submediant scale degrees can all be similarly raised a half-step and used in a variety of harmonic applications.

borrowed-tone-applications-002The image to your right  is a table that shows some common uses for each non-diatonic tone in the major scale. (Click on the thumbnail to enlarge it.) The table is by no means exhaustive; it’s just meant to give you a handy reference to harmonic situations you’re likely to encounter as an improviser.

The table is based on the C major scale. In that key, the five non-diatonic tones are C#, D#, F#, G#, and A#.  From top to bottom, the staves begin with a given tone, then show how that tone fits into various chords. The chords are numbered according to their functions and also named (eg. IVmin7, Fmin7). Depending on their application, I may use the enharmonic equivalents of some tones. For instance, instead of A#, I’ve chosen to show Bb, which makes better sense in actual usage.

In stave 1, the VI7b9 and #Idim7 are interchangeable, leading almost inevitably to the IIm7 chord. In the next stave down, the #IIdim7 wants to resolve to the mediant. By adding the scale’s leading tone as the chord root, you wind up with a B7b9, which is the V7 of III. Glancing over the rest of the table, you’ll notice numerous other uses in secondary dominant harmony.

I’m not going to go into detailed explications of every chord, as–assuming that you know your basic jazz theory–the uses of the different non-diatonic tones should be self-evident. Again, the table is not definitive. It’s intended simply to give you a handy reference that can heighten your awareness and help you make more deliberate use of all twelve tones in the chromatic scale. You’re bound to think of other applications not shown in the table.

For practice purposes, you could try working with a single tone. Incorporate it into a major scale to create an eight note scale. Then work out various chordal possibilities that utilize the tone, always keeping in mind the parent major key you’re working in as a frame of reference.

If you’ve found this article useful, make sure you check out the many other articles, exercises, and solo transcriptions on my jazz page. And, as always, practice hard and with focus–and have fun!

Hard-to-Read Exercises on Stormhorn Music Posts

One of my readers has commented that he had difficulty reading an exercise in one of my music posts. I’m guessing that he’s not the only who’s had that problem, since I’ve encountered it myself.

For some reason, while the original image files for my music examples are quite legible, something happens when I upload them to WordPress. The result is that the staves have been reproducing unevenly, making it difficult in places to determine the placement of notes.

Each new instructional post has sent me searching for a fix. So far I’ve been unsuccessful, and I’ve depended on you, my readers, to fill in the blanks, trusting you’d find that the benefits of the exercises outweighed the inconvenience. However, this approach obviously is just a stop-gap, not an acceptable solution.

I’m not sure what the cure is–whether the problem lies in the transcription software I’m using, in WordPress, or in my own lack of technological expertise. Other sites don’t have the same trouble, so I’ve got to believe there’s a simple, viable solution. Until I find it, I thought I’d let you know that I’m aware of the problem, it bothers me at least as much as it does you, and I’m looking for a way to solve it. Meanwhile, thanks for your forbearance!

All the best,

Bob

Gospel Sax Samples: “Amazing Grace” and “Sanctuary”

I just added a couple of takes to my jazz page from a recent recording session with my friend Paul Lesinski. They are, in fact, the only takes, as we didn’t have much time. It’s fun to see what can come out of such a session. You get the raw edge, the creativity of just two musicians working through head arrangements of two beloved gospel tunes, seeing what can be done with them and having fun doing it. Paul made the job easy. He’s such a great player!

My favorite is “Amazing Grace.” It has a really joyous, fatissimo sound that captures the spirit of New Orleans. “Amazing Grace” was the song I played 30 years ago when I was requested, quite spontaneously and unexpectedly, to play a selection just minutes after my baptism at the black Pentecostal church I’d been attending as a brand-new Christian. I played the tune by default that day because it was the only gospel tune I knew; today I play it and love it because I’ve lived it, and God has worked it into my soul by experience.

“Sanctuary” is a very simple, beautiful old tune. I overplayed on this take–a fault of mine when I’m playing tunes with a slower harmonic motion–but the song has some  nice moments in it to compensate. I particularly like its energy toward the end.

I hope you like the samples!

Between Idolatry and Joy: Some Thoughts on Life from a Jazz Saxophonist and Storm Chaser

There is an art to pursuing the things we’re most passionate about without letting them consume us. I certainly find this to be true of my own two interests, jazz saxophone and storm chasing, but the principle applies to all of us in whatever our preoccupations may be. Without fascination, energy, focus, and joy to drive us wholeheartedly in our pursuits, there’s no point to them; yet without restraint, self-awareness, and awareness of the broader world around us, it is easy to become a mile deep in our passions and an inch deep in life at large. Between these two realities, for me and I think for many of us, there lies a dynamic tension.

As a disciple of Jesus, I have to reckon with the issue of idolatry. In Old Testament times, an idol was easy to identify. It’s hard for us today to fathom people fashioning gold calves and graven images, both human and bestial, and then worshiping the things that they themselves had crafted. Yet that’s exactly what people did back then, both in pagan nations and in apostate Israel.

The funny thing is, we’re no different. We still bow down to the works of our hands, to things that are capable of becoming our gods if we let them. Things that blind us to truths bigger than ourselves and hinder our capacity to love God and others.

