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Archive for the ‘Jazz Music’ Category

Born To Be Blue is the latest Jazz CD put out by the richly talented Freddie Hubbard who once again has delivered a brilliant collection of tracks. I’m confident Freddie Hubbard fans, and Jazz fans alike will be pleased with this one.

Unfortunately, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Born To Be Blue. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Born To Be Blue has a nicely varied, mix of 5 tracks that are very well written songs by this clearly outstanding artist. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are him own real life experiences. At different points touching on the most real emotions like love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

Born To Be Blue is a first rate CD, delivering a little something for everyone. I give it two thumbs up. It’s quite simply great listening. A must buy for the Jazz fan.

While the entire album is really very good the truly standout tunes are track 1 – Gibraltar, track 2 – True Colors, and track 3 – Born To Be Blue.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 5 – Up Jumped Spring. This is a great track!

Born To Be Blue Release Notes:

Freddie Hubbard originally released Born To Be Blue on February 12, 1996 on the Original Jazz Classics label.

CD Track List Follows:

1. Gibraltar 2. True Colors 3. Born To Be Blue 4. Joy Spring 5. Up Jumped Spring

Personnel: Freddie Hubbard (trumpet); Harold Land (tenor saxophone); Billy Childs (keyboards); Larry Klein (bass); Steve Houghton (drums); Buck Clark (percussion). Recorded at Ocean Way Recording Studio, Hollywood, California on December 14, 1981.

Austin is known as the Live Music Capital of the World. One of the best parts about having that distinction is that even if you aren’t necessarily into the club scene, you can still hear live music at restaurants throughout the city. Whether you feel like hearing Cajun, blues, country, Latin or rock, you can almost always find a great meal enhanced by a great band playing.
Threadgill’s is legendary not only for their chicken fried steak and cheese grits, but for also being the place that gave Janis Joplin her start. With a newly refurbished north location, and their World Headquarters just south of the river, Threadgill’s features the best in bluegrass, country, and soul music, as well as hosting a delicious and rejuvenating Gospel Brunch. Steaks, seafood po-boys, and the best vegetable side-dish selection in town, this is the quintessential Austin food and music spot. 301 West Riverside Drive, Austin, Texas 78704 // 6416 North Lamar Blvd., Austin, Texas 78752
Artz Rib House is another gem of a music/food venue in Austin. As their name suggests, their specialty is smoked ribs, with country style pork, baby backs, or big beef ribs to choose from. They also make one of the better burgers in town, offer the Texas BBQ staples of brisket and sausage, and even have an inventive vegetable kabob on the menu. Their musical offerings are just as tasty, with an emphasis on western swing and a monthly Old Time Fiddlers Jam. Artz is located in the barton hills neighborhood at 2330 South Lamar, Austin, TX 78704
Quality Seafood is both a seafood market and a restaurant, serving some of the finest and freshest fish in town. Three days a week they feature music along with food and drink specials. Mondays they usually feature a hot jazz combo, and offer a great deal on succulent king crab legs, and on Wednesdays a folky blues duo entertains while the crowd feasts on peel and eat shrimp. A DJ holds forth on Thursdays, sometimes with live instrumental accompaniment, and the special rotates recent Thursday food specials include spicy Texas crawfish and soft shell crab po-boys. 5621 Airport Blvd., Austin, TX 78751.
Las Palomas serves some of the finest Mexican food in the city, and features one of Austin’s best kept musical secrets. When they aren’t on tour with a major Texas country star, you can find the cream of Austin’s crop of pickers joining a gypsy jazz violinist for some jaw-dropping jazz every Wednesday night. Famed for their enchiladas Tres Marias, Las Palomas also offers ceviche, chicken mole, and other specialties. 3201 Bee Caves Road, Austin, TX 78746.
Having survived the ups and downs of Austin’s East Side, the Victory Grill is truly a piece of Austin history, but is just as vibrant today. Built in 1945, the club has hosted acts including B.B King, Ike and Tina Turner, and Billie Holiday, and today features Austin’s finest blues acts. With a rotating menu of down home cooking, the Victory Grill is a slice of Old Austin.

