]]> http://jazztimemachine.com/blog/165/jazz-bands/chris-barber-1954/feed/ 10 http://jazztimemachine.com/blog/160/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-3/ http://jazztimemachine.com/blog/160/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-3/#comments Mon, 23 Aug 2010 14:04:44 +0000 Jazz Time Machine http://jazztimemachine.com/blog/160/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-3/ Every great jazz musician has, at one time or another, transcribed jazz solos from recordings. Since jazz is an art from that is aural in nature, it makes complete sense that listening and copying the improvisations of earlier jazz masters helps one become a more consistent and skilled jazz improviser.Transcribing a jazz solo involves the repetitive listening and notation of a recorded jazz solo. To get maximum benefit from the process, the person studying the solo through transcription should memorize and internalize every note and every inflection played by the improviser. “Transcribing” refers to the activity of notating on paper the exact notes and rhythms played by the improviser.Evolving Technologies of Transcribing Jazz SolosCharlie Parker could arguably be called the most influential jazz artist of the 20th century. His inventive jazz improvisations changed the face of jazz and ushered in one of the most exciting eras of jazz: the bebop era.Charlie Parker was born with a huge amount of natural talent, but that does not mean Charlie never worked hard at his honing his craft. History reveals that Charlie spent almost a year early on in his music career memorizing – note by note – the jazz solos of Lester Young from 78 RPM recordings.Before jazz became widely available on 78 RPM recordings, musicians relied on listening and learning in “real time”. The only way to learn jazz improvisation in the early days of jazz was to listen to live musicians and pick up what you could from what they played. Once played however, the music was gone forever. During the 1920s, artists such Jelly Roll Morton, Louis Armstrong and many others began recording their music and jazz improvisations onto 78 RPM acetone discs. This leap in technology opened the door for future musicians to “study” the improvisations of their jazz predecessors.The 1950s saw the introduction of reel to reel tape machines and ultimately cassette tape recordings. Magnetic tape made it possible for jazz musicians to forward and rewind the tape to exact locations of solos and specific passages of a solo. No longer did musicians have to “drop the needle” on worn out discs to learn a solo or tune. Some cassette tape players were made specifically for musicians, allowing them to slow down parts or all of a recording at half or quarter speed. This proved to be helpful, but slowing down analog tape created problems with pitch and fidelity that was annoying to say the least.In recent years, computers have assisted jazz musicians transcribe recordings in ways that were once considered impossible. Inexpensive or free computer programs have made it possible to slow down fast passages without changing fidelity or pitch. Other advantages of computer assisted transcription include the ability to change key, precise looping of passages for ease in learning, and even help with notating pitches that are played.Transcribing and studying great jazz solos can be one of the smartest and beneficial activities any jazz musician can undertake to help hone his or her craft. Even with the marvels of modern technology, the process still takes time and effort however. Don’t forget to use the knowledge and skills you acquire from transcribing jazz solos to performing with live musicians. Nothing will replace the experience of playing jazz with others! ]]> http://jazztimemachine.com/blog/160/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-3/feed/ 0 http://jazztimemachine.com/blog/157/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-2/ http://jazztimemachine.com/blog/157/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-2/#comments Sat, 21 Aug 2010 17:09:17 +0000 Jazz Time Machine http://jazztimemachine.com/blog/157/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-2/ Every great jazz musician has, at one time or another, transcribed jazz solos from recordings. Since jazz is an art from that is aural in nature, it makes complete sense that listening and copying the improvisations of earlier jazz masters helps one become a more consistent and skilled jazz improviser.Transcribing a jazz solo involves the repetitive listening and notation of a recorded jazz solo. To get maximum benefit from the process, the person studying the solo through transcription should memorize and internalize every note and every inflection played by the improviser. “Transcribing” refers to the activity of notating on paper the exact notes and rhythms played by the improviser.Evolving Technologies of Transcribing Jazz SolosCharlie Parker could arguably be called the most influential jazz artist of the 20th century. His inventive jazz improvisations changed the face of jazz and ushered in one of the most exciting eras of jazz: the bebop era.Charlie Parker was born with a huge amount of natural talent, but that does not mean Charlie never worked hard at his honing his craft. History reveals that Charlie spent almost a year early on in his music career memorizing – note by note – the jazz solos of Lester Young from 78 RPM recordings.Before jazz became widely available on 78 RPM recordings, musicians relied on listening and learning in “real time”. The only way to learn jazz improvisation in the early days of jazz was to listen to live musicians and pick up what you could from what they played. Once played however, the music was gone forever. During the 1920s, artists such Jelly Roll Morton, Louis Armstrong and many others began recording their music and jazz improvisations onto 78 RPM acetone discs. This leap in technology opened the door for future musicians to “study” the improvisations of their jazz predecessors.The 1950s saw the introduction of reel to reel tape machines and ultimately cassette tape recordings. Magnetic tape made it possible for jazz musicians to forward and rewind the tape to exact locations of solos