Our fear and exhilaration one afternoon during last week’s spring break provided an important moment for both my son and for me-and perhaps for something worth your consideration.
After announcing the audiobook version of the softcover book Richie Beirach and I recently published called A Framework for Jazz Mastery, I received a terrific response from a customer.
I enjoy crafting harmony tracks with which to practice. They are not usually jazz, but instead are more ethereal. Here’s one I like because the harmony slowly becomes more complex and ear-stretching.
The metronome is okay for young kids trying to practice beginner shit like five-finger little piano pieces or first attempts at trying to play scales, but for a jazz player, it’s very counterproductive.
I am often asked this question and I’m not sure I’ve ever given a satisfactory answer, at least one that satisfies aspiring alto trombone players. So let me take another whack at it.
This question was asked of me recently by a musician whom I believe is a classical player. It’s a great question, one that I get a lot, and probably on the minds of hundreds of thousands of musicians-jazz or otherwise.
Last year, Richie Beirach and I published the book, A Framework for Jazz Mastery. I knew once we released it, I would want to create an audiobook version of it.
Since my interview with Richie Beirach for the Jazz Master Summit more than a year ago, we’ve collaborated on a great many writing projects for books and articles.