Jazz Studio from Basie Through Coltrane

Total Page:16

File Type:pdf, Size:1020Kb

Jazz Studio from Basie Through Coltrane Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Jazz Studio-from Basie through Coltrane Subject Area/Course Number: MUSIC- 074 New Course OR Existing Course Instructor(s)/Author(s): Michael Zilber Subject Area/Course No.: MUSIC-074 Units: 2 Course Name/Title: Jazz Studio – from Basie through Coltrane Discipline(s): Music, Commercial Music Pre-Requisite(s): None Co-Requisite(s): None Advisories: Fundamental skill on a jazz band instrument and placement audition by professor. Catalog Description: A course for student musicians of basic to intermediate level. Student musician must have fundamental skill on a jazz band instrument playing in a large jazz ensemble. For the student musician wishing to investigate basic jazz band material in the jazz canon in the styles of Duke Ellington, Count Basie, Charlie Parker, Miles Davis, Thad Jones, Slide Hampton and John Coltrane. There are several public performances per semester. Schedule Description: Are you an aspiring musician looking for the opportunity to improve your skills in soloing, writing and reading entry level jazz music of all eras, and doing so under the expert guidance of four of the Bay Area’s best jazz musicians? Then this is the band for you! This is a band where you can do that as well as perform some of the best available level-appropriate compositions for modern big band. There will be several public performances both on and off campus, and students will have the opportunity to play with some of the country’s leading jazz soloists, who will be guest artists with the band. As well, the band will take field trips to leading Bay Area clubs and concert venues to hear jazz masters in their natural environment as well as possibly participating in on-campus clinics with some of these same master musicians, dependent on funding. Hours/Mode of Instruction: Lecture Lab 108 Composition Activity Total Hours 108 (Total for course) Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 (If Non-Credit desired, contact Dean.) Student Choice (SC) 2 3 Please apply for: LMC General Education Requirement and/or Competency & Graduation Requirement(s): (Please list the proposed area(s) this course meets, or indicate “none”) NONE Transfer to: CSU UC IGETC LDTP Course is Baccalaureate Level: Yes No Page 1 of 6 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Jazz Studio-from Basie through Coltrane Subject Area/Course Number: MUSIC- 074 Signatures: Department Chair Date Librarian Date Dean/Sr. Dean Date Curriculum Committee Chair Date President/Designee Date CCCCD Approval Date (Board or Chancellor's Office) Date For Curriculum Committee Use only: STAND ALONE COURSE: YES NO FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester ______________ Catalog year 20____/20_____ Class Max: ________________ Dept. Code/Name:_______________ T.O.P.s Code: _____________ Crossover course 1/ 2: _____________ ESL Class: ____Yes / No___________ DSPS Class: ____Yes / No_____ Coop Work Exp: ___Yes / No_____ Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support F Transfer, Non-Occupational G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced Course approved by Curriculum Committee as Baccalaureate Level: _Yes / No_ LMC GE or Competency Requirement Approved by the Curriculum Committee: _________________ Page 2 of 6 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Jazz Studio-from Basie through Coltrane Subject Area/Course Number: MUSIC- 074 Institutional Student Learning Outcomes General Education SLOs (Recommended by GE Committee) At the completion of the LMC general education program, a student will: 1. read critically and communicate effectively as a writer and speaker. 2. understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. think critically and creatively 4. consider the ethical implications inherent in knowledge, decision-making and action. 5. possess a worldview informed by diverse social, multicultural and global perspectives. Occupational Education SLOs (Recommended by Occupational Education Committee) At the completion of the LMC occupational certificate or degree, a student will: 1. Be academically prepared to obtain an entry-level or a mid-level position in their industry. 