Setting some realistic and worthwhile music goals for myself next year:
Attend more jam sessions
I always tell myself this, but don’t follow through for more than a session or two. For one, I never have a lot of tunes in my head. It take so much time and study to build up a viable repertoire; time I never have. But there is a short list of standard jazz vehicles that ought to be able to keep fresh. While I might not know all the esoteric session tunes of the moment, I can tear the hell out of the common repertoire. I’m not a fan of some of the one-upmanship and cats "vibing" each other that can happen in this scene, but it’s good networking and being part of a community. My closest, most talented musician friends are some of the nicest, most open people I’ve met, so it’s always a plus if they show up or are running the session.
Get to Barry Harris’s workshop more
I went to two workshops last year, and my playing improved by leaps and bounds. To not go on a more regular basis is simply foolish. Barry is the current reigning jazz Yoda.
Finish the studio work with Frank Viele
Playing with this band is a wonderful opportunity to polish my pop chops. I get to play in a section, help compose horn lines, and stretch out on solo sections like Michael Brecker or Lenny Pickett or Bob Reynolds or other tenor players who meld jazz, soul, and R&B concepts in such tasteful ways that they remain valid within the pop context. It’s really hard to do well. Unlike Brecker, I can’t go into the studio and nail the solo on the first take. But the more I work at it, the more it seems to gel. And the concepts all translate back to jazz, where simplicity and melody cannot be overlooked when crafting a powerful solo.
More gigs with Duke Baxter
These guys a such a pleasure to work with. And the road trips to Martha’s Vineyard are fun as hell! Got some more of that in store for ‘09. I’ve also semi-officially taken over the duties of maintaining the horn arrangement library. That’s been time consuming, but now that most everything is arranged, it’s only special requests that need attention. At least Sibelius is easy software to use!
Keep developing the altissimo register
It’s no secret that Lenny Pickett was my first and continues to be a major influence. But I didn’t pay much attention to my altissimo chops until meeting Norbert Stachel a few years back. He’s developed an amazing altissimo register, having also idolized Lenny Pickett, and subsequently played lead tenor with Tower of Power for four years. He inspired me to get back into it, and has given me valuable tips, some via bandstand osmosis. I’ve got myself within a couple notes shy of four full octaves that pop. So this year, I’ll be working on applying that range musically, as well as working my way into the fifth octave. Also, research Bert Wilson if you’re aspiring to the top tones…
Compose eight new tunes for my jazz album
I desperately need new material. The musical concepts in my head are so much farther developed than the tunes I’ve written 5 or 10 or more years ago. I need to write fresh material that I’ll be proud to record. Writing music comes in spurts for me. I can write eight tunes in a week, and none for two years. It helps to be prolific, even if just writing a little ditty whenever you can. I’m not full time at the music thing, so that kind of output just doesn’t happen. But now’s a good time. As for recording the album, I just don’t see that happening this year. I’ve got some really big business projects coming up. But I have plenty of musicians to workshop tunes with. When it comes time to record, it’ll sound killer.
More sideman gigs
Being a bandleader is time-consuming and definitely frustrating in the current local jazz scene. All I really have time for is playing on other people’s gigs. That’s just fine with me, and I especially love playing other people’s original jazz compositions. It’s a great way to find new ideas and hone your skills in novel settings. Playing for live audiences is where it’s at. So much better than being holed up in the practice room for months on end.
Launch blog project
This is an idea I’ve been formulating for a while now. I’ll be able to get it off the ground soon. I’ll save the details for when I’m ready to promote the site.
There are other things I’m sure I won’t get to this year. Don’t think I’ll have any pit orchestra gigs come up. My clarinet and flute will gather more dust. I’d like to play the soprano more, but it’s a tricky beast and I don’t think I have the time to tame it. It’s mainly for travel. Travel would be nice. No time to run my own jazz group, but I’m cool with that given what I do have lined up. Practice every day for at least two hours? Ha ha, not since college… I’ve gotten good at maximizing my practice time. It’s all about focus.
