THE MASTER PLAN: THE PROCESS OF COMPOSING, RECORDING AND

PRODUCING AN ALBUM

KENNETH MALCOLM MCDONALD

A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES

IN PARTIAL FULFILMENT OF THE REQUIREMENTS

FOR THE DEGREE OF

MASTER OF ARTS

GRADUATE PROGRAM IN MUSIC

YORK UNIVERSITY

TORONTO, ONTARIO

NOVEMBER 2009 Library and Archives BibliothSque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'Sdition

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The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission.

In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondares ont ete enleves de thesis. cette these.

While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Canada ABSTRACT

The writing, recording and production of a jazz recording are processes that differ for each individual. The discipline for a project of this grandeur has to be self-automated and will incorporate several trial and error procedures in order to complete it successfully. This thesis will document the process of creating the recording The Master Plan and how it serves as a step towards a career as a professional musician. Included will be the scores of all compositions composed during the process along with other relevant transcriptions and analysis.

iv ACKNOWLEDGEMENTS

I would like to formally thank Professor David Mott, Professor Barry Elmes and

Professor Michael Coghlan for their wisdom, guidance and encouragement over the course of my studies. I would also like to thank Karen Ng, Demetri Petsalakis, Jay Sussman, George

Karounos, Barry Romberg and Jeff Elliot for their creative and professional involvement in the recording. Finally I would like to thank Jacklin Falconer and the McDonald and Falconer families for their ceaseless support throughout this entire project.

v TABLE OF CONTENTS

Abstract iv

Acknowledgements v

List of Figures vii

Introduction 1

Chapter One: The Purpose of the Master Plan - Explaining the Need to Compose 3 - Urgency 12 - Why Now? Pros and Cons 13

Chapter Two: Issues of Aesthetics - What Makes for a Good Jazz Ensemble? 18 - What Makes for a Good Jazz Composition? 26 - What Makes for a Good Jazz Recording? 31

Chapter Three: Influences - Jazz Influences 33 - Other Musical Influences 36 - Non-Musical Influences 41

Chapter Four: The Compositional Process - Preparation 44 - Theories and Techniques 46 - Making The Cut 49

Chapter Five: Preparing for the Session - Rehearsals 52 - How Rehearsal Changed the Compositions 54 - Choosing a Studio 56

Chapter Six: Capturing the Moment - The Recording Session 59 - Mixing, Mastering and Manufacturing 62

Conclusion 65

Appendix 68

Bibliography 122

vi LIST OF FIGURES

Figure One "The Outlaw" from Further Explorations by the Horace

Silver Quintet 5

Figure Two "Nica's Dream" from Horace-Scope 7

Figure Three "To Whom It May Concern" from Horace Silver and

The Jazz Messengers 8

Figure Four "One by One" by Wayne Shorter 10

Figure Five "Juju" by Wayne Shorter 11

Figure Six "From 10 To 11 Blues" Alto Solo Excerpt 21

Figure Seven "Peace" Ornette Coleman Solo Excerpt 29

Figure Eight "Waltz for JS" Lead Sheet 38

Vll Introduction

For my master's thesis I compiled a body of original compositions and recorded them for professional and commercial purposes. From August 2007 to July 2008 I wrote fifteen compositions that would be suitable for a jazz recording. I picked the eight strongest compositions and had them recorded and pressed as my debut recording entitled The Master

Plan. I have included scores of all fifteen compositions along with other relevant transcriptions that help explain my feelings towards the music.

Within this thesis I plan on demonstrating why composition is important myself as a musician and to music in general. I will do so by elaborating on the development of my compositional skills and by investigating the developing careers of other significant composers. I will also discuss the important elements of a jazz composition and compositional practice using examples of my own work and the work of others. I will document how the compositions of The

Master Plan were chosen, rehearsed, recorded and indicate how they were developed through these processes. Then I will further notate how this recording has since helped me initiate a professional music career and a strong work ethic.

This thesis serves as my rite of passage into the world of the professional musician.

Before this my education in jazz music had been exclusively formal and academic. Very little had been done outside of the university environment to further my career as a jazz musician. So I was compelled to take action. Even though this thesis counts as an academic accomplishment it also serves as something much more specific and practical. It was mostly self-automated (with some help from my professors) and has led to many other extra-curricular ventures such as self promotion, grant applications, concert bookings and touring, none of which were related to the

1 thesis. This thesis project has enabled me to become a better musician and has made me more ambitious towards what I want to accomplish.

2 Chapter One: The Purpose Of The Master Plan

Explaining the Need to Compose

So, if we waive for a moment the question of ethics and morals, and simply go to the point where 'responsibility' means 'being aware of all the needs of oneself in order to maintain one's existence,' then I propose that the role of the composer is to retard the decay of the system. The decay of the system is here not meant to be a purely biological fact, like getting old or becoming redundant, but is connected a little bit with the loss of information that prevails whenever one explores a system. The more we know about it, the less there remains to be known. So that curiosity for exploration decreases with age. In order to retard that decay of curiosity - this decay of delight in exploration - the composer stipulates certain configurations he calls 'new systems,' says about them that for him (and if possible for his society) these are unexplored systems (with other words, in a kind of disorder or chaos), and proceeds to systematically order it by exploring it and documenting the traces left by this exploratory process. These are then compositions, sometimes.1

Herbert Brim's statement effectively describes the importance of composition in an evolving musical climate. Jazz has a vast repertoire that gives many "systems" for musicians to explore. That being said, the idea of using someone else's system may seem rather limiting and building new systems may be more appealing. While composing music intended for improvisation, I am creating a new musical structure that allows me to explore rhythmic and harmonic elements that interest me at this particular moment in time. I can input ideas developed upon through private musical practice (be it instrumental or compositional) or I can take ideas that I have discovered through other recordings or compositions. This is a great way to delay musical boredom when one is tired of playing standard jazz repertoire. While I still enjoy performing standard jazz repertoire through improvisation, I do get the urge to create new musical structures that are exclusive to myself and differ from standard melodic, harmonic and rhythmic traditions.

1. Briin, Herbert. "Towards Composition," When Music Resists Meaning, ed. Arun Chandra (Widdleton: Wesleyan University Press, 2004) 78-79. 3 The compositions featured on The Master Plan provided new musical systems for my ensemble to explore. Often I will compose with a certain instrumentalist in mind and create something that accents their musical strengths. This allows for the given musicians to express their musical tendencies in a system that is exclusive to them. For example, "A Fistful of

Swing," the penultimate composition on my recording, was written with saxophonist Karen Ng in mind. I wanted her to play the baritone saxophone, an instrument she plays well but does not play as often as the alto saxophone, on at least one composition. I did this because Ng adapts well to different and challenging musical situations and comes up with ideas that are different from what she would usually create. Not only did I write a composition where she needed to play a different saxophone but I used an awkward key (Ab minor concert). This forced her to step outside of her regular improvisational tendencies and create something different. Rather than exploring the parameters of the harmony she created a harmonically sound solo by centering her melodic lines around the chord changes. This allowed for the guitarist and myself to drop out for

48 bars, further adding to the textural flux of the performance.

The desire to create new musical systems is apparent in composers with long and prolific careers. One of my biggest compositional influences is Horace Silver, whom I feel has mastered the craft of writing a standard jazz composition. Throughout his career as a bandleader he created recordings that featured original compositions with elaborate systems of musical structuring.

Take "The Outlaw" from Further Explorations by the Horace Silver Quintet for example. The composition has a form that can be reduced to this:

2. Howard Mandel. "More Than a Coin Toss: Improvisation vs. Composition In Jazz." NewMusicBox. http://www.newmusicbox.org/page.nmbx?id=23tp00 (accessed September 15 2008). 4 Figure One.'The Outlaw" from Further Explorations by the Horace Silver Quintet

SECTIONS WITHIN FORM OF THE SUB-FORM WITHIN SECTION COMPOSITION

First Head* - A (7 bars, swing feel, rhythm section outlines melody) - B (6 bars, latin feel) - A (same as first A) - B (same as first B) - C (10 bars, swing feel, rhythm section shots outlining the melody in last 3 bars) - D (18 bars, latin feel, saxophone improvises, ensemble is tacet in last bar) Saxophone Solo (Clifford Jordan) - A (7 bars, swing feel) - B (6 bars, half time swing feel) - A (same as previous A) - B (same as previous B) - C (10 bars, swing feel, rhythm section shots outlining the melody in last 3 bars) - D (18 bars, latin feel, ensemble is tacet in final bar) Trumpet Solo (Art Farmer) Same as saxophone solo Piano Solo (Horace Silver) Same as saxophone solo Shout Chorus** Same as First Head, except piano improvises over C and D section. Final Head Same As First Head, but no one improvises over D section. *(In this instance a 'head' refers to a statement of the main melody of a jazz composition, normally stated at the beginning and the end of the performance) **(A shout chorus is an alternate melody that is often stated after each soloist has been featured. It normally follows the exact same form as the original head of the piece. However there are many variations on how a shout chorus is constructed.)

This composition features a four-section form where only two sections are repeated. The sections are metrically unbalanced with a seven bar A section, six bar B section, 10 bar C section and an

18 bar D section. The seven bar A section is unconventional since an odd amount of bars does not normally resolve itself smoothly to another section. Silver manages to make the transition

5 smooth by having the final bar of the section a bar of rest, thus letting the previous melodic phrase (that has heavy syncopation) rest before stating the next theme. This demonstrates that

Silver was able to create a new musical structure that seems unusual but is still aesthetically pleasing.

Two signature aspects of Silver's compositions are the alternating latin/swing sections and having the first half of the final head as a shout chorus. Silver does this on many of his classic compositions including "Nica's Dream" and "To Whom It May Concern." See tables two and three below:

6 Figure Two. "Nica's Dream" from Horace-Scope Introduction 2 bars whole ensemble playing rhythmic shots 1 bar unison horn line - 4 bars rhythm section vamp First Head - A (16 bars, latin feel, trumpet plays melody while saxophone plays counter melody - A (same as first A) - B (16 bars, swing feel, trumpet and saxophone play harmonized melody, offbeat shots for first 2 bars) - A (same as first A) C (8 bars, latin feel, last two bars saxophone soli) Saxophone Solo (Junior Cook) A (16 bars, latin feel) A (same as previous A) B (16 bars, swing feel) - A (same as previous A) C (same as head, but with trumpet solo instead) Trumpet Solo (Blue Mitchell) Same as saxophone solo, but with piano soli in the C section instead Piano Solo (Horace Silver) - A (16 bars, latin feel) - A (same as previous A) B (16 bars, swing feel) A (same as previous A) - A (same as previous A) A (same as previous A) B (same as previous B) - A (16 bars, 6/8 latin feel) Shout Chorus/Final Head - A (16 bars, latin feel, first 8 bars are a harmonized melody, last 8 bars are a saxophone solo) - A (16 bars, latin feel, first 8 bars are a variation on the previous harmonized melody, last 8 bars are a trumpet solo) B (16 bars, same as B in first head) A (same as A in first head) Conclusion 12 bars, latin feel, with a caesura and fermata on the final bar.

7 Figure Three. "To Whom It May Concern" from Horace Silver and The Jazz Messengers Head - A (12 bars, straight 8ths feel, drums outline melody) - A (same as previous A) - B (16 bars, latin feel, horns play melody in unison) A (same as previous A) Piano Solo (Horace Silver) - A (12 bars, swing feel) - A (same as previous A) - B (16 bars, swing feel) - A (same as previous A) Saxophone Solo (Hank Mobley) Same as piano solo Trumpet Solo (Kenny Dorham) - B (same as previous B) - A (same as previous B) Shout Chorus/Final Head - A (12 bars, swing feel, horns play a melody that exchanges between harmonized and unison textures) - A (same as previous A) B (same as B in first head) - A (same as A in first head, repeat the last two bars with ritardando)

Both compositions follow an AABA format (though "Nica's Dream" has a C section that serves as an interlude before and between solos). In "Nica's Dream" the A section adheres to a latin rhythmic feel while each B section contrasts with a swing feel. "To Whom It May Concern" exchanges feel only in the first head and the shout chorus/final head while the solo sections maintains a swing feel. This composition serves as a reversal of "Nica's Dream" since the B section incorporates a latin feel and the A sections have either a straight eighth feel (head in) or a swing feel (shout chorus/final head). The other thing that both compositions have in common is the final head, where the first half of the form has a different melody serving as a shout chorus.

In contrast, "The Outlaw" features a shout chorus that follows the entire form of the composition before concluding with a final head. However if the form of the composition is long it is quite suitable to combine the shout chorus and the final head. The shout chorus is a compositional device that was used more often in large ensemble arrangements and was not as apparent in

8 smaller ensembles until Horace Silver started using them. This shows Silver's ability to have an elaborate arrangement in a small ensemble composition while being resourceful and tasteful.

These concepts are not exclusive to Horace Silver but show his enthusiasm towards creating elaborate compositions. Many of his compositions could not be notated in a lead sheet (a single page music transcription that notates only the main melody and chord symbols) and would be better notated in score form. Overall Silver succeeded in delaying the decay of desire by contributing a body of challenging and original work to the jazz tradition.