and specific passages of a solo. No longer did musicians have to “drop the needle” on worn out discs to learn a solo or tune. Some cassette tape players were made specifically for musicians, allowing them to slow down parts or all of a recording at half or quarter speed. This proved to be helpful, but slowing down analog tape created problems with pitch and fidelity that was annoying to say the least.In recent years, computers have assisted jazz musicians transcribe recordings in ways that were once considered impossible. Inexpensive or free computer programs have made it possible to slow down fast passages without changing fidelity or pitch. Other advantages of computer assisted transcription include the ability to change key, precise looping of passages for ease in learning, and even help with notating pitches that are played.Transcribing and studying great jazz solos can be one of the smartest and beneficial activities any jazz musician can undertake to help hone his or her craft. Even with the marvels of modern technology, the process still takes time and effort however. Don’t forget to use the knowledge and skills you acquire from transcribing jazz solos to performing with live musicians. Nothing will replace the experience of playing jazz with others! ]]> http://jazztimemachine.com/blog/157/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos-2/feed/ 0 http://jazztimemachine.com/blog/151/jazz-musicians/jazz-and-its-journey-2/ http://jazztimemachine.com/blog/151/jazz-musicians/jazz-and-its-journey-2/#comments Sat, 14 Aug 2010 07:23:25 +0000 Jazz Time Machine http://jazztimemachine.com/blog/151/jazz-musicians/jazz-and-its-journey-2/ A lot of opinion that jazz are the music for elite and well established. But when us look back to root of the jazz may be spelled out members exactly leaves for back. Jazz is an expression art in the form of music. Jazz conceived of basal music in life man and way of evaluating his traditional values. Tradition jazz grows from a dusky skin public life style in oppressed America. Initially, influence from tribal drums and music gospel, blues and field hollers (rallying call of farmer) the parturition has showed that jazz hardly relating to defense of life and human life expression.
What is interesting is that of word “Jazz” comes from a vulgar term applied for action of sexual. Some of rhythms in jazz have ever been associated with houses for whore and women with dislike reputation. On the way then, jazz finally becomes form of music art, either in typical composition and also improvisation, what reflects melody spontaneously. Musicians jazz usually express the feeling which do not easy to be explained, because this music must be felt at heart. “If you ask it you will never know” so according to Louis Armstrong.
Legend of jazz is started in New Orleans and grows to Mississippi, Memphis, St. Louis, and finally Chicago. Of course jazz influenced by the music in New Orleans, tribal drums African and Europe for the music structure. Reasoning of jazz cannot be discharged from fact where jazz is influenced by many music such as: music spiritual, cakewalks, ragtime and blues. One of legend jazz believed that around 1891, an owner of hair shaped shave shop in New Orleans so called Buddy Bolden breezes it’s cornet and from that moment jazz started as new breakthrough in world of music. Half century after that, jazz in America gives many contributions in music world, studied in university, and finally becomes a music stream which is serious and considered.
Music Video Clip Website ]]> http://jazztimemachine.com/blog/151/jazz-musicians/jazz-and-its-journey-2/feed/ 0 http://jazztimemachine.com/blog/150/jazz-music-history/harlem-in-montmartre-notes-on-the-french-contribution-to-jazz/ http://jazztimemachine.com/blog/150/jazz-music-history/harlem-in-montmartre-notes-on-the-french-contribution-to-jazz/#comments Fri, 13 Aug 2010 07:32:23 +0000 Jazz Time Machine http://jazztimemachine.com/blog/150/jazz-music-history/harlem-in-montmartre-notes-on-the-french-contribution-to-jazz/ Charles Hobson, producer of the PBS Great Performances program Harlem in Montmartre, brings to The New School the story of the jazz age in Paris between the First and Second World Wars, a fascinating but neglected piece of African American history. Inspired by William A. Shacks book of the same title, his documentary contains rare archival performance footage of James Europe, Josephine Baker, Sidney Bechet, Bricktop, Eugene Bullard, Django Reinhardt, and many more. Using photographs and film clips from the 1920s and 30s, Mr. Hobson discusses his film and the extraordinary role played by French artists and intellectuals in advancing the acceptance of jazz as a serious art form. Fridays @ One is supported by a bequest in memory of Estelle Tolkin. Sponsored by the Institute for Retired Professionals. Location: Theresa Lang Community and Student Center, Arnhold Hall, 55 West 13th Street, 2nd floor. 02/19/2010 1:00 pm

]]> http://jazztimemachine.com/blog/150/jazz-music-history/harlem-in-montmartre-notes-on-the-french-contribution-to-jazz/feed/ 1 http://jazztimemachine.com/blog/136/jazz-musicians/christophe-goze-a-beautiful-life-little-boy/ http://jazztimemachine.com/blog/136/jazz-musicians/christophe-goze-a-beautiful-life-little-boy/#comments Fri, 30 Jul 2010 07:27:18 +0000 Jazz Time Machine http://jazztimemachine.com/blog/136/jazz-musicians/christophe-goze-a-beautiful-life-little-boy/ www.christophegoze.com With 8 albums released, tracks on over 300 compilations that have sold over 1.5 million copies and a nomination for best TV advert music, Christophe Goze has become a leading future world and ambient Jazz musician whose name is respected as widely as the geographical influences from which he hones his craft. French Catalan born and raised in Paris, he was fed from a young age on a diet of music, and engulfed by his father’s own passion for the art of music. Coming from a family of professional classical musicians – his father a music teacher as well as his grandfather – Christophe had no other choice but to start his musical education at an early age, being taught piano by his father at the age of 4, and at 9 the guitar. So innate was his musical ability!