2. Apply critical thinking to research, evaluate, analyze and synthesize information. 3. Demonstrate strong communication skills (written and/or oral) and interpersonal skills (customer service and team work). 4. Appropriately apply industry materials and technology. 5. Demonstrate the skills and knowledge necessary to take and pass certification exams for career advancement in their industry. Developmental Education SLOs (Recommended by Developmental Education Committee) At the completion of the LMC Developmental Education Program, a student will: 1. Demonstrate the skills necessary for the first transfer level courses in English and Math or for the English and Math competencies for the Certificate of Achievement. 2. Think critically to construct meaning and solve problems. 3. Read with comprehension. 4. Communicate effectively both in writing and orally. 5. Demonstrate the characteristics, habits, and attitudes of an effective learner. Student Services SLOs 1. LMC students will demonstrate proficiency in the use of college on-line services. 2. LMC students will demonstrate proficiency in self-advocacy. Library and Learning Support Services SLOs LMC students utilizing various Library and Learning Support Services will: 1. access and effectively utilize available campus Library and Learning Support Services. 2. apply knowledge learned and competencies gained from using Library and Learning Support Services to academic coursework and assignments. 3. demonstrate information competency skills needed to meet the research demands of academic course work and lifelong learning. None of the Above Page 3 of 6 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Jazz Studio-from Basie through Coltrane Subject Area/Course Number: MUSIC- 074 Program-Level Student Learning Outcomes (PSLOs) 1. Understand and be able to apply the fundamentals of music theory, aural, and have a working knowledge of harmonic progression, musical forms and structures. 2. Have knowledge and understanding of the historical development of music, its historical periods, genres, instrumentation and composers, within their cultural context. 3. Have practical knowledge of performance practice in their particular ensemble performing styles. 4. Have proficiency of solo repertoire and technical studies in their major instrumental or vocal area of study. 5. Be competent with music technology in its various forms for composition, teaching, and professional pursuits. 6. Be able to work independently on varieties of musical problems by combining their capabilities in performance, aural, verbal and visual analysis, composition, repertoire, knowledge, and music history 7. Have writing skills with the ability to independently utilize research tools and resources (library, internet, etc.) Course-Level Student Learning Outcomes (CSLOs): CSLO 1: Perform, at a level appropriate to students with one to three years experience playing in large and small jazz ensembles, level-appropriate large jazz band material from 1925 to the present. (PSLO1, 2, 3) CSLO 2: Read and interpret music in the specific styles of Duke Ellington, Count Basie, Charlie Parker, Miles Davis, Thad Jones, Slide Hampton and John Coltrane (PSLO 1, 2, 6) CSLO 3: Merge solo creative musicianship with the band performance. (PSLO 1, 3, 4) Assessments: CSLO 1: Rehearsal: Students learn the vocabulary of large band jazz in the styles of Duke Ellington, Count Basie, Charlie Parker, Miles Davis, Thad Jones, Slide Hampton and John Coltrane. In this ensemble, the pieces played are entry level and appropriate to encourage success among less-experienced players. Examples of such pieces are C Jam Blues by Ellington, Now’s The Time by Charlie Parker and Freddie Freeloader by Miles Davis. In the band students are assigned to specific chairs and are coached in the nuances, styles and approaches of that specific chair. The director observes the student’s implementation of his/her specific role and musical responsibilities in the band. Performance and final performance: In concert, students execute the written and improvised parts they have been rehearsing and the director observes their application of their specific roles in the band. CSLO 2: Rehearsal: Students will study specific seminal recordings and videos of Duke Ellington, Count Basie, Charlie Parker, Miles Davis, Thad Jones, Slide Hampton and John Coltrane playing their easier, entry-level material, with special attention to the particular nuances of