Another jazz composer who has created very influential systems for jazz musicians is

Wayne Shorter. This can be illustrated through his vibrant career as a sideman, bandleader and composer. For example, we can begin by looking at his contributions to the Jazz Messengers.

The compositions he created for this ensemble would often have some sort of structural or harmonic quirk but still normally had a strong sense of blues and bebop harmony. Take "One By

One" from Ugetsu for example. The melody of this composition is based on the G minor blues scale with the inclusion of a major second chord tone (A) in bar three. However, Shorter chooses to include some interesting root motion. In bar seven he chooses an Gm/E chord to lead to the dominant. One would assume that an Ebmaj7#l 1 would be used as the submediant chord leading to the dominant in this cadence, since it is used in bar three as a brief substitution for the subdominant. However, the Gm/E briefly modulates the composition to a dorian modality adding to the bluesy tone of the composition.

9 Figure Four: "One by One" by Wayne Shorter

j 60 ONE BY ONE

fj TOFLYNE SHOCTEE ftl)7tS Q7flLT Cflt7) G(T)7 fffl7 (£bmfU7jll) Qmll p M P

. r-j J J J : r-j J J J^ V J 1 r r r r

When Shorter left the Jazz Messengers to work for Miles Davis, and as a bandleader, his compositions strayed into the realm of heavy modality and non-diatonic harmonic structure. The first sixteen bars of "Juju" is a perfect example of this. The first eight bars retain a B Mixolydian

#5 modality, which modulates down a half step to Bb Mixolydian #5 in the next two bars. Bars eleven and twelve modulate down another semi-tone to a A Mixolydian, with the exception of the last beat of bar twelve that anticipates another semi-tone modulation to Ab Ionian with an inverted Abmaj7 arpeggio. The final two bars show a much more radical modulation to an E minor tonality that is not specific to any mode.

10 -5 Figure Five: "Juju" by Wayne Shorter

JOJO

(OFLVNE SHOETEB

J = 170 67*5

This example shows Shorter branching out of standard jazz harmonies that avoid 2-5-1 cadences and static tonal centers. With Weather Report Shorter create compositions with multiple sections that could not be properly represented in a lead sheet. To quote Stuart Nicholson from The

Future of Jazz anthology:

And while much jazz-rock was based on simple musical structures such as vamps, ostinatos, and modes, musicians such as Wayne Shorter and Joe Zawinul were exploring ad hoc compositional forms of considerable sophistication—indeed, nowhere in contemporary jazz, for example, is there a corpus of work to equal theirs in breadth, imagination, and diversity.4

This statement shows Shorter's need to further deviate from stylistic norms, even if the style is already going through a drastic change of identity. For example, "Palladium" from Heavy

Weather is based on a theme that is developed and repeated several times in a way that is pre- composed and definitely not improvised. There is no soloing until 3:23 into the recording where a saxophone solo serves as the final section of the song. Everything before the saxophone solo has clearly been composed and arranged.

3. Hal Leonard Corporation. The Real Book. Edition #6. (Milwaukee: Hal Leonard Corporation). 4. Stuart Nicholson, "The Song of the Body Electric," The Future of Jazz. Ed. Yuval Taylor (Chicago, IL: A Cappella Books, 2002) 47. 11 His current quartet ventures further into ambitious compositions that blur the distinction between improvisation and composition. The scores for the pieces on 2003 's Beyond The Sound

Barrier are extensive; the one occasion I saw this quartet in concert the scores were dropping off of bassist John Pattittuci's stand. However at a casual listen it is difficult to distinguish what in the performance has been composed and what has been improvised. With such strong and experienced musicians in the quartet it is not unreasonable to believe that a lot of the music from this group is collectively improvised. This description of Shorter's compositional career is far too vague but shows him as a composer that is always looking for new musical structures.

Through my own examples and examples of two jazz icons I attempt to show that

Herbert Brim's theory on the responsibility of the composer is true. As a dedicated composer, the need to write fresh and challenging music is not just an understanding but also an urge. Creating new musical structures is a way of keeping music a thriving art and not a museum-worthy medium. There are many instances of musicians playing traditional styles of music that may be considered museum-worthy but who manage to do so with fresh interpretation and genuine enthusiasm, be it the Bill Charlap piano trio or the Berliner Philharmoniker. However I feel that composition is important in creating new trends and styles of music that will further add to its legacy.

Urgency

A composition reflects more than just the composer's musical understandings; it represents his or her state of mind at a particular moment in time. Just about anything can influence this state of mind: events, experiences, relationships, current musical trends and so on.

However, the main point is that it represents the 'now'. If done for personal expression, and not for commercial commission, the mood of the music is going to be a reflection of the composer's feelings at that particular time.

Thus I felt the need to capture the compositions at the time of their inception. The

information I was processing throughout my studies had a great effect on how I thought about musical composition and performance. My work ethic changed drastically when I realized that

composition is a craft that should be practiced. A serious composer does not wait for inspiration to occur, which I will elaborate on in a later chapter. I decided to establish a regular composing regimen in order to compile a large body of work to choose from for the recording.

On a similar note, the current state of mind of the performer is going to reflect how the composition is performed. I wanted the academic discipline previously mentioned well represented in the performance of the music, along with the excitement of a young musician recording his first collection of original compositions. Anything else that may have affected my

state of mind at the time was surely represented in my performance on this recording, whether I was aware of it or not. If I had waited to record these compositions, my emotional connection to the music may have not been as apparent and the intended feeling of the composition might have been lost. This is why I feel it is important to record the composition as soon as possible. It would seem like a waste to have a creative moment forgotten about.

Why Now? Pros and Cons

The pros seemed to outweigh the cons in creating a professional music recording. The work and responsibility required to complete this project would help develop my work ethic and enhance my professional image. Despite having only a few years of experience as a professional jazz musician I wanted to be well prepared and give a performance beyond what I was normally capable of. Not only did I practice more in order to have my technique in top form, I had to make sure my ensemble was comfortable with the music. To ensure this we rehearsed the material at least once a week, starting four months before the recording session. This may seem excessive in comparison to most jazz recording situations but we had the time and the facilities to make this possible. Not taking advantage of that would have been a waste. I felt that this allowed us to learn the material and learn how to interact as an ensemble effectively. This was even more important when it came down to the actual recording session for we were not only isolated from each other in separate booths but we were limited by how much time we had to record the music.

Another other obvious advantage to doing this project is that it left me with a professional product with my name on it. Now whenever I am trying to promote myself, whether through press or local clubs, I have a professionally pressed CD to represent myself. It was also a good idea to set myself a large and satisfying goal. Now that I know what it takes to realize a recording I know how hard I will have to work to develop a plausible career as a jazz musician.

As grim as the prospects may seem it is satisfying knowing that I was able to make a professional recording and that I am capable of doing more.

The two main disadvantages were the lack of experience and the expense of recording. I had only been playing jazz and the acoustic bass for a few years, which is now permanently documented in audio form. I was far from being a master of the music arid the instrument, which for some might be a reason to refrain from recording. However, this recording session was a great learning tool in developing my instrumental technique. In this situation my bass was captured in complete isolation, thus revealing its sound clearly. This allowed me to hear every flaw in my playing and to know what I had to work on as a bassist. That being said, absolute mastery of the music and the instruments is not immediately necessary in order to create an aesthetically pleasing jazz recording. The energy that is created through the excitement and enthusiasm of four young musicians will generate a dynamic and energetic recording. Plus how can we effectively gauge if we have 'mastered' the music or our respective instruments? Music in general is a skill of perpetual development and can never truthfully be mastered. According to www.askoxford.com 'mastery' can be defined as "comprehensive knowledge or command of a subject or skill."5 However, as music develops and changes, new instrumental techniques and approaches are created, adding to the criteria of "mastery". Therefore I feel that it is next to impossible to have truthfully mastered a style of music or an instrument.

As for financing a project like this, it is very difficult for a musician of my caliber to obtain any sort of assistance. Jazz record labels are few and far between and even then the competition is high. Many independent musicians rely on government grants to have their projects realized but, unless you have a really unique idea or have a strong reputation, the grants are hard to obtain. Someone of my stature has only one option: to finance the project independently. Despite its expense it left me with complete control of the project. With no standard determined by a second party I had the freedom of writing, arranging and packaging the music however I wanted.

Another advantage to self-financing a recording is that it shows determination when trying to market oneself to festivals, clubs and the press. As much as financial aid is welcomed in any sort of musical project, its absence can determine who is dedicated enough to succeed in the music business. Musicians who have sacrificed in order to cultivate challenging styles of music (that may or may not be accessible enough for commercial marketing) have played an important role in the progression of music as an art form.6 This concept is interesting for I do not feel that a lot

5. AskOxford, http://www.askoxford.com (accessed may 27, 2009). 6. Horace Silver, Let's Get To the Nitty Gritty, The Autobiography of Horace Silver. Ed. Phil Pastras (Berkley, Los Angeles and London; University of California Press, 2006) 97-98. 15 of struggling jazz musicians create music that, despite its sophistication, is hard to listen to. Jazz in general strayed from mainstream audiences decades ago after being a form of popular music and a factor in social functions. In the 1930's the term "jazz" referred to a style of music that would be a commercial success and would serve as a style of music to dance to. Then the development of bebop seemed to transform jazz into a style of art music that was not only challenging to play but challenging for the average person to listen to.7 This trend has only reversed itself in certain ways, with record companies marketing singers like Diana Krall and

O

Jamie Cullum that play up the nostalgic value of jazz standards and some instrumentalists like

Brad Mehldau, The Bad Plus and Herbie Hancock converting popular rock and pop songs into jazz arrangements. Regardless, it is still hard for an upcoming jazz artist producing original material to get financial support.

I feel that any musician who is determined to get their music heard will make it happen no matter how financially strained they are. One of the advantages to selling music in digital format is the lack of costs for manufacturing discs. Personally, I will still produce discs for the sake of promotion and for the demographic of listeners that still buy CDs. However, given the limited number of discs I have sold since the recording's release, the idea of selling music as a digital download has become more appealing. Alongside manufacturing costs, many musicians are becoming more learned in sound engineering, allowing them to record their own material without the cost of studio time. This is a bad situation for the recording industry but a better one for the starving artist with a lack of funds for studio time.

7. Eric Nienson. The Making of Kind of Blue: Miles Davis and his Masterpiece. 1st ed. (New York, NY: St. Martin's Press. 2000) 8. 8. Stuart Nicholson. Is Jazz Dead? (New York NY: Routledge, 2005) 79.

16 Whether or not it was the right time for me to do this, I felt the need to do it and I went ahead with it. So much was learned though the whole process that it was worth the financial sacrifice I made.

17 Chapter Two: Issues of Aesthetics

What Makes for a Good Jazz Ensemble?

Certain jazz musicians are known for their individual accomplishments and talents. They spend so much time working on their own musical ideas during private practice that they develop an individual voice. However it is not just the work of one person that makes an ensemble performance special. All music beyond solo performance thrives on group interaction, particularly with something as loosely structured as jazz, and the relationship between the members of an ensemble will determine the outcome of the performance. Even on a solo the featured instrumentalist will react to what the other ensemble members are contributing to the performance at the time. The ability to listen effectively and build ideas off one another will determine the strength of the performance.

When choosing the musicians for my recording my main concern was to find musicians who would work well together and be dedicated to the project. I also wanted musicians that have a strong individual work ethic and an open mind towards new and possibly obscure ideas.

Luckily I have managed to befriend some very talented and disciplined musicians over the past few years, so forming an enthusiastic ensemble was not a problem. I feel that if you exude that sort of work ethic and passion yourself you will attract people of the same kind.

Guitarist Demetri Petsalakis was the first musician I asked to take part in this project. At the time we were roommates and would often play music together for leisurely or practical reasons. Petsalakis comes from a background of classical training and has an incredible ear for recognizing harmonic structures. Throughout the entire compositional process I was able to bounce ideas off him and ask him for insight when I was uncertain of a composition. His wealth of musical knowledge is showcased in his improvisation; he is willing to explore harmonic and rhythmic territories that many avoid. He is able to bend the rhythmic feel of his phrasing significantly without disturbing the overall groove of the piece. Also, because of his strong musical ear, he and I were able to branch out and play against the tonal center and resolve in logical ways during a performance. For example, when we were rehearsing "Rhythm and

Vision" he was unsure about how to treat his solo since the compositional parameters were obscure and limited (a C# Phrygian vamp in 7/4 time). I told him to play whatever came to mind and forget about playing tonally for I knew that he would intuitively make sensible harmonic decisions. Using this direction he played a great solo. I was always able to follow him when he stepped out of the modal center and was able to effectively predict when he would resolve, creating a tension filled performance that always ended in a satisfying release. This does not only showcase Petsalakis' innate musical talent but it also shows his selfless sense of professionalism.