Music Goals 2009
Setting some realistic and worthwhile music goals for myself next year:
Attend more jam sessions
I always tell myself this, but don’t follow through for more than a session or two. For one, I never have a lot of tunes in my head. It take so much time and study to build up a viable repertoire; time I never have. But there is a short list of standard jazz vehicles that ought to be able to keep fresh. While I might not know all the esoteric session tunes of the moment, I can tear the hell out of the common repertoire. I’m not a fan of some of the one-upmanship and cats "vibing" each other that can happen in this scene, but it’s good networking and being part of a community. My closest, most talented musician friends are some of the nicest, most open people I’ve met, so it’s always a plus if they show up or are running the session.
Get to Barry Harris’s workshop more
I went to two workshops last year, and my playing improved by leaps and bounds. To not go on a more regular basis is simply foolish. Barry is the current reigning jazz Yoda.
Finish the studio work with Frank Viele
Playing with this band is a wonderful opportunity to polish my pop chops. I get to play in a section, help compose horn lines, and stretch out on solo sections like Michael Brecker or Lenny Pickett or Bob Reynolds or other tenor players who meld jazz, soul, and R&B concepts in such tasteful ways that they remain valid within the pop context. It’s really hard to do well. Unlike Brecker, I can’t go into the studio and nail the solo on the first take. But the more I work at it, the more it seems to gel. And the concepts all translate back to jazz, where simplicity and melody cannot be overlooked when crafting a powerful solo.
More gigs with Duke Baxter
These guys a such a pleasure to work with. And the road trips to Martha’s Vineyard are fun as hell! Got some more of that in store for ‘09. I’ve also semi-officially taken over the duties of maintaining the horn arrangement library. That’s been time consuming, but now that most everything is arranged, it’s only special requests that need attention. At least Sibelius is easy software to use!
Keep developing the altissimo register
It’s no secret that Lenny Pickett was my first and continues to be a major influence. But I didn’t pay much attention to my altissimo chops until meeting Norbert Stachel a few years back. He’s developed an amazing altissimo register, having also idolized Lenny Pickett, and subsequently played lead tenor with Tower of Power for four years. He inspired me to get back into it, and has given me valuable tips, some via bandstand osmosis. I’ve got myself within a couple notes shy of four full octaves that pop. So this year, I’ll be working on applying that range musically, as well as working my way into the fifth octave. Also, research Bert Wilson if you’re aspiring to the top tones…
Compose eight new tunes for my jazz album
I desperately need new material. The musical concepts in my head are so much farther developed than the tunes I’ve written 5 or 10 or more years ago. I need to write fresh material that I’ll be proud to record. Writing music comes in spurts for me. I can write eight tunes in a week, and none for two years. It helps to be prolific, even if just writing a little ditty whenever you can. I’m not full time at the music thing, so that kind of output just doesn’t happen. But now’s a good time. As for recording the album, I just don’t see that happening this year. I’ve got some really big business projects coming up. But I have plenty of musicians to workshop tunes with. When it comes time to record, it’ll sound killer.
More sideman gigs
Being a bandleader is time-consuming and definitely frustrating in the current local jazz scene. All I really have time for is playing on other people’s gigs. That’s just fine with me, and I especially love playing other people’s original jazz compositions. It’s a great way to find new ideas and hone your skills in novel settings. Playing for live audiences is where it’s at. So much better than being holed up in the practice room for months on end.
Launch blog project
This is an idea I’ve been formulating for a while now. I’ll be able to get it off the ground soon. I’ll save the details for when I’m ready to promote the site.
There are other things I’m sure I won’t get to this year. Don’t think I’ll have any pit orchestra gigs come up. My clarinet and flute will gather more dust. I’d like to play the soprano more, but it’s a tricky beast and I don’t think I have the time to tame it. It’s mainly for travel. Travel would be nice. No time to run my own jazz group, but I’m cool with that given what I do have lined up. Practice every day for at least two hours? Ha ha, not since college… I’ve gotten good at maximizing my practice time. It’s all about focus.