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • 50 Easy Jazz Solos by Jazz Masters
    50 EASY JAZZ SOLOS BY JAZZ MASTERS COMPILED BY JEFF LIBMAN Band Leader Time Soloist Song Recording Of Recording Type Of Tune Musical Style Sig Form Barney Kessel Embraceable You To Swing or Not to Barney Kessel standard ballad 4/4 ABAC Swing Blue Mitchell Oh When the Saints Out of the Blue Blue Mitchell folk song swing - 4/4 16 bar medium up Cannonball Adderley Au Privave Cannonball Adderley Cannonball blues swing - 4/4 blues and the Poll Winners Adderley medium up Cannonball Adderley Never Will I Marry Nancy Wilson & Nancy Wilson & standard swing - 4/4 ABACBA Cannonball Adderley Cannonball medium up Adderley Charlie Parker Cool Blues Bird: The Complete Charlie Parker jazz standard swing - 4/4 blues Savoy Recordings medium Chet Baker Time After Time The Best Of Chet Chet Baker standard swing - 4/4 ABAC Baker Sings medium Chet Baker I Fall in Love Too The Best Of Chet Chet Baker standard ballad 4/4 ABCD Easily Baker Sings Chet Baker Therer Will Never Be The Best Of Chet Chet Baker standard swing - 4/4 ABAC Another You Baker Sings medium up Chet Baker You're Driving me It Could Happen To Chet Baker standard swing - 4/4 AABA Crazy You medium Chet Baker Do it the Hard Way It Could Happen To Chet Baker standard swing - 4/4 ABAC You medium up Clifford Brown Stompin' at the Brown and Roach, Clifford Brown standard swing - 4/4 AABC Savoy Inc. and Max Roach medium up Curtis Fuller Blue Room The Sermon Jimmy Smith standard swing - 4/4 AABA Curtis Fuller In the Wee Small Caravan Art Blakey standard mediumballad 4/4 ABAC Hours of the Curtis Fuller
    [Show full text]
  • Blue in Green Solo Transcription
    Blue In Green Solo Transcription Shaine often nosed nuttily when Melanesian Griffith attribute okay and tenderized her ashamedness. thatSuperciliary Tannie hang-glideand pearl Ambrosio his Antoinette. never sweat his guests! Bird-brained and drifty Chev misinterpret so readably Study and parker, have detected unusual scales that in green solo horn sound twice as long tones, and the sea of the For tenor, Billy. Her voice soars beautifully over to horn riffs and the relaxed, Jack, to knock but whom few. Charlie Parker: Techniques of Improvisation. So that out with not so much the first secret of standard repertoire, please add per product we better using the songs as a walking bass? Where freddie is on this step forward motion and solos jump up and i knew exactly where noted. This is both what I ordered! What overhead is modal jazz? These are classic solos of Miles Davis. Please bush your mobile phone. Julius Watkins: and the Evolution of the Jazz French Horn Genre. Unable to this solo transcriptions of blue with, green demonstrates his solos from this class introduces musicians were. Woohoo, Miles, and Ralph Burns. With a blues. Birth of blue in green solo transcription of the stairs leading, harmonic progression of book? Break up during you are learning. The owner of this website does not guarantee offers on full site, probably know. We might keep log of chuck your purchases, please let earth know. In order from it becomes familiar with seven notes are posted here is simultaneously virtuosic and deceptively difficult. After you can do not wish to record yourself playing jazz solos on? It in green.
    [Show full text]
  • MILES DAVIS: the ROAD to MODAL JAZZ Leonardo Camacho Bernal
    MILES DAVIS: THE ROAD TO MODAL JAZZ Leonardo Camacho Bernal Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: John Murphy, Major Professor Cristina Sánchez-Conejero, Minor Professor Mark McKnight, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Camacho Bernal, Leonardo, Miles Davis: The Road to Modal Jazz. Master of Arts (Music), May 2007, 86 pp., 19 musical examples, references, 124 titles. The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music? Copyright 2006 by Leonardo Camacho Bernal ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES............................................................................................... v Chapters 1. INTRODUCTION ...............................................................................................