He was never afraid to ask what I wanted in the music and was never ashamed to admit when he was uncertain of something. He also knows how to input a bluntly honest opinion without offending the other members. For example, I brought in "Floating" to try out at a rehearsal and he bluntly said that it did not offer much musical excitement outside of its gentle tone. This, along with a genuinely warm and easy-going personality, created a constructive atmosphere in rehearsals. Petsalakis' passion for music shines through in his playing, personality and work ethic, which made him an invaluable asset to the recording project.

Saxophonist Karen Ng and I have been musical partners for a while now. We met in the second year of my undergraduate degree and have been performing together in various ensembles since then. Ng has been developing a unique identity in her playing over the past few years, which has made her a desirable side musician for many ensembles around the city. As a saxophonist, she has a very malleable tone that can be very abrasive when appropriate but can also be beautifully sensitive. "Jane" and "The Trust Is Gone," two compositions that appear consecutively on The Master Plan, exemplify her tonal sensibility. Ng uses the range and overtone possibilities of the soprano saxophone effectively on "Jane" to create high-pitched noises that add to the manic tone of the composition. On "The Trust is Gone" she tones it down with a soft and breath-like tone on the alto saxophone that adds to the dark and somber mood of the composition. Beyond tone Ng achieves sonic colors through her note choices. I find that when I listen to her I hear oblique shapes of sound instead of linear lines of melodicism. With this style of playing I find she is able to control and fluctuate the textural density of the performance and contribute more to the overall sound of the ensemble instead of being just a melodic feature. If we listen to her solo in "From 10 to 11 Blues" at 4:05 into the performance we hear an intervallic exchange between a lower note and the tonic, gradually moving closer to it

(bar 1 and 2). This phrase is then followed by a radical desent into the lower register of the horn

(last half of bar 4 and bar 5) followed by a flurry of notes that ascends and descends rapidly (bar

6). One might view the run as a linear sequence, but at this velocity the notes are not clearly articulated and a melodic sequence is not as audible. I hear it as a rise and fall of pitch that creates an arch-like shape in the sound (and visually too, if we look at the notation).

20 Figure Six. "From 10 To 11 Blues" Alto Solo Excerpt. FROM 10 TO 11 BLUES ALTO SOLO EXCERPT <4:05>

4

FT. SAX.

6

A. SAX.

What makes Ng such a desirable musician to work with (outside of her musical competency) is her wonderful personality and attitude. She has an incredibly friendly and positive aura to her that makes her quite approachable and easy to be around. Because of this strong personality she is always being asked to play in various types of ensembles and rarely turns down an offer. All of this experience in contrasting musical situations has allowed her to build an extensive vocabulary of varying musical ideas. Overall Ng is an extremely colorful and versatile musician who added a lot of excitement and dimension to the recording. Without her the album would have been drastically different and maybe not as strong.

Jay Sussman and I have become a strong rhythm section team over the past year. As a bass player it is important to find a drummer with whom you can work to create a pulse that sounds like it is coming from one entity and not two people. There are many examples of bassist/drummer relationships where they created such a strong sound that they were often hired together as a unit. Duos such as Paul Chambers and Philly Joe Jones, Ron Carter and Tony

Williams, Reginald Workman and Elvin Jones created such bold sounds as a unit that they were featured together on many recording sessions with different leaders. I do not mean to compare 21 Sussman and I to these legendary duos but I feel that a strong musical connection can be heard in how we play together. Sussman is a very mindful drummer who always plays with the ensemble and never against it. He and I share similar values when it comes to being a good rhythm section: strong sense of pulse, support for the soloist, tasteful interaction and dynamic flexibility. All of these things can be heard during the guitar solo of "Rhythm and Vision." Due to harmonic looseness and an odd time signature the only thing that holds the form of the solo together is a heavy emphasis on beat one of each bar. Sussman clearly states when the bar is beginning and ending, allowing Petsalakis to freely develop his solo. He also builds the intensity during parts of heavy dissonance by playing louder and using the harsher timbres of the drum kit. Throughout this very dissonant performance the pulse never slows down, further adding to the intensity of the solo. Sussman's strong sense of form is apparent in his soloing too. He plays clear rhythmic phrases in his solos that could be duplicated easily on a melodic instrument. This is very apparent during the trading section of "A Fistful of Swing;" the way he phrases his ideas complements the form of the composition so well that it is always obvious when the rest of the ensemble should start playing again. With this phrasing you can hear the form of the song without getting lost. He is also a man of detail and precision. Whenever we rehearse he is always asking which sort of beats, sticks, cymbals, etc that we prefer at various points of the compositions and will try out all of the options before deciding on what to use during a performance. Along with mindful musicianship Sussman has a positive personality and a great sense of humor. During moments of frustration one can always rely on him to break the tension.

Also, because of this good sense of humor, Sussman never gets upset over trivial things and is generally a positive person with whom to be creatively constructive. His contribution to the

22 album on a musical and personal level brought out a lot of magical moments in the recording and made the whole experience easier for all of us.

The final ingredient to The Master Plan was the addition of trumpeter George Karounos on "Rhythm and Vision" and "A Fistful of Swing." Out of all the participants on the recording he is the one I have known the longest. Being a well rounded musician, Karounos is equally fluent on the guitar, piano and trumpet and has a fantastic ear for melodic ideas. George has been playing jazz since he was thirteen and shows the confidence gained through this experience on

"Rhythm and Vision" and "A Fistful of Swing." George plays with a great sense of restraint and maturity and knows that, in the words of Miles Davis, "you don't have to play all the notes, just the pretty ones."9 Karounos' solo on "A Fistful of Swing" is mapped out in a way where each melodic idea is clearly stated then separated by a sensible amount of space, allowing each idea to stand out on its own. "Rhythm and Vision" further shows his great sense of restraint and taste by sharing his solo section with Karen Ng. Together they build a very exciting solo by building off each other effectively. Karounos waits four bars before playing, letting Ng set the mood of the solo. They play off of a call and response interaction, gradually moving closer together, eventually playing at the same time. When their playing gets denser it creates a very effective tension that releases and builds over and over again. Throughout this whole performance

Karounos plays the least amount of notes and serves as an ornamentation of Ng's ideas. Most phrases are started by Ng and embellished by Karounos as they are being developed. He is complementing the idea at hand and not merely following the other soloist. This strong sense of confidence and maturity is also reflected in his personality. Karounos is a genuinely pleasant person with a welcoming aura that comes with no hidden motives or insecurities. George knows

5. Miles Davis. Quoted in Eric Nienson. The Making of Kind of Blue: Miles Davis and his Masterpiece. #1 ed. (New York, NY: St. Martin's Press. 2000) 41. 23 where his priorities are and has nothing to prove, which is apparent in both his personality and playing. Karounos' presence in the preparation and execution of this recording may have been brief but its impact was strong and added to the overall integrity of the recording.

It was easy for us to work together as a unit due to the positive attitudes of each member of the ensemble. The respect that we have for one another allowed us to play strong music as a group and not as individual musicians. This is crucial in an improvised performance; a lack of listening and communication will lead to a non-cohesive and messy performance. Beyond respect is the issue of joy and fun. If you like the people in your ensemble then you will enjoy playing the music, creating a performance with a strong sense of enthusiasm and passion. Horace

Silver elaborates on this theory in his autobiography:

The Blue Mitchell, Junior Cook, Gene Taylor, Louis Hayes/Roy Brooks band was one of the best bands I ever had. We stayed together for about six years. We were really tight, musically and personally. We were a family, like brothers. We played well together and looked out for each other like family members do.. .We were very compatible as musicians and as people.. .The six years that group was together were happy ones for me. I hope they were happy for the rest of the band also. We made a lot of great music and made a lot of people happy through our music.10

The idea of family is interesting in a music that relies on improvisation and interaction. Some great jazz performances feature instrumentalists taking great risks to achieve the musical idea that they are hearing in their head. In order to do this, or recover if it goes wrong, you need an ensemble that will give you the support necessary to go out on a limb. If the bond between the members of an ensemble is so strong that it feels like family, there clearly is a strong sense of familiarity, communication and trust. If you can communicate effectively with music instead of words and be familiar with how the other members play and react then you can trust them to

10. Horace Silver. Let's Get To the Nitty Gritty, The Autobiography of Horace Silver. Ed. Phil Pastras (Berkley, Los Angeles and London; University of California Press, 2006) 102. 24 support you while improvising adventurously. The most satisfying thing about jazz, in my opinion, is when these spontaneous ideas are developed, executed and resolved seamlessly as a group with no preconceived indication or instruction. Better relations between ensemble members will always lead to more adventurous and satisfying performances.

Any sort of tension between members can lead to lack of proper communication, therefore leading to a poor performance. Some may argue that tension can lead to intense performance but for me a comfortable and trustworthy atmosphere is ideal. Horace Silver comments on how tension within a band can be disastrous:

When Joe Henderson left the band, Tyrone Washington came on board. At first he was a very humble young man. He was glad to be there and was cookin' his ass off. But as people began to appreciate his playing and give him complements, his head started to get big. He started taking solos in the avant-garde direction, which didn't fit what I was doing.. .And then there was his attitude—as I say, he was humble when he came into the band. But it was a time of racial conflict.. .and he was very anti-white. He was making anti-white comments out loud in the club, and that just tore the band apart.11

This shows how even one bad attitude can make for a non-cohesive performance. When a group of musicians assemble as an ensemble, there needs to be a common goal between each member.

They can offer their own interpretation and add a sense of uniqueness to the performance but each member of the ensemble needs to strive to obtain the same goal. This is something that does not need to be discussed beforehand; if each member listens and supports one another through the performance then the goal will be reached. If one member plays outside of the musical structure that the ensemble has created then the performance will come across as messy, self indulgent and unappealing. Even if each member knows how to play well with each other, a bad attitude will create a negative atmosphere amongst the members, leading to an unenthusiastic

10. Horace Silver. Let's Get To the Nitty Gritty, The Autobiography of Horace Silver. Ed. Phil Pastras (Berkley, Los Angeles and London; University of California Press, 2006) 102. 25 performance. Communication is one of the biggest factors in a jazz performance. Without respect for one another the communication will be lost and the performance will be weak.

What Makes for a Good Jazz Composition?

It is next to impossible to clearly define a set of parameters for a quality jazz composition due to differences in musical tastes among musicians. All I plan to do is outline what I value in a jazz composition and explain how those values function in performance.

One thing that is easily overlooked is simplicity. It is easy to get caught up in creating compositions that have extensive form, complex harmonic movement and angular rhythmic structure. A simpler composition tends to leave more space for the improviser to explore musical ideas12. One reason why Kind Of Blue was such an important jazz recording is that it broke away from bebop harmonic structure and incorporated modal harmony that offered less restriction to the improvisers.13 "Waltz For JS" is an example of this: 64 bar waltz with an AABA form, little rhythmic complexity, a mainly diatonic melody and long stretches of modal harmony. The simple melody makes a bold melodic statement that can be used as an improvisatory stimulus.

Also the form is so familiar that the concentration of the musician can be completely centered on his or her improvisation. An analysis of the piece in Chapter 3 will further prove this point.

Further expanding on the idea of simplicity and melody, a strong melodic statement becomes memorable, giving the improviser a melodic idea to build upon. I find there is a trend amongst contemporary jazz musicians to compose disjoint melodies with a challenging harmonic structure. The intensity created from successfully improvising over these complex parameters

12. Frank Kimborough. "The Jazz Collective on Creating and Performing." NewMusicBox. http://www.newmusicbox.org/article.nmbx?id=1159 (accessed September 15 2008). 13. Nat Hentoff, "An Afternoon with Miles Davis." Jazz Review. (December 1958): quoted in Eric Nisenson. The Making of Kind of Blue: Miles Davis and His Masterpiece. (New York NY: St. Martin's Press, 2000) 48. 26 can be quite consuming but I desire something distinct within the actual composition that is easily remembered. I also feel that it is more challenging to write a simple melody that retains musical integrity. It is easy to hide behind complexity when presenting a composition to others; to write something that is exposed through simplicity requires a lot more musical sensitivity and assessment. In the words of Horace Silver:

In writing my music, I find that the so-called hard shit is easy to write. It's the easy shit that be kickin' my ass—kickin' my ass in terms of concept, harmony, phrasing, lyrics, song titles and so forth...For example, after employing so much sophisticated harmony, it becomes difficult to scale down to thirds and triads and make them sound hip and not corny.14

Complexity and challenge are aspects of jazz music that have been apparent from the beginning and make it a beautifully evolving genre. However it can be a difficult style to digest, especially for the musically untrained listener. In order for a composition to be listenable, while still maintaining integrity, a mix of complexity and simplicity are necessary. For example, a simple harmonic structure will complement a composition with a lot of metric modulation and make it sound less forced. Too much musical information can make a composition seem unfocused, self indulgent and musically unsound.

