There are lots of ‘tools’ available to someone learning to become a better jazz player. Are they good or bad? It depends on the context.
That was a comment by an attendee at my live webinar this week held for subscribers of my course Improvisation Savvy.
I love jazz because it showcases the expression of the individual. Sure, we play in groups and communicate with each other as we play, and at its finest, the group is the sum of the individual members creating something special from the mix of each of their unique artistic souls. Think steaming delicious stew.
I’m producing video marketing for my Jazz Master Savvy product and I was reminded of a priceless clip from my interview with the great singer Sheila Jordan. In fact, I put her clip into one of my ads as an example of some of the gems from my library of interviews and other conversations.
The left and right hemispheres of your brain have a complex relationship, and that relationship facilitates how you function in every aspect of your life including how well you play jazz. I like to talk about the roles each hemisphere plays in creating art, specifically jazz improvisation. Think of the left side as the analytical […]
I was forwarded a YouTube link yesterday of a young musician playing John Coltrane’s solo from Giant Steps note for note. He was a technically proficient player who obviously had worked hard to get each of Trane’s difficult phrases under his fingers.
I received an email yesterday from a well-known jazz musician who after watching someone on Youtube “teaching jazz’ on the piano using root position chords on ii-V-I’s asked me…
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.
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.
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.
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.