Improvise Like A MF

Yes, you read that correctly, with a lot of dedication and practice it’s possible to improvise like a MF. I’m referring of course to the late and very great Maynard Ferguson. While it is unlikely we will ever see the likes of this good natured, iron lipped “freak of nature” ever again (and I mean that with the utmost respect), it is possible to learn certain jazz improvisational techniques that Maynard Ferguson and other jazz greats use to sound like, well jazz players.

Walter Maynard Ferguson was born in Verdun, Quebec Montreal. Encouraged by his mother and father (both musicians), Maynard was playing piano and violin by the age of four. At nine years old, he heard a cornet for the first time in his local church and asked his parents to purchase him one. At age thirteen, Ferguson first soloed as a child prodigy Canadian Broadcasting Corporation Orchestra and was heard frequently on the CBC, notably featured on a Serenade for Trumpet in Jazz written for him by Morris Davis. Ferguson won a scholarship to the French Conservatory of Music where he studied from 1943 through 1948 with Bernard Baker.

Ferguson dropped out of Montreal High School at age 15 to more actively pursue a music career, performing in dance bands led by Stan Wood, Roland David, and Johnny Holmes. While trumpet was his primary instrument, Ferguson also performed on other brass and reed instruments. Ferguson later took over the dance band formed by his brother Percy, playing dates in the Montreal area and serving as an opening act for touring bands from the United States. During this period, Ferguson came to the attention of numerous American band leaders and began receiving offers to come to the United States.

Ferguson moved to the United States in 1949 and initially played with the bands of Boyd Raeburn, Charlie Barnet. The Barnet band was notable for a trumpet section that also included Doc Severinsen, Ray Wetzel, Johnny Howell, and Rolf Erickson. Maynard made his indelible mark in jazz history when he joined the Stan Kenton band in 1950. So popular was Ferguson with Kenton that for three years running, 1950, 1951, and 1952, he won the Down Beat Readers’ Poll as best trumpeter. Maynard Ferguson passed on August 23, 2006.

In the year 2000 Rowan University bestowed the only Honorary Docorate degree
ever given to jazz legend Maynard Ferguson.

Maynard (“Boss” to those of us who played for him) was gracious with his talent, knowledge and friendship and dedicated to creating an atmosphere where you felt safe to risk and learn. He set up a safety net that allowed the people in his band to fail (As long as you worked at improving). The space he created allowed for the growth of countless musicians to grow in countless ways. This is one of the reasons why he is so loved by so many different people. If you met Maynard for five minutes you would know him as well as someone who has known him for a decade. He had no layers to get through. To meet him
was to know him.

When Maynard received his doctorate there was also a decision to create The Maynard Ferguson Institute of Jazz Studies at Rowan University. The Institute helps support the Rowan Jazz Program in its quest for training young jazz musicians. As director of Jazz Studies at Rowan University, I try and maintain the same atmosphere at Rowan that Maynard created for me, a safe place to learn, risk and achieve. As great a performer as he was, he was also one of the best jazz educators on the planet. Don’t just believe me, simply ask anyone who has ever played for him.

When we try and achieve great things we stand on the shoulders of those who have helped us. Sometimes those shoulders are pretty big and you feel a great gratitude for the opportunity to be standing there.

This Institute is a lasting tribute to man who encouraged and allowed.”

– Denis DiBlasio

PURCHASE THE GREAT MAYNARD FERGUSON MUSIC HERE

Improvise Like A Jazz Musician

I found this great post today- Improvise Like A Jazz Musician. It centers around the late, great Charles Mingus and his approach and philosophy when it comes to jazz improvisation. A well written and fast read by author Dustin Wax. I encourage you to check it out and comment as always!-Here’s to your great improvising–Marty.
For more information visit: Jamey Aebersold Jazz Review.com

Jamey Aebersold Volume 1-How to Play Jazz Review

As the song goes: “Let’s start at the very beginning, a very good place to start.” I will be reviewing Jamey’s Play Along volumes one by one. Will I review all 120? Only time will tell. One thing is for sure: I will have plenty to write about for the foreseeable future! I used to have this volume but I think I wore it out too (the “LP” that is).

NOTE: Please, if you are using this JA Volume #1 or have in the past- leave a comment about it or a “mini review” for our readers. Thanks -Marty

Beginning/Intermediate. Easy to understand and inspiring for all musicians wishing to explore the secrets of jazz improv. CD includes blues in Bb and F, four dorian minor tracks, four-measure cadences, cycle of dominants, 24-measure song, II/V7 in all keys. Book includes transposed parts for all instruments. The CD includes Jamey playing exercises from the book. Hear the master clinician show you exactly how it’s done!
Rhythm Section: Jamey Aebersold (p); Rufus Reid (b); Jonathan Higgins (d)

“The Jamey Aebersold Volume 1 How to Play Jazz and Improvise is the culmination of Jameys 40 years as one of the worlds leading jazz improv educators. Aebersold Volume 1 has unlocked the mysteries of jazz improvisation for a whole generation of musicians who previously had nowhere to turn for competent rhythm sections and accurate instruction. How to Play and Improvise is available as a book with CD accompaniment.