Composition and improvisation are mutually exclusive in jazz.15 This statement relates to both how a jazz composition should be structured and how it can be realized. A typical jazz composition needs to be structured with improvisation in mind.16 If the structure behind the main melody, or the head of the piece, is not suitable for improvisation then an alternate solo section should be considered. Sometimes this can make for a nice break in the overall structure of the

14. Horace Silver. Let's Get To the Nitty Gritty, The Autobiography of Horace Silver. Ed. Phil Pastras (Berkley, Los Angeles and London; University of California Press, 2006) 102. 15. Howard Mandel. "More Than a Coin Toss: Improvisation vs. Composition In Jazz." NewMusicBox. http://www.newmusicbox.org/page.nmbx?id=23tp00 (accessed September 15 2008). 16. Ted Nash. "The Jazz Collective on Creating and Performing." NewMusicBox. http://www.newmusicbox.org/article.nmbx?id=1159 (accessed September 15 2008). 27 piece and give it more direction. Improvisation plays an important role in how the composition is realized too. A great jazz melody can be composed simply through improvising on an 17 instrument, often unintentionally.

On a related note, if a group is skilled enough, a composition can be spontaneously realized through group improvisation, with very little or no preset musical guidelines. An ensemble can create a composed-sounding improvisation together if each member is willing to listen and interact constructively. This is something that I feel is overlooked when considering the style of "free jazz." My definition, based solely on a vernacular interpretation of the term, is music that allows musicians to improvise in any way they feel is right, without any sort of pre- conceived structure. This means that the musicians are allowed to play melodically and diatonically if he or she wishes to do so. There have been many occasions where my group will improvise and end up playing in the same tonal center. In fact we will often practice playing free in rehearsals, trying to develop upon each other's ideas and create something that sounds cohesively improvised.

Even Ornette Coleman's classic quartet would have instances where they would collectively improvise in a tonal center. Take the first eight bars of Coleman's solo in "Peace" from The Shape of Jazz To Come. The first six bars show Coleman improvising over Eb minor

(with some instances of chromaticism) while bassist Charlie Haden accompanies in the same general harmonic structure. However there is an instance where reactive instinct allows for the improvisation to shift to another tonality. In bar six Haden plays a four-note circle of fifths pattern of Gb (enharmonically F#), Cb (enharmonically B), E and A that cues Coleman to switch the tonality to D major. What makes this a clever transition is that the first two notes of the bass 10. Horace Silver. Let's Get To the Nitty Gritty, The Autobiography of Horace Silver. Ed. Phil Pastras (Berkley, Los Angeles and London; University of California Press, 2006) 102. 28 line are in both Eb minor and D major (in different enharmonic headings), allowing the modulation to occur smoothly.

Figure Seven. "Peace" Ornette Coleman Solo Excerpt. PEACE - ORNETTE COLEMAN SOLO EXCERPT

OCTETTE COLSTON • 120 IRIEDIURA TEMPO saiNfi El> miNoe- r-3—1

ALTO SOX fife^f l>2 CHeoMTiasm et BASS w \>2 CMMTlCm \>S passing TONE D iwuoe- \

A. SAX.

Boss

\>2 PASSING TONE 7 PASSING TONE aeciE of 5th pmm. SETTING OP THE D m/uoe mom/moti

I will assume that the only thing that was preconceived with this part of the improvisation was the initial tonality of Eb minor. The shift to D major was not preplanned and occurred through listening and reaction. Free jazz has seemingly developed a language of atonality, mutliphonics, harsh timbres and absence of rhythmic definition. This is similar to how bebop formed a language of ii-V-I cadences and altered upper partials.18 However this takes away from the initial concept of free jazz where the instrumentalist plays appropriately to how the music is moving with no restrictions to pre-set qualities. This does not mean that the music cannot move to a tonal center. If anything, purposely avoiding a tonal center is putting a restriction on the improvisation,

18. Peter Margasak, "Collective Play," The Future of Jazz. Ed. Yuval Taylor (Chicago, IL: A Cappella Books, 2002) 84. 29 taking away from the original mandate of free jazz and making it as predictable as any other style of music.

Non-traditional jazz aesthetics19 can lead to a very distinct sound in a jazz composition.

An example of incorporating non-traditional jazz aesthetics (though this could be contested as something that has become 'traditional') is the mixing of rock aesthetics in a jazz composition. I have no problem admitting to being influenced by this style of music and I did not want to necessarily avoid it in my compositions. The one composition that clearly shows this influence is

"Rhythm and Vision" that features a guitar ostinato (or 'riff) that serves as the main melodic motif of the song. It also features a drum groove with heavy emphasis on the third beat of the bar with a lot of snare and bass drum involvement. It is difficult to truly define what counts as a traditional jazz aesthetic since the music now has a history spanning several decades and has taken many different shapes and forms. However, anything from a different type of rhythm or a different type of drum groove that is normally exclusive to a different type of music can help make the composition a little more unique.

The last thing I would like to mention in this sub-chapter is the importance of an

appropriate title for a composition. The title gives a first impression to the listener and sets a mood for the composition before it is even heard. Whether we like it or not, if the title does not reflect the feeling that the composition is supposed to imply then it can mislead the listener in how it should be interpreted. Ideally the listener would not pass judgment based on such peripheral qualities, but it does happen, so it is important that the composition is represented properly in its title. This is still important even if the composition is not supposed to be taken

seriously. There is nothing wrong with having a title that implies some sort of humor or satire if

19. Orjan Fahlstrom. quoted in Stuart Nicholson, Is Jazz Dead? (New York, NY: Routledge, 2005) 123. 30 that is the purpose of the composition. In fact I think it is something that should be welcomed in jazz, a style of music that is seemingly serious.

What Makes for a Good Jazz Recording?

Flow is something that is important to any music recording. A good balance of dynamics and energy should be maintained from beginning to end while having each composition contrast effectively from one another. An entire recording of dynamically intense compositions with a harsh timbre can lead to an exhausting listening experience. A collection of quiet and slow compositions can be boring. A mix of dynamics (volume, tempo or timbre) will lead to a more satisfying listening experience that can even be accessible to a musically untrained audience.

A quality jazz recording is an honest representation of a musician's passion, musical tastes and (most importantly) musical voice. In my opinion, the best way to avoid producing a dishonest record is to not worry about genre labels. Sometimes composers worry too much about adhering to someone else's idea of jazz and overlook the conclusions they've made about music.20 Therefore their compositions will sound forced and lack personality. The term 'jazz' describes a variety of music but also brings up preconceptions that can be detrimental to the "71 interpretation of the music. If it is possible for composers to think of music simply as just music rather than a genre or style then it is more likely that they will compose music that does not compromise. Therefore the compositions are not only going to exude a sense of honest passion but they may incorporate some unique combination of musical styles that may seem appealing and/or exciting to the listener. 20. Christian McBride. Quoted in Stuart Nicholson, Is Jazz Dead? (New York, NY: Routledge, 2005) 47. 21. Frank Kimborough. "The Jazz Collective on Creating and Performing." NewMusicBox. http://www.newmusicbox.org/article.nmbx?id=1159 (accessed September 15 2008). Production values differ from musician to musician. There are many ways to capture a performance of a composition and everyone will have a different idea of how it should be done.

It is my opinion that, due to the nature of the music, it should be recorded, mixed and mastered in a way that captures the dynamics and energy of a live acoustic performance. With a style of music that has high dynamic contrast (in this case, referring to the volume and timbre flux) it is important to maintain the original dynamic levels of the performance. If the levels of the recording are heavily compressed during post-production many of the musical ideas will not be properly represented. In my recording I wanted the dynamic ideas to be well represented, so minimal post-production was necessary. Also, due to what I value in the tone of the instruments,

I wanted the album to have (what I consider to be) a warm timbre. The acoustic bass and the saxophone have a lot of natural resonance that gives it that warm quality. Even the electric guitar, the one non-acoustic instrument on the recording, is capable of capturing a tone that retains the warm resonance that the other instruments have. However, as stated earlier, the idea of quality production aesthetics differs for each listener and performer.

32 Chapter Three: Influences

Jazz Influences

The blues was new, in my generation dealing with standards was new, dealing 22 with jazz was new...

Wynton Marsalis has made many loaded statements throughout his career, and if I had written the above quote in its entirety it would be one. However, the part I chose to mention relates to my experiences in learning jazz. When I started my undergraduate degree I was lucky enough to have some professors and instructors that introduced me to artists that I would consider to be examples of "traditional" jazz such as Hank Mobley, Art Blakey, Lee Morgan and

Horace Silver. Despite being music that dates back several decades, it was new to me and I found it exciting to play. Playing jazz standards was something that I had never done before and that I found to be a satisfying challenge. This music, which still as satisfying as it was before, has influenced my compositions significantly. This was apparent in "A Fistful of Swing." I had come up with the song title initially, which inspired me to write an idiomatic composition in the style of what I consider to be "hard bop." Hard Bop tends to be associated with a style of jazz that emerged in the 1950's as an antithesis to "bebop" and "cool jazz." It incorporates rough timbres and lends itself more to the simplicity of the blues harmony and modality.24'251 modeled the song after the version of "Jeaninne" from the Donald Byrd recording Live At The Half Note Vol. 1 and

2, where I used the same instrumentation (baritone saxophone and trumpet), tempo, time feel and key center (Ab dorian). Another example of this is "From 10 To 11 Blues," which was my attempt to create a composition in the style of "The Sidewinder" by Lee Morgan. Initially I 22. Wynton Marsalis, quoted in Stuart Nicholson, Is Jazz Dead? (New York, NY: Routledge, 2005) 27. 23. Ron Miller, Modal Jazz Composition and Harmony. Vol. #2 (Advance Music, 1997) 23. 24. Eric Nienson, The Making of Kind of Blue: Miles Davis and his Masterpiece. First Edition. (New York, NY: St. Martin's Press. 2000) 14. 25. Ron Miller, Modal Jazz Composition and Harmony. Vol. #2 (Advance Music, 1997) 25. 33 wanted to take the drum beat, form (an extended 24 bar blues form) and tonality from "The

Sidewinder" and use it in my own composition. However after many revisions and rehearsals it ended up being very different. I could not come up with a melody that I liked over the 24 bar form with the given groove and tonality in mind, so I changed the form to a 12 bar blues in 6/4 time and came up with a melody that felt right. The meter change made it necessary to change the drumming. It still retains the straight eighths feel and accents the rhythmic figure implied by the rest of the rhythm section, but the accents fall on different parts of the bar and are extended for another two beats. The extra two beats in each bar give the form an extended feel without actually extending the amount of bars.

As much as I love older styles of jazz, I feel it is important to be aware of what is currently happening in the genre and at least appreciate it. Pat Metheny makes a point I agree with when he states: "An important function that jazz musicians have is to reconcile their vision of music with the current state of the universe." Metheny's statement can refer to more than just music when considering what is happening around us, from cultural and social issues, politics and so on. It seems ridiculous for a musician to dismiss music that is being created throughout their generation, for the people who are creating it are subject to the same social and cultural implications and have been exposed to similar styles of musical education. Therefore we will play music in a modern fashion even if it differs from current musical trends.

Sometimes this difference is seen in how the musicians play their instruments. For example one could compare the versions of the Irving Berlin composition "Remember" from

Hank Mobley's Soul Station (Blue Note Records, 1960) to Joshua Redman's Spirit of the

Moment: Live at the Village Vanguard (Warner Bros Records Inc., 1995). Both share a lot of

26. Pat Metheny, quoted in Stuart Nicholson, Is Jazz Dead?. (New York, NY: Routledge, 2005) 160. 34 musical parameters: instrumentation (tenor saxophone, acoustic bass, piano and drums), tempo, feel (swing, starting in half time and eventually going back to actual time), chordal arrangement and similar harmonic choices in the soloing. However the performances are very different in many ways. Redman is much more elaborate when it comes to articulation and dynamics applying techniques such as staccato phrasing, pitch slides, the altissimo register, radical dynamic shifts and a harsh timbre. Mobley's performance seems more relaxed compared to the

Redman performance where there is heavier emphasis on motivic development and space between phrases. Another big difference between Mobley and Redman is the beat placement of their phrases. Mobley tends to articulate his notes consistently behind where the rhythm section articulates the pulse, whereas Redman will play both ahead and behind the pulse of the rhythm section, depending on if he wants the phrase to sound rushed or relaxed. Similar comparisons can be made between the performances of the drummers, pianists and bassists on both recordings.

However, to sum it up, developments in instrumental practice can make a traditionally styled performance sound modern.

Therefore I feel that it is important for composers to be aware and appreciate what is currently happening in music. The music that is being created now stems from a lineage of music that was created in the past and is equally as valid. I am not saying that we have to follow current trends in jazz but we should at least be aware of them and appreciate them for what they have to offer. One aspect of modern jazz that I, along with many others, have warmed up to fondly is the use of odd time signatures. When combined with the right melodic phrases and rhythmic concepts these odd meters cultivate an interesting rhythmic feel. The problem with this concept is that the grooves can end up sounding mathematical and angular. However there are a few ways of avoiding this. Something I consider when coming up with musical passages in odd meters is seeing how they can resolve to a 4/4 rhythmic grid. For example, in "Rhythm and

Vision" I have a two bar motif in 7/4 time. If we play that motif twice we end up with 28 beats, which could also be divided up into seven bars of 4/4 time. So within that grid of 7/4 time is a grid of 4/4 time too, which allows us to feel a sense of resolution in an odd meter. Another example of this is the bass/guitar motif in "From 10 to 11 Blues" where the two bars of 6/4 time could be seen as three bars of 4/4 time.