Read, write, discuss and debate over Jazz. In simple words, love Jazz. Perhaps it is the best way to learn and play Jazz better. Never limit your experimentation during the phase of learning. The more you would experiment, the more you would be exposed to different styles and techniques of jazz. The more you’d be exposed to the styles and techniques, the brighter are the chances of attaining mastery over Jazz.

But while delving over the emotion of Jazz, keep in mind the fact that emotion is intrinsic in nature and no book can teach you to capture it. Your belongingness and affinity enables to master the emotion and help a lot to learn to play Jazz faster. This article comprises some necessary tips on mastering Jazz.

First step of Jazz learning is assessing your self potential. As a beginner you are advised to listen to as many Jazz tracks as you can. Maintain a judicious balance between the all time hits and the current trends. Try to understand the basics and implement it to lay the foundation of Jazz learning. After it learn and try to have proficiency in all 12 major scales. Your exposure and expertise in all the scales helps a lot in future.

In the next step you can buy a Jazz book published by any reputed publisher to make your learning easier. While buying a book, go for that where chord symbols or guitar tabs are written above the melody line. Then master major 7th, minor 7th, and dominant 7th, half diminished and diminished chord of every key. Once you master these, stop taking the help of the book and start playing on your own. With passage of time and experience, learn chord inversions, playing CM7, pentatonic scale, 3, 6, 2, 5, 1 progression, chromatic and diatonic harmony to add to your skill and expertise.

Welcome to this in depth lesson on arpeggio substitution. I hope that after reading this lesson you will understand all there is to know about arpeggio substitution and start using this great device in your own music. Substituting arpeggios over chords is a great way to add some interest to your solos and make you sound more interesting. You can substitute simple arpeggios shapes over fairly boring chords and create some really interesting and complex sounding harmonies.

The first thing we learn to do with arpeggios is to play the arpeggio over it’s related chord. For example when we learn a Cmajor7 arpeggio our first thought is that it should be played over a Cmaj7 chord. While this is a great way to outline a chord progression if we use this idea too often it quickly becomes boring to listen to. We can use substitutions to make the plain Cmaj7 chord sound like a more complex chord like Cmaj9, Cmaj13 etc.

Lets first look at some of the possibilities available to us and then we shall look at some of the most common arpeggio substitutions in more depth. In our first example we will look at the options available to us by substituting arpeggios from the diatonic scale over a minor seven chord to give you an idea of how arpeggio substitution works.

Over a Dm7 chord the most obvious choice of scale to play over it would be a D Dorian scale or a Dm7 arpeggio. This is fine but if we have to play over this minor seven chord for a long period of time these two musical ideas will start to sound boring and predictable so we need a way of finding which arpeggios we can play over this Dm7 chord to make it sound more interesting.

First we will look at the D Dorian scale and see what arpeggios are hiding within it. The notes of D Dorian scale are D, E, F, G, A, B, C and from it we get the following arpeggios by taking the first, third, fifth and seventh notes.

Dm7 (D F A C)

Em7 (E G B D)

Fmaj7 (F A C E)

G7 (G B D F)

Am7 (A C E G)

Bm7b5 (B D F A)

Cmaj7 (C E G B)

Okay now we have our arpeggios we can play any one of these over a Dm7 chord for a more interesting sound. You may be wondering why we can’t just use the D Dorian scale over the whole thing and the simple answer is that we want to break away from just playing scales and start creating more melodic and interesting solos. If you just play the scale over this chord progression is will start to sound very predictable and will not grab the listener’s attention.

All the substitutions we have look at so far have been Diatonic and all came from the most obvious scale. We can also substitute arpeggios from the Melodic minor and Harmonic minor scales to create a much more exotic and jazzy type of sound. In fact most of the jazz bebop sound is that of arpeggio substitution to create interesting implied harmony.

Common substitutions

We shall now look at some of the most common arpeggio substitutions.