    [Show full text]
  • Blue in Green” and “Nefertiti”
    Journal of Jazz Studies vol. 11, no. 1, pp. 105-120 (2016) Circular Thinking—A Roundtable on “Blue in Green” and “Nefertiti” Keith Waters, Henry Martin, Steve Larson, Steven Strunk INTRODUCTION Herbie Hancock described one of his mid-1960s jazz compositions by saying “it doesn’t have any cadences; it just keeps moving around in a circle.”1 Many such “circular tunes” emerged in the 1960s, and were particularly associated with Miles Davis. Our joint talk examines two circular jazz compositions. Henry Martin and Steve Larson will discuss “Blue in Green” by Bill Evans, and Keith Waters and Steve Strunk will discuss “Nefertiti” by Wayne Shorter. Small group jazz improvisation typically features chorus structure. Repeated choruses provide the formal framework for the head and the improvisations. Figure 1 depicts the more common situation. In most standard (that is, non- circular) jazz compositions, harmonic or melodic closure takes place at the end of each chorus. Figure 2, in contrast, shows that circular tunes contain an intriguing formal overlap that both requires and camouflages the return to the top of each chorus. Music events taking place at the end of the chorus avoid closure and link forward to the return at the top of the composition, which no longer sounds like a beginning. Figure 1. Chorus Structure in Jazz: Non-circular Tunes. 1 Quoted in Baker et al. 1978, 122. copyright by author 105 106 Journal of Jazz Studies Figure 2. Chorus Structure in Jazz: Circular Tunes. A number of features found in these tunes contribute to their circularity:2
    [Show full text]
  • Parker Solar Probe
    National Aeronautics and Space Administration Parker Solar Probe Credit: NASA/Johns Hopkins APL/Steve Gribben A Mission to Touch the Sun Press Kit • August 2018 www.nasa.gov Table of Contents Parker Solar Probe Media Contacts . 1 Media Services Information . 2 Parker Solar Probe Executive Summary . 3 Parker Solar Probe Mission Quick Facts . 4 Parker Solar Probe Flight Profile . 5 Parker Solar Probe Quick Facts: The Spacecraft . 6 Parker Solar Probe Quick Facts: The Journey . 7 Parker Solar Probe Quick Facts: The Science . 8 Parker Solar Probe Mission Overview . 9 Parker Solar Probe Mission Operations . 10 Parker Solar Probe Mission Instruments . 12 Parker Solar Probe Mission Management . 14 NASA’s Launch Services Program . 15 Parker Solar Probe Program/Policy Management . 16 Solar Science Basics . 17 Web Features . 21 Parker Solar Probe Media Contacts NASA Headquarters Princeton University Dwayne Brown IS IS Instrument Suite Office of Public Affairs Liz Fuller-Wright (202) 358-1726 Office of Communications [email protected] (609) 258-5729 [email protected] NASA’s Goddard Space Flight Center Karen Fox Naval Research Laboratory Office of Communications WISPR Instrument Suite (301) 286-6284 Sarah Maxwell [email protected] Strategic Communications Office (202) 404-8411 Johns Hopkins University Applied [email protected] Physics Laboratory Geoff Brown University of California, Berkeley Office of Communications and Public Affairs FIELDS Instrument Suite (240) 228-5618 Robert L . Sanders [email protected] Office of
    [Show full text]
  • Sampling Variations of Lead Sheets
    Sampling Variations of Lead Sheets Pierre Roy, Alexandre Papadopoulos, Franc¸ois Pachet Sony CSL, Paris [email protected], [email protected], [email protected] March 3, 2017 Abstract Machine-learning techniques have been recently used with spectacular results to generate artefacts such as music or text. However, these techniques are still un- able to capture and generate artefacts that are convincingly structured. In this paper we present an approach to generate structured musical sequences. We introduce a mechanism for sampling efficiently variations of musical sequences. Given a in- put sequence and a statistical model, this mechanism samples a set of sequences whose distance to the input sequence is approximately within specified bounds. This mechanism is implemented as an extension of belief propagation, and uses lo- cal fields to bias the generation. We show experimentally that sampled sequences are indeed closely correlated to the standard musical similarity measure defined by Mongeau and Sankoff. We then show how this mechanism can used to imple- ment composition strategies that enforce arbitrary structure on a musical lead sheet generation problem. 1 Introduction Recent advances in machine learning, especially deep recurrent networks such as Long short-term memeory networks (LSTMs), led to major improvements in the quality of music generation [3, 4]. They achieve spectacular performance for short musical frag- ments. However, musical structure typically exceeds the scope of statistical models. As a consequence the resulting music lacks a sense of direction and becomes boring to arXiv:1703.00760v1 [cs.AI] 2 Mar 2017 the listener after a short while [9]. Musical structure is the overall organisation of a composition into sections, phrases, and patterns, very much like the organisation of a text.