One place where jazz recordings have influenced me is in the production. I feel that the warm tone on the Blue Note recordings of the 1950's and 1960's captured the presence of the performances effectively. When I went into the studio I told the engineer that I wanted it to sound as 'live' as possible and that I would sacrifice pristine production for a strong representation of the natural tones of the instrument and the dynamic levels of the performances.

This was particularly important on my instrument for many recordings feature an acoustic bass tone that lacks the natural sonic properties of the instrument. I made this a strong priority when choosing the studio for the recording session.

Other Musical Influences

In the "Issues of Aesthetics" chapter I mentioned how powerful a simple melody can be and how hard it is to compose one. With that in mind I decided to challenge myself by creating a composition that possesses this quality. At the time I was listening to "The Swan of Tuonela" by

Jean Sibelius and I was amazed at the power of this piece. The slow moving melody exposes other elements of the composition, such as controlled tempo pacing and strong dynamic swells, in order to create a very haunting mood. "Waltz for JS" (JS stand for Jean Sibelius) was my

36 attempt to recreate the power of "The Swan Of Tuonela" through compositional restraint. See figure five below for reference:

37 Figure Eight. "Waltz for JS" Lead Sheet

WALTZ fOR JS

49 BW

Unison

9 A^sus* flw DKIMU?

solo on roam. rave lust 16 ines on m hcbd out HEAD 00T ONLY: £-7^ fl^sus*' fll>7 [>mfu7 65 , J . I I 4

eir. 4 COPVIKHT RIKDOUDD 2008

The melody of the piece is based on the Bb natural minor scale with the occasional use of the major seventh (bars 6, 22, 28, 54), major sixth (bars 18, 20, 22 in the bottom harmony line) and a

38 few instances of chromatic passing and leading tones (bars 28, 41, 42, 60, 68, 76). The only time these harmonic modulations last for more than three beats is from bars 41 to 42 where it spans 6 beats. Even then, the only non-diatonic notes used in this sequence are the B natural on beat one of bar 41 and the D natural on beat three of bar 42; everything in between falls in the Bb Aeolian mode (though the enharmonic note names are used on the upper harmony for easier reading).

Therefore harmonic dissonance is used sparingly and resolves quickly. Sparse note density and straightforward rhythmic phrasing play a key role in the melodic structure of the composition.

The melody is composed of mostly quarter notes and half notes falling on the downbeat of beat one, two or three. There are a few occasions of offbeat syncopation through ties and eighth notes

(bars 6, 22, 54), dotted quarter notes (bars 41, 42) and duple meter modulation (28, 60, 68, 76).

Due to the heavy use of quarter and half notes the note density is quite sparse, which allows other musical aspects to play a bigger role in the performance of the composition. The melodic brilliance of Jean Sibelius inspired me to write my first composition for the recording project that, despite its simplicity, has a lot of strong musical qualities.

I have always enjoyed aggressive music, no matter what genre it comes from. I feel that aggression is a strong feeling that can lead to intensely passionate music. Even if it seems obnoxious to some listeners it still makes a strong musical statement that cannot be ignored. This clearly stems from my attachment to rock and heavy metal music, genres I have no qualms about still liking. Despite having many qualities that may seem juvenile to some listeners, the sense of aggression and abrasiveness are qualities that I feel are honest. The aggressive quality transfers into my compositions, such as the abrasive free introduction and tempo of "Jane", the dynamic climb and harmonic dissonances created in the solos of "Rhythm And Vision" and many other instances of harmonic clashing and extreme volumes throughout the recording. One way that a rock influence can complement a jazz composition is through clear rhythmic articulation. Jazz has evolved into a music that is rhythmically sophisticated and there are aspects of rock timbres that could further accentuate it:

Initially rock offered a new rhythmic backdrop whose cohesion was a fresh basis for jazz improvisation. In bop the cymbals had carried the basic rhythmic pulse, while in jazz-rock it went back to the drums since, at high volume levels, cymbals allowed for little definition to the subdivisions of the beat, dissolving into a blanket of sound.27

The use of certain rock techniques, such as emphasizing the pulse and accenting with the bass and snare drums, allows for a more obvious accentuation of the rhythmic patterns. Now one could argue that making these rhythmic concepts more obvious is a way of making the music at once more accessible and less sophisticated. However I feel that if one can do this and return to a more traditional jazz technique within a performance then they are simply expanding the dimension of musical expression. Expansion and progression are aspects of jazz that have made the music revered for such a long time. Furthermore, one could argue that a stronger accent on rhythmic figures was something that was apparent in the days of big bands where an entire horn section would accent rhythmic figures with a sharper timbre and at a volume considerably louder than the rest of the ensemble. This clearer rhythmic accentuation could potentially allow for a more danceable feel, which is another aspect that was also more apparent in the days of swing and big bands. In this light, a rock influence can be seen as a way of not only expanding the expressive possibilities of the music but also bringing back values that have been less apparent in the music over the past six or seven decades.

27. Stuart Nicholson, "The Song of the Body Electric," The Future ofJazz. Ed. Yuval Taylor (Chicago, IL: A Cappella Books, 2002) 47. 40 As an evolving musician I feel that it is unwise to deny any music that has influenced you in the past, even if others may judge you for this. There are positive qualities in all styles of music. Therefore, if a musician denies a style of music that influenced him or her at one point they are limiting their possible options for their current musical creations. To quote Ted Gioia:

".. .the willingness of jazz musicians to beg, borrow, and steal from other styles and idioms is a great virtue, one that should be encouraged, not scorned."28

Non-Musical Influences

Composers who continually broaden their fields of interest have a greater storehouse of creative materials to draw on than those whose interests are narrow. I firmly believe that the more interests a composer has, the more interesting his or her works are going to be.. .As Maurice Ravel once said, there are not different arts but rather different ways of saying similar things.29

Freedman makes a strong point here in citing the importance of outside interests to a musician. With only twelve possible notes in western music it is easy to exhaust strictly musical ideas. Other factors such as rhythm, articulation, dynamics and tempo may help us vary the interpretation of these notes, but not all of these factors will appeal to us. Plus it gets exhausting thinking of music from such a technical perspective. Therefore, it is often quite effective to approach music with some sort of non-musical inspiration. Certain events, feelings or other mediums of art can leave such a strong emotional impression that it can inspire the composer to create music that is reflective of the implied emotion.

Sometimes environment can be a great source of inspiration for music. One of the more humorous examples of this is "Jane" which was written after I finished doing grocery shopping

28. Ted Gioia, "The Song of the Body Electric," The Future of Jazz. Ed. Yuval Taylor (Chicago, IL: A Cappella Books, 2002)51. 29 Harry Freedman, "Composing," Careers in Music; A Guide for Canadian Musicians. Ed. Thomas Green, Patricia Sauerbrei and Don Sedgwick (Oakville, Ontario: The Frederick Harris Music Co., Limited, 1986) 29. 41 at the intersection of Jane Street and Finch Avenue West in Toronto, Ontario (Canada). Anyone who is familiar with this neighborhood will know that it has one of the highest rates of criminal activity in the city. Even though I do not feel threatened by the neighborhood (in fact I find it to be culturally vibrant) the given stigma inspired me to create a composition that exudes a sense of chaos, uncertainty and aggressiveness. I did so by giving the song a fast tempo, a melody that ends in a descending diminished sequence and a free introduction where loud and abrasive noises were encouraged. I also encouraged the soloists to freely stray from the harmonic structure when improvising. With these guidelines I feel that the performance of "Jane" clearly evokes the feeling of fear and violence that unfortunately surrounds such an interesting neighborhood.

Often other mediums of art can influence a composition. Various art forms are often used together in an interdisciplinary fashion, so it is not unusual for visual art, film or dance to influence music. Throughout my compositional process I named several songs after some great television programs and feature films. The modal qualities of "Caprica" imply a lot of harmonic space, allowing the melody and soloing to flow freely in many directions with little harmonic guidance. Due to this feeling of space I named "Caprica" after a planet in the science fiction television program Battlestar Galactica, a program set in outer space. Even though harmonic space and outer space are different types of natural phenomena I thought it would be suitable to I associate the two in this composition. After I wrote "No Country for Bluesmen" I thought the bluesy nature of the song set it up for a humorous play on words from the motion picture and book 'Wo Country For Old Men. Sergei Leone's film A Fistful Of Dollars inspired the titles of two compositions. When I came up with the title "A Fistful of Swing" I decided to create a composition that incorporates a lot of idiomatic elements in what I consider to be classic jazz, with heavy emphasis on swing feel. "Marisol" came about when I decided to write a bossa nova. After watching A Fistful of Dollars I decided that the Latin American name of the main woman character would make for an appropriate title for a bossa nova. Strong emotions are another timeless inspiration for music. As I was writing "The Trust Is Gone" I felt a dark atmosphere developing, so I decided to make the composition a slow, minor key ballad in order to enhance it.

On top of that I came up with a recurring chordal motif that imitates a funeral bell. I chose to name the composition "The Trust Is Gone" for I felt the tone of the song was programmatic; it evokes a feeling that could occur when someone has lost trust in someone close to them. With all of these factors I feel like I effectively expressed a forlorn feeling in "The Trust Is Gone," despite it not being autobiographical by any means.

43 Chapter Four: The Compositional Process

Preparation

The first thing I did to prepare for this project was start a regular composition regimen.

Even if I did not compose every day, I did at least three to four times a week. I figured if I practiced composition regularly I would maintain a focused energy towards the project. It also allowed me to try out several ideas and see what would and would not work. Composition is more than just an innate art, it is a cultivated craft and has to be practiced and developed. Most people are not born composers30 and a lot of exploring needs to be done before he or she will create anything of quality. Even as one progresses, a lot of material created through composition will be discarded. The art of composition relies on trial and error. Creating music that sounds new and inspired requires some sort of experimentation, which may not always be successful.

Therefore a lot of time needs to be devoted to trying out new ideas and seeing how they work.

Certain personal parameters need to be assessed when organizing a composition regimen, one being time of day.31 It is up to the composer to gauge when they are most productive for everyone is affected differently by the time of day. For myself, I find I am more focused at either the beginning of the day or well into the evening. Early in the day is good because I have yet to commence and mentally assess my responsibilities for the day. Therefore I have a clearer mindset. The end of the day is also very productive for I have completed everything I had planned to do and can put it all aside in order to focus on composition. Once I have begun to do my daily responsibilities it is hard to stop and refocus my energy on something creative. I prefer to be in a relaxed state of mind void of distractions when composing.

30. Herbert Brtin, "Towards Composition," When Music Resists Meaning, ed. Arun Chandra (Middleton, CO: Wesleyan University Press, 2004) 77. 31. Harry Freedman, "Composing," Careers in Music; A Guide for Canadian Musicians. Ed. Thomas Green, Patricia Sauerbrei and Don Sedgwick (Oakville, Ontario: The Frederick Harris Music Co., Limited, 1986) 30. 44 I also find environment to be a very important factor in maintaining compositional focus.

I prefer to work in a clean and quiet environment without an instrument in hand. Any sort of clutter can serve as some sort of distraction or create negative energy. Cleaning is some sort of compositional ritual I do in order to obtain the right amount of focus. I also like to have no instruments around while I compose. I find that since my compositions already sound like guitar or bass inspired work, having a guitar in hand is just going to enhance that impression. If I come up with an idea mentally it is less likely to be restrained by instrument friendly patterns and be a better representation of what I am trying to create. Ron Horton elaborates on this theory by stating:

.. .the more that you can tap on sort of your inner ear, or the inner workings of what you're hearing, and then put that down on paper somehow, that's really, really what's inside you, and you're limited in, I suppose, certain technical aspects, but it's a more direct 'your mind to the paper' kind of experience.32

While I always play back ideas on my guitar in order to make sure they sound the way I intended them to, it is better to be free of the instrument during initial conception.

The last step in preparation is pre-compositional planning. In order to be productive during a composing session it is important to have an outline of what you want to create. This can be anything from planning harmonic, rhythmic or textural concepts (like time signatures, tempo, orchestration), abstract or extra-musical ideas (a lyrical theme, story) or any other ideas that may influence the outcome of the composition.

I also find that a lot of strong compositions start off as something completely different.

For example, "The Trust Is Gone" was initially supposed to be fast and upbeat. However the more the melody developed the clearer it was that it should be a ballad. So the important thing to

32. Ron Horton, "The Jazz Collective on Creating and Performing." NewMusicBox. http://www.newmusicbox.org/article.nmbx?id=1159 (accessed September 15 2008). 45 keep in mind is that one should not feel the need to adhere to the original idea of the composition. If the music naturally flows elsewhere then it was probably meant to happen.