MORE INFOThis volume has updated information presented in a new manner that is both easy to understand and inspiring for all musicians wishing to explore the secrets of jazz improvisation. Includes chapters on scales/chords, developing creativity, improv fundamentals, 12 Blues Scales, Bebop scales, pentatonic scales and usage, time and feeling, melodic development, II/V7s, related scales and modes, practical exercises/patterns and licks, Dominant 7th tree of scale choices, nomenclature, chromaticism, scale syllabus, and more! This complete improvisation set, along with Volume 24 “Major and Minor” can greatly open your ears and improve your playing. Now the Volume 1 CD is even BETTER! It now includes demonstration tracks of Jamey playing the exercises from the book. Hear the master clinician show you exactly how it is done! These new tracks make Volume 1 an even more important tool for the beginning jazz improvisor    Tracks: F Minor, Eb Minor, D Minor (8 Bars Each) F Minor, Eb Minor, D Minor (4 Bars Each) Random Minor Chords (8 Bars Each) Random Minor Chords (4 Bars Each) Four Measure Cadences (ii/V7/I) Blues In Key Of Bb Concert Blues In Key Of F Concert Cycle Of Dominant 7th’s (4 Bars Each) 24-Measure Song Minor to Dominant Progression (12 Keys) Verbal Instructions Track #2 w/Examples 1-4 Track #2 w/Examples 5-8 Track #2 w/Examples 9-12 Track #2 w/Examples 13-16 Track #2 w/Examples 17-20 Track #2 w/Jamey Soloing Track #2 w/Jamey Soloing Track #7 (Bb Blues) w/8 Exercises On Pg. 26 Track #7 (Bb Blues) w/Soloing   1 of 1 people found the following review helpful: *the* place to start for jazz improv, February 13, 2008 By Tobin Mori Saratoga, CA United States) I had read the previous version of this book over a decade ago, and this book is a huge step forward. If I had had this version back then, I probably would’ve been much better at jazz improv today. The only downside of this book is the information architecture (e.g. page layout); it’s a bit arcane, but it’s charming I guess, like that disorganized folder of important papers your music teacher might have given you when you were starting out. Content-wise, this book is filled with jazz improv gems. A must-have. 4 of 4 people found the following review helpful: Jamey Aebersold (Vol. 1) Jazz: How To Play and Improvise, December 23, 2007 By Peter J. Schulte One good improv book is worth years of learning and this is one. You dive into the new references required for jazz with a proper emphasis on playing as the result of understanding. “How to Play and Improvise” imparts that understanding concisely, without the excursions into side topics that detract from my other favorite jazz improv book. As I enter my third quarter of saxophone classes I expect that this book, which was recommended by my instructor, will take me from being a competent player to being a competentimprovisor. Thank you Jamey! Inspiring book and play-a-long cd This book teaches how to learn to improvise for all instruments. Jamey’s message is that it is easy to improvise. He introduces a way of practicing that starts simple and adds complexity step by step. There is much wisdom here, though sometimes a bit scattered and not that organized. The book is more practical than analytical, with short chapters on different topics and many musical examples and licks. I think the main strength with this book lies in the inspirational tone and the play-a-longs on the companion cd. I really like to play along with the songs. Even though the pianist, the drummer and the bass player play “simple” chord progressions and 12-bar blues songs they swing and they groove! You should buy the DVD also, because in the DVD Jamey sits at his piano and explains many of the concepts presented in the book and shows how to play along. I find his way of talking about and demonstrating jazz to be very inspiring. He makes it simple. I have watched the DVD many times by now, just to get me in the right mood. Anders Vesterberg For more information visit: Jamey Aebersold Jazz Review.com

Jamey Aebersold Play Along Cds Review (Part 1)

I was hoping I would be able to say that Jamey Aebersold play along CDs and books were among the best jazz improvisation learning products on the market. Instead I’ve discovered that JA jazz products are in fact- the very best on the market!

JA jazz CDs allow you to play with some of the greatest rhythm sections in the world of jazz! Regardless if you have played jazz for ten weeks or ten years, you can practice with a great rhythm section any time you choose! Using the Jamey Aebersold play-a-longs makes practicing fun again, even if you’re just practicing scales!

“Jazzers” at any level can use these books and CD sets, whether you are a young aspiring player, active professional, teacher, or retired professional. The recordings provide the rhythm section, and you provide the melody! I have used Jamey’s play alongs for many years. The only difference is that when I started I had to play the “record” on a “turntable”. If you don’t know what that means-Google it! Anyway, now I own the CDs!