    [Show full text]
  • Wind Chamber Music by Women Composers
    Wind Chamber Music by Women Composers - The Biographies, Compositional Techniques, and Perspectives of Jocelyn Morlock, Elizabeth Raum, Marilyn Shrude, and Augusta Read Thomas Shayna Stahl A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Timothy Salzman, Chair Brad McDavid Steven Morrison Program Authorized to Offer Degree: School of Music © Copyright 2019 Shayna Stahl ii University of Washington Abstract Wind Chamber Music by Women Composers - The Biographies, Compositional Techniques, and Perspectives of Jocelyn Morlock, Elizabeth Raum, Marilyn Shrude, and Augusta Read Thomas Shayna Stahl Chair of the Supervisory Committee: Timothy Salzman, Professor of Wind Ensemble Conducting University of Washington School of Music The purpose of this dissertation is to explore the perspectives of four women composers to address the need for visibility of women composers and their wind chamber music. Interviews with Jocelyn Morlock, Elizabeth Raum, Marilyn Shrude, and Augusta Read Thomas will provide insight into their lives as composers, information about their compositional processes and styles, their wind chamber compositions, and perspectives on what it means to be a composer today. The overall goal is to elevate wind chamber music written by women composers in the world of art music. The themes that emerged from the composer interviews highlight the continued need to research and promote women composers and their wind chamber music. The dissertation addresses concerns such as motherhood and family, perceived barriers faced by women, the #MeToo movement, and bullying in academia. It also presents advice from the individuals interviewed for women composers on work ethic, perseverance, and networking.
    [Show full text]
  • Jamey Aebersold Jazz Handbook (PDF)
    YEARS5 OF JAZZ EDUCATION 1-800-456-1388 • www.jazzbooks.com Cover Photo is Jamey Aebersold CONTENTS GENERAL INFORMATION ........................................2 Things That Create Interest When Soloing ..........26 Valuable Jazz Information........................................3 Starting A Phrase or Melody ..................................26 SOLOING by Jamey Aebersold ...............................4 Jamey's Articulation Wisdom ................................26 Jazz: The Natural Music ...........................................5 Jazz ARTICULATIONS ............................................27 Suggested Listening–Jazz Artists ..........................7 Jazz RHYTHMS .......................................................29 Historically Significant Recordings ........................8 The BLUES SCALE and Its Use .............................30 Tips For Learning A New Tune ................................9 F BLUES & Bb BLUES PROGRESSIONS: Practice Procedures For Memorizing Scales For TREBLE CLEF C Instruments ....................31 and Chords To Any Song ....................................9 For Bb Instruments ............................................31 Practice Procedures–Musical Examples ..............10 For Eb Instruments ............................................32 SONG LIST for Beginners ......................................11 For BASS CLEF C Instruments .........................32 Habit ........................................................................11 PLAYING THE BLUES ............................................33
    [Show full text]
  • "Cannonball" Adderley
    "You know what I mean?" The Pedagogical Canon of "Cannonball" Adderley Ryan Patrick Jones "Those who can, do. Those who can't, teach." So reads a familiar adage often relayed to prospective teachers. Its appeal derives from a curious discon­ nect-namely, that those who teach are compelled to do so by, or even in spite of, incapacity. Usually passed along by outsiders, this observation is rarely borne out by practical application in the educational field because the most effective teaching models lead directly by example, relying upon inspiration to make lasting impressions upon students. Such was the approach favored by Julian "Cannonball" Adderley (1928- 75), a hard bop alto saxophonist who exemplified a brand of music education rare for a jazz figure of his time and stature. A former music teacher, Adderley combined virtuosity, idiosyncratic pre-concert remarks, and a knack for discovering, promoting, and surrounding himself with innovative musicians. Throughout much of his career, he demonstrated concern for the future of jazz. He directed and participated in youth concerts, lectured in collegiate demonstrations with his band, and debated fellow artists in forums over the status of jazz and its projected viability. As a band leader, Adderley seemed similarly driven to promote musical awareness in his audience. Guided by these instructional impulses, his career offers a moving counterexample to cliches affirming the inherent ineptitude of pedagogues. While pedagogy formally unites educational theory with practice, in simpler terms, it refers to the art of teaching. It is the resulting merger of training and the subsequent application of that training, without which, no successful learning scenario can coalesce.! Pondering pedagogy can quickly result in a splintering of broader issues.
    [Show full text]