Theories and Techniques

Learning about orchestration is primarily a matter of listening—of going to concerts and listening carefully. Sitting in the middle of an orchestra, as I did for so many years, enables one to listen closely to orchestral sounds. I do not write a piano score when I begin to work on a orchestral compostion, because ideas come to me fully clothed in orchestral terms.33

This quote sums up a lot of how I learned to write and arrange music. It is easy to learn some sort of standardized rules to writing and arranging music but so many conventions have been broken that it seems useless to impose them. It is necessary to be exposed to certain conventions, ranging anywhere from classical counterpoint to ii-V-I cadences, just to know how some of the music was composed. However, these conventions can and should be challenged.

When I started composing music for two or more melodic voices I read a few jazz composition books to see how it was 'supposed' to be done. I found a really in depth book written by Tom

Boras called Jazz Composition and Arranging that covered every concept I knew about chordal structures, voice leading, notating lead sheets and scores and so on. But that was the thing: I already knew all of the concepts from playing and analyzing the music. Books like this serve as a good guide for a non-musician or one who has never played a chordal instrument before. Being a guitarist first and foremost, the chapters on building chords did not give me any new ideas on how to approach constructing harmonies for multiple horns. What I was ideally looking for in this book were ideas of how I could go beyond the standard instrumental arrangements in harmony parts. Beyond giving me a comparison of each instrument's range it did not add any

33. Harry Freedman, "Composing," Careers in Music; A Guide for Canadian Musicians. Ed. Thomas Green, Patricia Sauerbrei and Don Sedgwick (Oakville: The Frederick Harris Music Co., Limited, 1986) 29. 46 further insight. I found that I learned more about instrumental arrangement, once again, through trial and error. Every instrument has a different tonal color that occurs when playing in its different registers, allowing different functions in the harmonic arrangement. For example, I tend to have the guitar play the lower harmony part of a melody for it has a lower range and a tone that allows for less resonation and sustain (therefore not being as prominent in the timbral mix).

However if the lower harmony consists of a lot of long tones it may be better to have the saxophone play the lower voice and have the thinner toned instrument play a busier upper melody. This works effectively when my ensemble performs "Rhythm and Vision" without a trumpet player. Instead of making the saxophonist learn the upper part of the C section, which has a lot more melodic movement, I had the guitarist play it.

I tried a few exercises that proved to be effective in creating interesting compositions.

One was an exercise of parody: trying to directly imitate another style of composition. This was mentioned in my jazz composition seminar, so I decided to create a composition that imitated my idea of modern 'New York City based' jazz. I took "High Noon" by Chris Potter and used its rhythmic feel, use of rondo form and odd meter motifs to create "Rhythm and Vision." Even though my composition is faster and uses 7/4 time instead of 13/4 for the main motif I managed to emulate the song effectively. To my surprise, no one drew the connection to the Chris Potter composition, so I figured it was unique enough to call my own. Two other compositions that are parodies of older jazz compositions were "From 10 To 11 Blues" and "A Fistful of Swing." An explanation of their lineage appeared in the "Jazz Influences" sub chapter of chapter 2.

One thing I discovered when composing is how effective compositions can be if they omit chord changes. When I write a composition like this for a jazz ensemble, I tend to structure the soloing on musical aspects other than harmony, such as rhythmic devices, time feel, texture or omitting structure completely. If an ensemble has a strong sense of communication they do not necessarily need pre-conceived harmony to build tasteful improvisations. The idea of omitting chord changes inspired "Musical Adventure For Baritone Saxophone and Bass," a duet where musical ideas are developed within an exchange of texture and rhythmic imitation instead of harmonic and melodic ideas. This was also composed through stream of consciousness composition where I just wrote out the melody lines as they formulated in my head, not worrying about how they resolve harmonically or how they relate to the rest of the composition. I would not want all of my compositions to be written this way for it leads to open ended sounding compositions but composing with absolutely no restrictions is a liberating experience.

Another exercise I used was developed from an abstract theory that one of my professors had mentioned in a class. Professor Michael Cohglan made an observation that most jazz compositions tend to move towards the flat side of harmony, so I decided to write a composition that moves towards the sharp side. In order to do this I wrote "The Stretch," a composition with an AABA form where the A sections are in Eb major and the B section modulates to F major, C major and D major before going back to the final A section. The B section contains rapid modulation that keeps eliminating flats and eventually adds sharps. One could argue whether or not this composition truly moves to the sharp side since the modulation at the end of the B section eliminates two sharps and adds three flats (going from Dmajor to Eb major). However, the idea of going against a harmonic convention made for a good compositional exercise for it forced me to contemplate the tonal colors of certain key centers and how they can move through modulation.

48 Making The Cut

When it came to choosing compositions for the recording the first step was deciding how many to include. I wanted the recording to be somewhere between fifty and sixty minutes long. I find recordings (especially instrumental ones) that are longer than an hour tend to be a tiresome listen. I have no problem with an album being shorter than fifty minutes but in this case I wanted a substantial amount of material to showcase my compositional and instrumental abilities. I figured if each song ended up being between six to nine minutes in length that eight songs would fulfill my target running time.

The first step in eliminating compositions from the project was orchestration. I chose to work with a quartet consisting of saxophone, guitar, acoustic bass and drum kit for this recording while having the option of having a trumpet, so each composition had to be compatible with a four or five piece ensemble. Each composition potentially worked with the ensemble except for

"Musical Adventure For Baritone Saxophone and Bass" which only features saxophone and bass and "Concord" which only features saxophone, bass and drums. I could have used these compositions with a reduced version of the ensemble but I wanted to take advantage of the textural possibilities that the full ensemble could provide.

The next reason for elimination was compositional quality. A lot of these compositions were exercises intended on expanding my compositional abilities. Some ended up sounding like quality compositions while some simply ended up sounding like exercises. I did not want any of the featured compositions to sound like music created for the sake of practice. This eliminated

"The Stretch," "No Country For Bluesmen" and "Floating." "The Stretch" was written as an attempt to deviate from the harmonic norms of jazz, therefore not as much attention was put into the melodic quality of the piece. "No Country For Bluesmen" was my attempt to compose a very standard blues composition, however I felt that the melody was far too typical and lacked the lyrical tone that makes blues melodies great. "Floating" was my attempt to write a piece that is rhythmically vague and has less methodical harmonic movement. I was successful in accomplishing the goal but the nature of the piece did not feel like an honest representation of my compositional style.

Eliminating "Marisol" and "October's Sketch" was the hardest decision of this part of the process. I had written "Marisol" as an attempt to write a diatonic and lyrical melody, which ended up being an aesthetically pleasing bossa nova. The reason I decided not to include it on the recording was that it is an easy piece to sight-read compared to my other compositions and therefore I could bring it to any ensemble or jam session and have it played with ease. If I had recorded it with this ensemble I would associate it with them and be reluctant to bring it to another group. The other composition I had to cut was "October's Sketch," a ballad I created early in the compositional process. I only wanted one ballad on the recording and "The Trust Is

Gone" was more complementary to the ensemble and the rest of the compositions. This left me with "A Fistful of Swing," "A Memory of Fiction," "Caprica," "From 10 To 11 Blues," "Jane,"

"Rhythm and Vision," "The Trust Is Gone" and "Waltz For JS."

The final order was not decided until after the compositions had been recorded so that the outcome of the performances would be taken into consideration. One of my main concerns was having two of the stronger performances at the beginning of the recording and two at the end. I felt that if we had at least ten minutes of strong ensemble playing at the beginning of the recording and at the end that it would leave a positive impression with the listener and would make them more likely to overlook any little flaws that might occur throughout. "A Memory Of

Fiction" was a good piece to start with because it allowed me to start the recording with a quick bass improvisation. I felt it was important to make it clear that I was the leader of this project at the beginning of the recording, so the bass intro served a different role than a typical solo does.

"Rhythm and Vision" was another strong performance that has a more aggressive edge to it, so I felt it was suitable to follow the opening track. I wanted to keep the musical energy up until at least the middle of the recording before adding the ballad, so I made "Waltz For JS" the next piece which brings the energy down a little bit, only to be followed by "Jane" which is by far the loudest and most abrasive composition on the recording. I made "The Trust is Gone" the next track for I felt that the halfway mark of the album would be a suitable spot to bring the energy down. "Caprica," a fairly fast paced piece, seemed a fitting way to bring the energy back up after the ballad. Also it was the hardest one to capture effectively and therefore the weakest performance on the album. Putting it well into the album without it being last was a smart decision since it seems like the place in the album that the listener would be most likely to tune out. I decided to end the album with "A Fistful of Swing" and "From 10 to 11 Blues" for they are more upbeat compositions that were performed with a lot of energy and strength. I feel that the sequence I ended up using gives the recording a nice balance that dynamically fluctuates in a flowing manner without losing any momentum.

51 Chapter Five: Preparing for the Session

Rehearsals

After I picked my ensemble we started a weekly rehearsal schedule, which began four months before the recording date. This was done to test out the compositions. Also, the more we played together the more I learned how to mold the compositions to the strengths of the ensemble members. Because of that I feel the compositions have some sort of consistency in style. One thing that seemed very consistent in the compositions was a loose form in the solo sections. This is well described by Gary Giddins in an essay on Ornette Coleman:

Ornette Coleman's Something Else! Was something else—a nervously executed assault on form, swing, and tempered pitch that found its full voice a year later in the aggressively titled Tomorrow Is The Question! and The Shape of Jazz To Come. This was another kind of highway, also six lanes, but the traffic was sparse for a while... With Coleman, there are no bar lines, no stop signs, no piano.34

This describes our loosely structured improvisation well as we deliberately stray from the original structure of the improvisation. Because of this I was able to write pieces that allowed the soloist to step way out of the given structure knowing that there was at least one member holding the form together. Therefore if the form got stretched too far one member could make one musical gesture that would bring everyone back to a familiar place in the form. This is evident in

"A Memory of Fiction," "Rhythm And Vision" and "Jane." The latter has chord changes for the solo section but also contained instructions to use these changes as more of a starting point rather than a straight grid of harmonic guidance. This was probably for the best since they are difficult chord changes to improvise over. "A Memory of Fiction" and "Rhythm and Vision" have a modal structure to the solo sections, which lends itself really well to non-diatonic playing. With

34. Gary Giddins, "Harmolodic Hoedown: Ornette's Coloring Book," Rhythm-a-ning: Jazz Tradition and Innovation. (Da Capo Press, 1983) 235-236. 52 less harmonic movement it is easier to establish the initial tonality, which allows the improviser to gradually move away from it without completely losing the harmonic structure.

A month before the recording date we decided to rehearse twice a week just so we could be better prepared for the session. Three of the last five rehearsals were conducted with our trumpet player present since two of the compositions required a second horn. I felt it was not necessary for Karounos to be present at each rehearsal but we did not want him to be sight- reading on the session. Having him present during a few rehearsals allowed us to figure out how

Karounos would interact with the rest of the ensemble and allowed him to feel more comfortable going into the session.

During these rehearsals I was adamant in making sure we played more them just my compositions. I did not want my compositions so rehearsed that they lost spontaneity. I also wanted to give the opportunity to rehearse the other members' compositions since playing the same repertoire over and over again gets tiresome. It was still an effective way to work out musical ideas that could be applied to my compositions.

During the time that we were preparing for the session we did three live performances.

This was done to see how each composition would work in a performance setting and to see what sort of reaction they would generate from an audience. It also served as a means to promote the release of the album. I know many musicians do not like to perform before the recording date in order to concentrate on the writing and rehearsing of the material. I feel that performing the music to an audience is another type of rehearsal that requires a different type of focus. When one performs live they cannot stop and restart, so their attention cannot waiver for even a moment. In the studio it is possible to cut and paste different takes together and still have a

53 cohesive sounding recording. However, I believe that this should be avoided in order to maintain the energy that is created in a live performance.

I feel that the ensemble was sufficiently prepared for the recording session. Even in a music that relies on spontaneity it is important to be well rehearsed.

How Rehearsal Changed the Compositions

A composition is not complete until it has been practiced or performed. A score or lead sheet is simply an instruction of how to perform the piece of music; it does not contain any sonic properties to recreate it. The composition is fully realized when it is transferred to the performer and is sent out into the world through performance. This is why I find it so hard to pass judgment on the quality of a composition before it is performed. What is theoretically interesting may not be so in actual performance, which was definitely the case during the compositional process of

The Master Plan. Having your compositions performed can be just as sobering as rewarding.

However, every error leads to a stronger understanding of the art of composition.

Interpretation is the reason why a composition is not complete until it is performed. The variable of each performer's interpretation can make a composition sound completely even when the musicians are reading from the same music. It is next to impossible for two musicians to give identical interpretations of a composition, due to many factors ranging from: differing levels of musical expertise, differing techniques, musical background and influences, emotional bias and so on.