1.) Min7 arpeggio played on the 3rd degree of a major chord

This creates a major9 type sound. For example we could play and Em7 arpeggio over a Cmaj7 chord to create a Cmaj9 sound. This is because the Em7 arpeggio contains the D note which is the major 9 of C.

2.) Min7 arpeggio played on the 6th degree of a major chord

This is another common substitution. If we were to play an Am7 chord over a Cmaj7 we would get a C6 type sound.

3.) Major7 arpeggios played on the b3rd degree of the a minor chord

This substitution is used to create a minor9 type sound. If we are playing over a Cmin7 chord for example, we can build a major7 chord off the b3rd degree which in this case is Eb. So if we play an Ebmaj7 arpeggio over a Cmin chord we get a Cmin9 type sound.

4.) Diminished 7 arpeggio played on the 3rd degree of the dominant chord

This is a great sounding substitution which creates a 7b9 type sound. For example try playing an Edim7 arpeggio over a C7 chord to imply a C7b9 tonality.

Try some of these examples for yourself and see how much more interesting your solos become once you start using arpeggio substitution. Adding these ideas into your own sound is a great way to start developing some jazz and fusion type licks.

For more jazz guitar lessons, visit www.guitarstatic.com

Have you ever wondered why the Utah Jazz is named as such? New Orleans, Louisiana was the birthplace of jazz, right? In fact, the NBA squad, the Utah Jazz, was originally the New Orleans Jazz. The Jazz played in New Orleans from 1975-1979. When the team moved to Salt Lake City, Utah, it retained the original team name.
Here are some interesting facts about Utah:
• Utah’s name originates from the Ute Native Americans
• Utah’s nickname is the “Beehive State”
• The state bird is ironically the California Sea Gull
• The Utah state flag contains a beehive, which symbolizes diligence
• Major industries include farming, mining, natural gas, oil, and steel production
The Utah Jazz’s premiere season in the NBA included some sour notes. They lost their first game to the Portland Trailblazers, and ended the season with 24-58 record. Although the Jazz’s first season was disappointing, they were beginning to create a solid foundation on which to build the franchise.
Less than two decades after entering the NBA, the Jazz’s team was playing sweet music. In particular, the duo of John Stockton and Karl Malone created one of the best one-two punches in the league. In 1996-1997, the Jazz earned a franchise-best 64-18 during the regular season.
The Jazz would glide through the playoffs. They sank the Los Angeles Clippers (3-0), drowned the Los Angeles Lakers (4-1), and eliminated the Houston Rockets in a war (4-2). In the NBA Finals, the Jazz faced Michael Jordan and the mighty Chicago Bulls. Though the Jazz played the Bulls closely, the Bulls overpowered them and won the series (4-2).
Having established a solid team, the Jazz would play all the right notes during the next regular season, finishing with an outstanding 62-20 record. In the playoffs, the Jazz would battle back to shoot down the Houston Rockets (3-2), unseat the San Antonio Spurs (4-1), and then drain the Los Angeles Lakers (4-0).
Many NBA experts chose the Utah Jazz to end the Bulls’ five-championship dynasty. However, the Jazz fell behind in the series 3-1, and never recovered. In Game 6, Michael Jordan willed the Bulls to victory and a 4-2 series win.
How have the Jazz fared since their last trip to the NBA Finals? While they have made seven playoff appearances and won three division crowns, the farthest they have advanced was to the Western Conference Finals (2007).
Throughout their history, the Jazz have retired the jersey numbers of seven players:
Adrian Dantley – #4 (Forward): 1979-1984
Mark Eaton – #53 (Center): 1982-1993
Darrell Griffith – #35 (Guard): 1980-1991
Jeff Hornacek – #14 (Guard): 1993-2000
Karl Malone – #32 (Forward): 1985-2003
Pete Maravich – #7 (Guard): 1974-1980
John Stockton – #12 (Guard) 1984-2003
It is inevitable that some of these players will also enter the basketball Hall of Fame.
While the Utah Jazz has earned two trips to the NBA Finals, it has not completed its song. Use Utah Jazz merchandise to cheer on the team to the sweet sound of an NBA Championship!