The problem with our modern idols, however, is that they’re not readily identifiable as such in the same manner as, say, a brazen bull or a figurine of Marduk. Anything in our lives can become an idol–our careers, our pursuits, significant relationships, the desire for love, our injuries and disappointments, our causes, our appetites, our emotions, our cars and other possessions, even our ministries and charitable occupations. Idolatry today is not usually something that is innate to the things in our lives, but is a matter of our attitude toward them and God. In ways subtle and not so subtle, it’s easy for us to invest ourselves in what we have and what we do in such a way that we allow it to define life and purpose for us. That’s a problem, because any of it can be taken away from us at any time, and sooner or later all of it is going to go. Then where do we find meaning; then where do we find life?

Moreover, we can become irresponsible and selfish in reaching for what we’ve defined as life, setting our pursuits above people we love and who love us. When we’re frustrated in those pursuits, we can become downright nasty, even destructive, toward persons who seem to inconvenience us, challenge us, or obstruct us. We’ll sacrifice others to our idols and justify ourselves in doing so rather than deal with our own hearts.

All this in the quest for life on our own terms.

Well do the words of Isaiah the prophet speak to us today: “[The idolater] feeds on ashes; a deluded heart misleads him. He cannot save himself or say, ‘Is not this thing in my right hand a lie?'”

Is there a flip side to this coin?

Of course there is. If God never intended for us to enshrine the things that we enjoy and love to do, neither does he want us to smother those things in sackcloth. In the Bible’s book of Genesis, in the Creation story, God from the beginning gave Adam and Eve something meaningful to do. They were gardeners, caring for the trees and flowers in Eden. Ironically, after they sinned, the man and woman’s immediate response was to hide from God behind the very things he had assigned them to cultivate and protect.

The problem lay not in the shrubs and trees and vines, but in Adam and Eve. The greenery in the garden was the same as the day when God first looked on it and called it good; it was the human heart that had changed. Ever since, in various ways, we’ve had a tendency to conceal ourselves from God and from each other behind the things we do.

Yet those same pursuits also have the potential to express the robust life of Jesus living in us untamed and unfettered. There’s nothing at all winsome about Christians who are so paranoid about idolatry that everything they do is constrained by a gray, lackluster religiosity. Many well-meaning believers confuse holiness with a boxed-in, sanctimonious, hermetically sealed existence that is about as invigorating as paper pulp. It hardly mirrors God’s exuberance in the act of creation, when with a decisive word he spun the visions of his heart into being–planets, suns, galaxies, luminous gas clouds, multiplied quintillions of celestial objects, all whirling across the velvet-black vastness; ocean tides pulsing and surf crashing against craggy shorelines; wildflowers waving in vivid, multi-hued pointillism in meadows and forests, knit together, unseen, by untold millions of miles of subterranean roots and rootlets.

Talk about a hobby! It was no dour, stuff-shirted God who created this fabulous world around us, this universe that awes and fascinates and humbles us; no, it was an eternal being who throughout the ages remains forever young–smarter than the most brilliant scientist, wiser than the wisest sage, yet passionately, perpetually, and unapologetically a child at heart.

God created us to live our lives as wholeheartedly, creatively, lovingly, generously, fearlessly, and beautifully as he lives his, in ways unique to each of us. Failure to do so is in itself a form of idolatry, a lack of trust that the One who hardwired us with our personal interests also supplies the grace and wisdom to express his life and fulfill his intentions through those interests.

The overarching principle is love–love of God and love of others. Love is ultimately what separates between idolatry–which is about pursuing our own independent way on our own terms–and the abundant, God-dependent life that Jesus offers. Christianity is not about good morals and rock-hard dogma; it is about nothing less than the life of Jesus himself living inside us, energizing us, guiding us in the pathway of his character. That is no weak, wan way of living. To be sure, it is a way that is often marked by self-sacrifice, pain, loneliness, misunderstanding, prayer, struggle, and self-control. But it is also a way infused with immense purpose, remarkable potential, endless fascination, and a joy that can be found in nothing else this life can offer.

In conclusion

Bringing all of the above to bear in a practical way for those of us who chase storms and/or play music: Whatever you do, do it with all your heart. God is not glorified by a timorous approach to the things you enjoy, nor does he want you to walk on eggshells for fear of offending him. Just keep in mind that there is more to life than your pursuits. Enjoy those pursuits, treasure them, but don’t grasp them so tightly that you can’t let go, and don’t let them give you tunnel vision so that you fail to see and participate in the broadness of life around you. Other people’s worlds are as rich and important as yours; to the best of your ability, enter into them, celebrate them, and let them expand you. Harness your interests in a way that makes your life bigger, not smaller–an expression of generosity, not selfishness, and of a Christlike perspective that values God and others most of all.

Behind the sound of a saxophone playing now tenderly, now exuberantly, always striving for creativity and beauty…behind the sublimity, the fascination, and the awe of a tornado churning across the open prairie…you can, if you choose, hear the song and see the face of God. If you submit your heart to him, he will in turn release his own magnificent heart in and through the things you love to do.

This, in part, is what life, true life, is about: allowing the things that are central to us to become the servants and the expressions of Someone far bigger than ourselves, and of a kingdom greater than our own.