54 I expect some sort of input from the other members of the ensemble if they feel certain parts of a composition should be structured differently. This can be expressed vocally or is implied while rehearsing the composition. One example of an implied change was in the guitar solo of "A Memory Of Fiction." During a rehearsal, drummer Jay Sussman decided to change the rhythmic feel of the composition from the original triplet-based swing feel to a straight eighths feel at the beginning of Petsalakis' guitar solo. This gave for a nice change of pace allowing the latter to stand more as its own section and allowing the rhythm section to develop a different type of energy. Sussman did not indicate to us beforehand that he was going to do this, in fact I doubt he even thought of it until it occurred, but this instinctual change helped shape the composition into an even more dynamic piece of music.

There are many other instances where another member vocally suggested an idea that stuck. Sussman suggested putting an open form drum solo as the third solo in "Caprica." This added a nice dynamic shift within the composition and changed the form to make it a little less predictable. Petsalakis suggested making the first A section of "Waltz For JS" texturally different by omitting the drums and creating an arpeggiated pattern for the guitar. This contrasts effectively with the second A section where the drums enter and the guitar starts to play a lower harmony to the melody. Petsalakis also suggested adding a six beat guitar and drum introduction to "Rhythm and Vision," where the guitar plays two muted quarter notes and the drums play a four beat fill. I like how this introduction sets up the overall tone of the piece for the timbre used in the guitar and drums establishes a "rock" tone. The guitar cues are achieved by muting the strings of the guitar with the palm of the right hand and articulating each quarter note with a great amount of force. The drum fill is performed with heavy attack and definition on the snare,

35. Howard Mandel "More Than a Coin Toss: Improvisation vs. Composition In Jazz." NewMusicBox. http://www.newmusicbox.org/page.nmbx?id=23tp00 (accessed September 15 2008). 55 bass drum and torn toms, stylistics of "jazz rock" discussed in chapter three. The free intro to

"Jane" and the final three bars of "Rhythm and Vision" were Ng's suggestions. The noisy free introduction enhanced the programmatic element of "Jane." Ng's suggestion to end "Rhythm and

Vision" with the first three bars of the B section was a great way to give a more definite ending to the composition. I had originally planned for the ensemble to repeat the 7/4 motif indefinitely during a drum solo and have the drummer cue a sudden ending. However the extra three bars allowed us to slow down the tempo, implying a more dramatic resolution to end the piece.

The involvement of other members of the ensemble had a great impact on the final outcome of the compositions. The extra perspectives and interpretations gave the compositions both more personality and unity. Without the input of the other members the compositions would have turned out to be drastically different.

Choosing a Studio

When choosing a studio for the recording session I was looking for an environment where we could be comfortable enough to play with natural conviction. I also wanted an engineer who was more of a musician than a sound engineer. The reason for this is that I wanted someone with a good ear towards musicianship that would be willing to give some musical insight. Perception of quality during performance is completely different from an objective listen afterwards or from an outside listener. The judgment that is passed while performing changes from moment to moment, so it is impossible to give an overall evaluation of what has occurred.

Having someone knowledgeable to give some sort of feedback when doing several consecutive takes is helpful. The other advantage to having an experienced jazz musician engineer the session is that he or she will know that a jazz recording requires little production manipulation. Besides matching levels and adding some reverb and compression, the production should not be significantly manipulated. I wanted to capture the natural sound of the instruments and how they project within the room. Anything else takes away from the energy of the performance. In an ideal recording situation "engineering factors are always secondary to musical goals."36

I ended up choosing Romhog Digital, run by Toronto jazz drummer Barry Romberg.

Romberg is a musician that everyone in the ensemble knew and felt comfortable around. Despite his vast amount of skill and experience we did not feel nervous while recording in his studio.

Romberg has a great portfolio of recordings made at his studio from several different types of ensembles, ranging from uncommon trio settings (violin, cello, drums) to a large electric jazz ensemble. All of his recordings capture the energy of each ensemble in their own unique ways.

For example, the Inside Out What Is This Thing? recording captures the warmth of Lome

Lofsky's guitar tone without losing the great dynamic fluctuations of the rhythm section. In contrast, he managed to capture the electric force that the Random Access Large Ensemble enforces on Existential Detective, representing all textural shifts equally without losing any intensity.

Romhog Digital is set up with four rooms: a control room completely blocked off to the rest of the studio, a main studio room for horns and guitar and separate booths for bass and drums.

The separate bass booth was essential for me since, being the leader of the session, I wanted the bass to be captured as strongly as possible. This allowed for no bleeding of other instruments into the bass microphones, making it easier to mix and equalize later. He had the booth equipped with two Rode NT 1000 condenser microphones that captured the full sound of the bass effectively without losing any definition of the notes. I have experimented with different types of

36. Wayne Wadhams, Sound Advice: The Musician's Guide to the Recording Studio. (New York, NY: Schrimer Books, 1990) 106. 57 microphones in the past when recording my bass and I had always had problems capturing definition, warmth and the overall natural sound. Romberg's setup managed to capture a natural bass sound without sacrificing sonic elements.

I feel I chose the right studio for this recording. Romhog Digital is an ideal setup for a jazz quartet without a piano and is a great environment for being creative. Romberg is capable of capturing the magic of any sort of improvising ensemble and was a great addition to the Master

Plan sessions.

58 Chapter Six: Capturing The Moment

The Recording Session

I had prepared for this recording session as well as I could have. I had assembled an ensemble capable of creating great music, written a strong body of compositions and chosen a studio that would capture the performances well. It was just a matter of making sure that the performances turned out strong in the studio. We all wanted to put forth our best possible performances, more so than ever before, so the pressure was higher than usual. The members of my ensemble were also concerned about putting forth a good representation of my compositions for my sake (as they expressed to me vocally) due to the academic component of this recording.

However, I had chosen these three individuals because I liked their musical styles and that I knew their professionalism would guarantee strong results.

Normally when I rehearse or perform with a drummer I position myself right beside him in order to sustain strong rhythmic interaction. However the studio we ended up using was set up so that there was an entire room separating the drum and bass booths. For several rehearsals leading up to the session I set myself up five or six meters away in order to be comfortable with the distance in the recording studio. In Phil Ramone's book Making Records he talks about setting up Capitol Records Studio A in a fashion that allowed Frank Sinatra to be close to the rhythm section while recording his 1993 release Duets. He did this after failing to make Sinatra comfortable during the first attempt of a recording session. Proximity becomes an important issue towards the outcome of a performance when one is used to working in a small ensemble.

Even though we were all connected through headphones communication was difficult without gestures and body language.

59 Visual contact is important for exchanging cues, but it also goes far beyond that. Do not forget that every group expresses itself physically as well as musically—to the audience and among its members. Musicians get energy and feel from each other's movements, postures, and facial expressions, and these add a lot to the performance.37

These physical and visual connections come into play significantly between a bassist and a drummer for they almost always work together as support for each soloist in the ensemble. When the proximity between the bassist and drummer is not as close it is important that they can communicate effectively through musical cues in place of visual gestures. Luckily Sussman is a very interactive and melodic drummer and clearly defines things such as form, dynamic fluctuations, rhythmic modulation and so on. I had to work on cuing such things in a similar fashion without any sort of visual connection. What works the best with the bass is doing simple and obvious musical gestures, such as playing a long and loud root note at the beginning of the form and changing the rhythmic phrasing of my bass lines in order to imply a change in rhythmic feel. Practicing these concepts helped reinstate the values of simplicity and responsibility in me as a bass player and a member of an ensemble.

All of the compositions required at least three takes each except for "Jane," "Rhythm and

Vision" and "A Fistful Of Swing," which we managed to capture in two takes. I was hoping to have most of the compositions done in less than three takes for more takes could cause the instrumentalist to over analyze the piece and reduce the spontaneity of the performance. In the words of Frank Sinatra: "If we can't get it within the first few takes, there's something wrong with us."38 However certain tracks were difficult to capture effectively. The hardest one was

"Caprica" which was surprising since it had always been one of our favorite pieces to perform. I

37. Wayne Wadhams, Sound Advice: The Musician's Guide to the Recording Studio. (New York, NY: Schrimer Books, 1990) 102. 38 Frank Sinatra, Quoted in Phil Ramone, Making Records. (New York, NY: Hyperion, 2007) 263. 60 feel that two reasons for this were the tempo and the unison lines in the head. The lines that commence and conclude the head, along a phrase fifteen bars into the head, were really difficult for the saxophonist and guitarist to play in unison. Therefore with so much concentration put forth into playing the head it was hard to maintain that focus throughout the solo sections. Also the tempo of the composition, approximately 260 beats per minute, is difficult to settle into since it serves as a grey area of tempo classification. It is too slow to be considered fast but too fast to be considered a medium tempo, therefore the melodic and rhythmic tendencies that an instrumentalist may normally use on either types of tempos do not work. Long linear sequences of eighth notes that are often used at fast tempos can sound cumbersome at this "medium-up" tempo. In contrast, heavy rhythmic articulation that complements medium tempos is difficult to do at 260 beats per minute. I feel that we managed to eventually get an acceptable take of

"Caprica" but it was a difficult task to do and a real learning experience in what we need to work on musically.

The other eye-opening issue with this recording session was intonation. The double bass and alto sax are two instruments that are difficult to keep in tune, and during an eight-hour recording session it is easy to overlook when the guitar falls out of tune. These are things we did not consider while rehearsing but when the recordings were played back they were more noticeable than before. After two long sessions and enough material to assemble as a recording I did not want to go back and re-record the takes that had some noticeable intonation problems. I was more concerned with getting a dynamic performance with each composition even if it meant having some obvious imperfections. If anything, mistakes add a sense of humanity to the performance making it more personal and real. I was not worried about the intonation problems on "Caprica" and "Waltz For JS" making us seem amateur as strong musicianship was still apparent in every other aspect of the recording and outweighed the imperfection of intonation.

That being said, these intonation problems did show, particularly to me, another aspect of our musical technique that needs to be worked on.

The most unexpected part of this session was that "Jane," "Rhythm and Vision" and "A

Fistful Of Swing" required only two takes each. I figured that "Jane" and "Rhythm and Vision" would be the hardest to capture during the session since they were the most troublesome compositions during rehearsal. However, because of their difficultly, they got discussed and were rehearsed more and therefore were more prepared than the rest of the compositions. I think

Karounos' presence helped breathe some life into "A Fistful of Swing" and "Rhythm and

Vision." By the time he had joined the recording session the main core of the ensemble had been spending so much time together rehearsing and discussing plans for the recording session that we were on "a descending curve of excitement, enthusiam, and feel." Having a different person in the ensemble helped re-energize the music.

The recording session for The Master Plan had plenty of obstacles, which were expected.

Some of them we were able to prepare for, some we had to deal with on the fly. Overall, it was a great learning experience that produced some quality representations of my compositions.

Mixing, Mastering and Manufacturing

The mixing session was nothing out of the ordinary. It took one whole day to get a satisfying mix of all of the tracks. What I was most pleased with was the minimal amount of editing that was done. We had trouble getting a smooth execution of the unison guitar and saxophone line that starts and ends the head of "Caprica," so we had to cut out two weak takes

39. Wayne Wadhams, Sound Advice: The Musician's Guide to the Recording Studio. (New York, NY: Schrimer Books, 1990), 106. 62 and replace it with a stronger take. The other edit we had to do was in "Rhythm and Vision" with the baritone saxophone. It was far too difficult for Karen to switch between the two from the A to B and C section, plus it allowed for her to double the part with her alto during the actual take.

Other than that all of the compositions heard on the recording are unedited takes. The mastering session was also very routine, taking all of eight hours to complete. I had never understood what mastering actually did to the recording, but after having it demonstrated through quality speakers the idea of placement and perception of sound made a lot of sense. One realization was that mastering and the master are two different things. Stanley R. Allen defines the master in his book

Audio in Media: The Recording Studio as: "The final tape or disc recording that is sent to the CD mastering house or to distribution."40 Mastering, to my best understanding, is a process of equalizing each track on the recording so that the levels and sonic effects are equal track to track and so they will portray the energy of the performance in all playback mediums. Listening to various versions of the master, before and after the mastering process on a quality stereo system, made me realize what a big difference this process made in how much of a physical effect the recording has on the listener. The non-mastered version did not have the surrounding aural sensation that the mastered version had. At one point during the mastering session engineer Jeff

Elliot manipulated an example of my record so it sounded like the sound was being pulled from my right ear and drawn into my left ear. Clearly the art of mastering is subtle in perception but absolutely necessary when trying to capture a live sounding recording. These sensations are naturally perceived in live settings. In order to recreate it on a recording further editing beyond mixing is necessary.