JA rhythm sections on the CDs are often comprised of such jazz greats as: Ron Carter, Kenny Baron, John Patitucci, Grady Tate, Rufus Reid, James Williams, Hal Galper, Cedar Walton and many others.

How to use:

1. Open the book to the tune you want to play.

2. Find the tune on your JA CD.

3. Tune up your instrument

4. Begin playing with a fantastic rhythm section!

Jamey Aebersold Play-A-Longs called Volumes, include a high quality stereo CD and instruction book that not only has the transposed parts for all instruments including Treble clef (concert pitch instruments like piano,guitar,flute), Bass clef (bass,trombone), Bb(trumpet,clarinet, tenor sax), and Eb (alto sax) but is chock full of supplemental materials like the scale syllabus, suggested listening, exercises, playing tips and more! by the way, Jamey hasn’t forgotten about you vocalists either: the CDs make excellent practice tools for “scat” singers!

You can meticulously break down a song one chord or scale at a time, or simply relax and play.

The special stereo separation (l-r balance) method that is utilized with all JA CDs is designed to accommodate all players. The left channel contains the bass and drums. The right channel contains piano and drums. If you are a keyboard player or guitarist you may want to turn off the right channel and practice with the bass and drums which are on the left channel. Bass players would do just the opposite.

JA currently has over 100 play along sets (called Volumes) of incredible jazz accompaniment. Please note that the volumes do not necessarily get progressively more difficult.

Even when you don’t have time to practice, you can put the CD in your computer and listen while you work, or even in your car while driving! You’ll find yourself unconsciously singing melodies and practicing without distraction from what you are doing. It’s yet another way to “internalize” the music. I’ve done this and I can speak from experience- it works!

For purchase information visit JAJR Store *Great Prices*Great Selection- Start Improving your improv today!

Jammin’ With Jamey!

How Jazz Players Get into the Zone

I found this great post at Smooth Pebbles. It is a brief but well written article about the biochemical changes that take place in the brain of a jazz player while actually in the process of improvising! There is a cool picture (presumably obtained by some type of brain scanning device) that shows these changes quite remarkably! I always suspected that us jazz players were a little “off” in the brain! Anyway, check it out especially if you are somewhat science minded as I am. Enjoy.Stay tuned…Marty

Welcome to the JAJR Blog

Welcome all “jazzers” young and old- newbies and pros. A good subtitle for this blog is: Towards better jazz improvisation. I very much want you to contribute your favorite stories, tips, advice, study materials, exercises, gimmicks and the like that can help all of our readers (starting with me!) learn how to improve our jazz improvisation skills. As you can tell from the title of my blog I’ve come to view Jamey Aebersold as one who epitomizes jazz (improv) education. I started using Jamey’s play a long cds (records back then) and books many years ago. I want to share with you a story of mine to get the ball rolling:

My Story

I need to preface my story by saying I had an excellent “legit upbringing” as a trumpet player. I started playing in the 4th grade. We used the Rubank Method, still in use today. A “no frills” method book but it gets the job done! Anyway, all through middle school and high school, I had great teachers that taught me the fundamentals of good brass playing and wind playing in general: proper embouchure formation, technique, sight reading ability, etc. I played in the concert band, wind ensemble, and orchestra. I think it was my junior year in high school when someone suggested I try out for the stage (jazz) band. I did, and to my surprise I made it! I guess I was a strong enough player- I had pretty good range. Anyway I remember quite vividly the day we were rehearsing a tune and the director looked at me in the middle of the thing and said those omnious words: “OK Marty take a solo!” I looked down at my music -panic stricken! Where were the notes?! All I saw were funny looking slash marks (////) with cryptic symbols above them like Bbm7/F7/Ebm7 and so on. Needless to say my first improvised jazz solo was a disaster even though it consisted mainly of rests!

At our next rehearsal the director handed me a record (yes, a record-you would put it on a “turntable” that spun at 331/3 rpm- oh never mind-if you don’t know what I’m talking about- Google it!) Anyway, that record changed my musical “life” and focus. I wore that record out. I feel I owe Jamey something for what his record: Volume #2 “Nothin But The Blues” did for me back then. So I thought the least I could do was dedicate my blog to him!

The point of my story is this: you can be a solid player who can play all the right notes with a good sound- but you are missing out on not only a very fun dimension of music, you are cheating yourself out of a very valuable way to improve your musical abilities- no matter your current level of ability or how long you’ve played. I thought I was really a “pretty hip cat” back there in high school. Big shot 1st chair player and everything. I was quickly humbled when I was asked to play without notes and have it make sense!-it’s a great skill to learn and great fun too!

Nice to be here and be sure to check out my next post. Please give me your feedback…Here’s to your great playing!—Marty

For more information visit: Jamey Aebersold Jazz Review