]]> http://jazztimemachine.com/blog/136/jazz-musicians/christophe-goze-a-beautiful-life-little-boy/feed/ 10 http://jazztimemachine.com/blog/133/jazz-bands/whs-jazz-ensemble-cherry-pink-and-apple-blossom-white/ http://jazztimemachine.com/blog/133/jazz-bands/whs-jazz-ensemble-cherry-pink-and-apple-blossom-white/#comments Tue, 27 Jul 2010 19:26:02 +0000 Jazz Time Machine http://jazztimemachine.com/blog/133/jazz-bands/whs-jazz-ensemble-cherry-pink-and-apple-blossom-white/ Ala Moana Center Stage Parade of Jazz Bands April 14, 2007. Cherry Pink and Apple Blossom White.

]]> http://jazztimemachine.com/blog/133/jazz-bands/whs-jazz-ensemble-cherry-pink-and-apple-blossom-white/feed/ 10 http://jazztimemachine.com/blog/127/jazz-bands/dawax-electro-jazz-band/ http://jazztimemachine.com/blog/127/jazz-bands/dawax-electro-jazz-band/#comments Wed, 21 Jul 2010 11:23:32 +0000 Jazz Time Machine http://jazztimemachine.com/blog/127/jazz-bands/dawax-electro-jazz-band/ Live à Châtel

]]> http://jazztimemachine.com/blog/127/jazz-bands/dawax-electro-jazz-band/feed/ 9 http://jazztimemachine.com/blog/126/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos/ http://jazztimemachine.com/blog/126/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos/#comments Sat, 17 Jul 2010 16:43:41 +0000 Jazz Time Machine http://jazztimemachine.com/blog/126/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos/ Every great jazz musician has, at one time or another, transcribed jazz solos from recordings. Since jazz is an art from that is aural in nature, it makes complete sense that listening and copying the improvisations of earlier jazz masters helps one become a more consistent and skilled jazz improviser.Transcribing a jazz solo involves the repetitive listening and notation of a recorded jazz solo. To get maximum benefit from the process, the person studying the solo through transcription should memorize and internalize every note and every inflection played by the improviser. “Transcribing” refers to the activity of notating on paper the exact notes and rhythms played by the improviser.Evolving Technologies of Transcribing Jazz SolosCharlie Parker could arguably be called the most influential jazz artist of the 20th century. His inventive jazz improvisations changed the face of jazz and ushered in one of the most exciting eras of jazz: the bebop era.Charlie Parker was born with a huge amount of natural talent, but that does not mean Charlie never worked hard at his honing his craft. History reveals that Charlie spent almost a year early on in his music career memorizing – note by note – the jazz solos of Lester Young from 78 RPM recordings.Before jazz became widely available on 78 RPM recordings, musicians relied on listening and learning in “real time”. The only way to learn jazz improvisation in the early days of jazz was to listen to live musicians and pick up what you could from what they played. Once played however, the music was gone forever. During the 1920s, artists such Jelly Roll Morton, Louis Armstrong and many others began recording their music and jazz improvisations onto 78 RPM acetone discs. This leap in technology opened the door for future musicians to “study” the improvisations of their jazz predecessors.The 1950s saw the introduction of reel to reel tape machines and ultimately cassette tape recordings. Magnetic tape made it possible for jazz musicians to forward and rewind the tape to exact locations of solos and specific passages of a solo. No longer did musicians have to “drop the needle” on worn out discs to learn a solo or tune. Some cassette tape players were made specifically for musicians, allowing them to slow down parts or all of a recording at half or quarter speed. This proved to be helpful, but slowing down analog tape created problems with pitch and fidelity that was annoying to say the least.In recent years, computers have assisted jazz musicians transcribe recordings in ways that were once considered impossible. Inexpensive or free computer programs have made it possible to slow down fast passages without changing fidelity or pitch. Other advantages of computer assisted transcription include the ability to change key, precise looping of passages for ease in learning, and even help with notating pitches that are played.Transcribing and studying great jazz solos can be one of the smartest and beneficial activities any jazz musician can undertake to help hone his or her craft. Even with the marvels of modern technology, the process still takes time and effort however. Don’t forget to use the knowledge and skills you acquire from transcribing jazz solos to performing with live musicians. Nothing will replace the experience of playing jazz with others! ]]> http://jazztimemachine.com/blog/126/jazz-music-history/jazz-musicians-and-the-art-of-transcribing-jazz-solos/feed/ 0