40 Stanley R. Alten, Audio in Media: The Recording Studio. (Belmont, CA: Wadsworth Publishing Company, 1996), 375. 63 After the recording was mixed and mastered it was time to assemble a layout for

packaging. For the front cover I wanted a strong statement of what the music represents. A

casual photo session during a rehearsal produced a photo of my hand playing the bass. It was a

clear statement of what the music sounds like so I decided to make it the recording's cover. Since

I composed the music, which contains musical devices that lend themselves to the bass (a bass

introduction, motivic ostinatos that serve as main musical themes, etc...), a picture of myself

playing the bass seemed appropriate. The rest of the images in the liner notes feature the rest of

the ensemble rehearsing, which clearly represents how this album was developed. Outside of those parameters I let my graphic artist do whatever else she felt like doing. The most interesting

addition was her stencil of my body with the bass underneath the disc tray. It gives a subtle

presence to an almost blank space and offers a surprise for the listener while viewing the

packaging.

The one problem I had with the manufacturing of the disc was the printing of the liner

notes. I had sent the pressing plant all the files necessary to print the liner notes cleanly, however

the final copy arrived with text ghosted over one of the pictures in an inappropriate spot. The

company tried to put the blame on my graphic designer for using incorrect color codes, however

I would like to think that a company as big as the one in question could: A) catch the mistake before running off a thousand copies, B) notify me of the mistake (or at least ask me if it was a

mistake) and C) offer to do more than just reprint the disc. Either way I was not pleased with the manufacturer. However I learned to be a lot more involved during the actual pressing of the discs

and make sure that an error like this does not happen again.

64 Conclusion

This whole process served as a step into the next level of professionalism as a musician.

Formal training can only take you so far before self-initiative needs to be taken. Waiting around to be discovered is a waste of valuable time. There is so much other talent to compete with that musicians need to learn how to market themselves in order for their music to be recognized.

After making this recording it was time to show the public what I had learned and what I now had to offer as a musician. I started with a simple CD release concert that was the most successful show I have ever promoted. I booked a fairly small club, but had standing room only by the end of the first set. Forty copies of the disc were sold which allowed me to pay musicians more than I normally would for the show with some money left over to open a savings account for future projects. The next step was to try to get the recording some media attention. I sent it to a few magazines, newspapers and venues to see if I could get it reviewed or use it to book some gigs. I was successful in getting a review in an Ottawa newspaper, some support from a radio station in Moncton and had one venue in Wakefield, Quebec play it at their establishment after we had booked a show with them. I thought that was some generous long distance promotion from some very encouraging institutions that gave me some confidence in my marketing strategy. Beyond this it was hard to get support anywhere else. I had luck booking some nice concerts that led to a short but successful tour of the east coast of Canada. However it was hard to get reviews. This is not surprising and not even that disappointing. With the volume of material that these places receive daily, priority has to go to the music that is better known and will draw readers.

The tour that occurred in support of the recording was as large of a project as the recording itself. It involved a lot of following up on gig requests, which I expected to occur. It

65 was hard to get certain venues interested in hosting my ensemble, so I had to find venues that would not normally host jazz in certain cities. This turned out to be quite successful in Moncton for I managed to book a venue connected to two other venues that allowed for clientele to roam freely among all three. There were two other ensembles playing that evening and we had some of their audience at our performance between sets. The audience was really receptive and

encouraging towards the music we were performing. Other things that needed to be done to help the tour were promotional ventures and transportation and accommodation planning. The

accommodations and transportation were pretty straightforward. The promotional ventures were not hard to instigate but did not amount to much support. I had the tour included on many email

lists and club listings but for an ensemble that is virtually unknown these ventures do not amount to much. The promotional tactic that works best for me is word of mouth. I had the most success with inviting people I knew personally and encouraging them to bring friends. I will continue to pursue promotion in newspapers, radio, Internet and so on. Staying in the practice of using these resources will pay off in the long run but word of mouth is my best source of promotion for now.

The next compositional goal is to write material for another recording with this ensemble, but not as a leader. All of the musicians in the ensemble are strong composers in their own right and contribute great material to our repertoire. Due to the fact that we have spent so much time rehearsing and performing together it would be a waste of creative energy to let the ensemble dissolve. I will do another recording as a leader in the future but the chemistry of this ensemble is strong and will lead to creatively satisfying endeavors.

After all of this work I can reflect on my accomplishments and cite the important values I have picked up. One of the most important things I learned was the importance of discipline. If I want anything to get accomplished it needs to be worked on in regular intervals and in a comfortable space. The discipline of composition and instrumental practice goes beyond a practice routine but also towards maintaining a sound environment and headspace for being productive. It takes discipline to maintain that focus and is probably the hardest part of preparing for a recording session of original material.

Another important thing I learned was the value of simplicity. It is so easy to hide behind complexity that the art of exposing your creative soul through a simple melody becomes the harder accomplishment. It is really easy to display what you have learned through the compositional process but very difficult to display what you feel is an honest representation of your creative mind, especially if it is done within consonant musical parameters. However, a

composer who can express so much with so little is, in my opinion, a very successful composer.

The valuable lessons I have learned through this almost self-automated process are

innumerable. However the biggest lesson that I learned was that this learning process needs to be

self-automated. The process can only go so far with the guidance of others. The most valuable

lessons will be learned by one's own trials and mistakes. But even a mistake is a step into self-

discovery.

67 APPENDIX: COMPOSITION SCORES

Here are the scores of all fifteen compositions created during the composition process of

The Master Plan. All of the scores were included as a point of reference to how I was going about composing during this period. Even if they were not included on the recording, every composition had an influence on The Master Plan by letting me experiment with ideas that may or may not have been suitable for the recording. Each score includes melody parts, important rhythmic features, arrangement notes and solo guidelines. On more modest arrangements text notes were used. However, compositions that included interludes and codas are fully notated.

These scores should give insight towards the ideas that were cultivated throughout this process and how they were applied to each composition.

Index of Compositions

Caprica 69 Concord 73 A Fistful of Swing 76 Floating 82 From 10 to 11 Blues 85 Jane 87 Marisol 91 A Memory of Fiction 93 Musical Adventure for Baritone Saxophone and Bass 96 No Country for Bluesmen 98 October's Sketch 102 Rhythm and Vision 105 The Stretch 112 The Trust Is Gone 115 Waltz For JS 118

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121 Bibliography

Books

Alten, T. Stanley. Audio in Media: The Recording Studio. Belmont: Wadsworth Publishing Company, 1996.

Boras, Tom. Jazz Composition and Arranging. Belmont: Thomson Schirmer, 2005.

Brun, Herbert. "Towards Composition," When Music Resists Meaning. Edited by Aran Chandra. Widdleton: Wesleyan University Press, 2004.

Cidsa, Joseph. "Getting Your Song Heard," The Music/Record Career Handbook. New York: Billboard Publications, Inc., 1973.

Freedman, Harry. "Composing," Careers in Music; A Guide for Canadian Musicians. Edited by Thomas Green Patricia Sauerbrei and Don Sedgwick. Oakville: The Frederick Harris Music Co., Limited, 1986.

Giddins, Gary. "Harmolodic Hoedown: Ornette's Coloring Book" and "Jaki Byard and the New Tolerance" Rhythm-a-ning: Jazz Tradition and Innovation. Da Capo Press, 1983.

Hal Leonard Corporation. The Real Book. Edition #6. Milwaukee: Hal Leonard Corporation.

Meister, Barbra. Music Musique: French and American Piano Composition in the Jazz Age. Bloomington: Indiana University Press, 2006.

Miller, Ron. Modal Jazz Composition and Harmony. Volume 2. Advance Music, 1997.

Nicholson, Stuart. Is Jazz Dead?. New York: Routledge, 2005.

Nicholson, Stuart, Will Friedwald, Ted Gioia, Jim Macnie, Peter Margasak, Ben Ratliff, John F. Szwed, Greg Tate, Peter Watrous and K. Leander Williams. The Future of Jazz. Chicago: A Cappella Books, 2002.

Nienson, Eric. The Making of Kind of Blue: Miles Davis and his Masterpiece. First Edition. New York: St. Martin's Press. 2000.

Perle, George. Serial Composition And Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Sixth Edition, Revised. Berklee and Los Angeles: University of California Press, 1991.

122 Porter, Lewis R. John Coltrane's Music of1960 Through 1967: Jazz Improvisation As Composition. Thesis Harvard University, 1983.

Ramone, Phil. Making Records. New York: Hyperion, 2007.

Silver, Horace. Let's Get To the Nitty Gritty, The Autobiography of Horace Silver. Edited by Phil Pastras. Berkley, Los Angeles and London; University of California Press, 2006.

Smith, Gregory Eugene. Homer, Gregory and Bill Evans? The Theory of Formulaic Composition in the context of Jazz Piano Improvisation. Thesis Harvard University, 1983.

Taylor, Calvin. "Developing Relationships Between Higher Education, Enterprise and Innovation in the Creative Industries," Entrepreneurship in the Creative Industries. Northampton: Edward Elgar Publishing, Limited, 2007.

Wadhams, Wayne. Sound Advice: The Musician's Guide to the Recording Studio. New York: Schrimer Books, 1990.

Discography

Blakey, Art and the Jazz Messengers. Moanin. Blue Note Records. CD. 7243 4 95324 2 7.

Blakey, Art and The Jazz Messengers. Ugetsu. Riverside. CD. OJCCD-090. 7243 4 95324 2 7.

Byrd, Donald. Live At The Half Note Volume 1 & 2. Blue Note Records. CD. 7243 5 90881 2 9.

Cohen, Avishai. At Home. Razdaz Records. CD. SSC4602.

Coleman, Ornette. The Shape Of Jazz To Come. Atlantic Recording Corp. CD. 8122721332.

Coltrane, John. Giant Steps. Atlantic Recording Corp. CD. 1311.

Davis, Miles. Kind of Blue. Columbia Records. CD. VCK 40579.

Dolphy, Eric. Out To Lunch. Blue Note Records. CD. 7243 4 98793 2 4.

EST. Tuesday Wonderland. Spamboolimbo Productions Ab. CD. B0008613-02.

Evans, Bill. Sunday At The Village Vanguard. Riverside. CD. OJCCD-140.

Haynes, Roy. We Three. Prestige. CD. PRCD-30162.

123 Inside Out. What Is This Thing? Romhog Records. CD. Romhog 106.

Mehldau, Brad. Songs: The Art Of Trio, Vol. 3. Warner Bros. CD. 9 47051-2.

Mingus, Charles. Mingus Mingus Mingus Mingus Mingus. Impulse. CD. IMPD-170.

Mobley, Hank. Soul Station. Blue Note Records. CD. 7243 495343.

Morgan, Lee. The Sidewinder. Blue Note Records. CD. CDP 7 84157 2.

Occhipinti, David. Intersection. Occdav Music. CD. OM003.

Potter, Chris. Gratitude, Verve Music Group. CD. 314 549 433-2.

Random Access Large Ensemble. Existential Detective. Romhog Records. CD. Romhog 115.

Redman, Joshua. Spirit of the Moment: Live at the Village Vanguard. Warner Brothers Records Inc. CD. 9 45923-2.

Rosenwinkel, Kurt. The Next Step. Verve Music Group. CD. 314 549 162-2.

Shorter, Wayne. Juju. Blue Note Records. CD. 7243 4 99005 2 3.

Shorter, Wayne Quartet. Beyond The Sound Barrier. Verve Music Group. CD. B000451802.

Sibelius, Jean. Panorama: Jean Sibelius. Kamu, Okku and Herbert Von Karajan. Deutsche Grammophon. CD. 289 469 292-2.

Silver, Horace. Finger Poppin'. Blue Note Records. CD. 7243 5 42304 2 4.

Silver, Horace. Further Explorations by the Horace Silver Quintet. Blue Note Records. CD. 50999 5 14379 2 3.

Silver, Horace. Horace-Scopes. Blue Note Records. CD. CDP 7 84042 2.

Silver, Horace and The Jazz Messengers. Horace Silver And The Jazz Messengers. Blue Note Records. CD. CDP 7 46140 2.

Tarry, Chris. Almost Certainly Dreaming. Nineteen Eight Records. CD. 19/8 1006.

Weather Report. Heavy Weather. Columbia Records. CD. WCK-34418.

124 Filmography

A Fistful of Dollars. DVD. Directed by Sergei Leone. Produced by Harry Columbo. Santa Monica, CA: MGM Home Entertainment Inc. 1964.

No Country For Old Men. DVD. Directed By Ethan and Joel Coen. Produced by Scott Rudin, Ethan Coen and Joel Coen. New York, NY: Miramax Film Corp. 2008.

Lectures

Coghlan, Michael. "Jazz Composition." Seminar style university course, York University, Toronto, Ontario, January-March, 2008.

Television Sources

Battlestar Galactica. Universal Television. 2003-2009.

Web Sources

AskOxford, http://www.askoxford.com (accessed may 27, 2009).

Allison, Ben, Frank Kimbrough, Ted Nash, Michael Blake and Ron Horton. "The Jazz Collective on Creating and Performing." NewMusicBox. http://www.newmusicbox.org/article.nmbx?id=l 159 (accessed September 15 2008).

Mandel, Howard. NewMusicBox "More Than a Coin Toss: Improvisation vs. Composition In Jazz." NewMusicBox. http://www.newmusicbox.org/page.nmbx?id=23tp00 (accessed September 15 2008).

125