Sam Newsome

Sam Newsome
"The potential for the saxophone is unlimited." - Steve Lacy



Sam Newsome Quartet @ Smalls Jazz Club

Friday, October 20, 2017

5 Ways to Ignite Your Creativity



Staying inspired and finding ways of making what we do exciting to us is an ongoing challenge. Simply put, we spend a lifetime looking for different ways to play the same 12 notes.

Having said that, here are five things that I do that keeps me out of those seemly unavoidable creative ruts. Hopefully, you'll find a few of these helpful, too.


1. Make non-linear connections
The surest way to derail your creativity is to only look at things in linear ways. No matter how many times you slice it, 1 + 1 will always equal 2. It can one apple, one orange, one banana. The end result will be two of the same thing. However, try looking it from a non-accumulative perspective, then you'll find yourself arriving at new outcomes. I have one for you: mobile phone + computer = smartphone. You dig!

2. Pretend you are someone else
Channeling other people's way of thinking teaches us to think of a different mindset. The next time you play "Giant Steps," look at it from a Sidney Bechet perspective and see what different kinds of ideas transpire. Or vice versa, the next time you play "When the Saints Go Marching In," pretend you're playing it like John Coltrane. Sometimes when I'm in an uncomfortable social situation, I think of someone I know with really excellent social skills, and I try to channel their way of thinking. Works like a charm!

3. Think like a child
One of the beautiful things about small children is how they see and have a great appreciation for things that are not even on the periphery of most grown-ups. A child will become enthralled by blooming flowers planted outside an NYC building. Or will become fascinated with the patterns of the floor tiles at the Supermarket. Like the young child, learn to find beauty and excitement in the obvious or even the mundane. It's incredible how life instantly becomes more exciting and enriching.


4. Do something new and different
Doing things that take us out of our everyday routine is excellent for stimulating new ideas. For me, I take writing classes or my publicly known fascination with making balloon animals. I find that I always return to music with a much higher appreciation. But you can take an art class, a business class, a cooking class, etc. One of the most immediate things that you notice is how much fun you're having. That's s because we don't have the same pressure to be great that we have when we play music. Sometimes all that we need is a reminder that it's ok to have fun. This can carry us a long way.


5. Rest
 One thing that we've all learned from working with computers and various electronic gadgets is at some point you have to reboot them. You have to either restart them or sometimes just turn them off and let them rest. It seems too simple, but sometimes that's all that is needed to increase efficiency. Give it a try. Right after you finish sharing this blog post.

Friday, October 6, 2017

Three Important Goals For All Artists



1. Get noticed:
How does one get noticed? By going out on a limb and doing interesting things that get the attention of people looking for something different. And it’s really great when you get the attention of those who are not looking for what you do.

2. Gain trust:
How does one gain trust? By being consistent through your work. A clear vision lets people know where you stand. And if they want a particular type of experience, a certain kind of thing,  they will know that they can depend on you.

3. Accessibility:
How does one become more accessible? Easy. Just make yourself and what you do available. Social media, websites, live performances, or just by showing up—these are all beneficial. When folks out there are looking for new experiences, trying to find someone they can trust, let them know that you’re their guy! And if what you offer is free, even better.

Tuesday, September 26, 2017

An Interview with Soprano Saxophonist Heath Watts: Life as a Scientist and an Improviser

When he’s not working remotely from his home in Philadelphia, Pennsylvania for the Department of Geological Sciences at the University of Texas at El Paso, as a postdoctoral researcher, soprano saxophonist Heath Watts spends his time researching the sonic probabilities of his instrument. To say that Heath’s career trajectory is non-linear would be an understatement.  There are few free jazz soprano saxophonists, maybe none, who can say that they got their start as a blues singer back in Butte, Montana, only to be converted after hearing Lacy perform in concert in his hometown. This is just one of many interesting facts about Heath's musical path that makes him such a unique artist. So please check out this fascinating interview, where we discuss Heath's life as a scientist, as an improviser, and his new recording with bassist Blue Armstrong, titled Bright Yellow with Bass, released on the independent British label  Leo Records.

Sam Newsome: You describe your music as non-idiomatic improvisation. When and why did you decide to define your music as such?


Heath Watts: I adopted the term “non-idiomatic” from guitarist Derek Bailey, but I’m not sure that I (would still describe my music that way. Bailey argued that there are forms of improvisation such as jazz, Indian classical, and Flamenco music that are distinct idioms, but that free improvisation is not an idiom. Free improvisation has been around for more than fifty years, and although there are many free players with distinctive styles, I believe that the general sound of free improvisation is recognizable as an idiom.

SN: I read that while living in Butte, Montana, you were a blues guitarist and singer. How did this come about? And for how long did you do this?

HW: I discovered the blues in my early twenties through the Beatles and other 1960s rock. From there I discovered Howlin’ Wolf, Muddy Waters, BB King, Buddy Guy, et al., who then led me to Blind Willie McTell, Robert Johnson, Rev. Gary Davis, and other country blues guitarists. I love country blues music and still listen to it frequently. After a couple years of playing guitar, I decided to start a blues band. I found a group of players who were much more experienced and better players than I was. We had a Hammond organ, a horn section with two saxes, trumpet, and trombone, bass, drums, and myself on guitar. I called it “Blues By Five”, named after the Miles Davis song.  My later jazz group was “Blue 7” after Sonny Rollins’ song, which confused people because the group was usually a sextet or larger. We only performed for about two years, but I learned a lot about leading a band and working with a team of musicians. The blues are a big influence on me.

SN: Did singing and playing blues guitar shape your saxophone playing?

HW: I think that singing helped with the transition to the saxophone. I learned how to breathe and phrase somewhat from singing. I really enjoyed practicing scales on my guitar, and that transferred to the saxophone. I like to study the basics of sound and technique, and I still focus on those when I practice. I play overtones, long tones, intervals, multiphonics, altissimo exercises, and other basic things every day. My goal is to continue to gain greater control of my saxophone and then “let go” when I play. I seldom practice improvising, because I try to enter each playing situation without pre-conceived or prepared material. The guitar gave me a good foundation of scale and chord theory and dexterity that I could apply to the saxophone.

SN: You’ve said that after hearing Steve Lacy play in concert in Montana, you were inspired to switch from the tenor to the soprano saxophone. Can you tell us a little about that concert? And did you get a chance to meet and talk to Lacy?


HW: Few people went to the concert, which is a shame, but I’m so happy that I did. Lacy played solo in the show as well as played with a drummer and bassist from Montana. He didn’t say too much from the stage. Coltrane led me to the soprano, and Lacy opened the world of the soprano to me. I focused on tenor for about five years and used my soprano as a second voice. About sixteen years ago, I stopped playing tenor and have focused on soprano since then. I spoke to Lacy at the end of the show and told him how much I enjoyed it. I wish I had been more familiar with his work at that time; I would have had a lot of questions for him. Fortunately, he left us the book “Findings” and so many interesting interviews.

SN: I agree. Many jazz greats have left behind their body of work, but few have documented and left behind their methodology.


HW: Other than Steve Lacy’s book, I’ve found Dave Liebman’s various books very useful over the years.

SN: I’ve been described as someone with an affinity for playing solo. However, the duo seems to be your musical setting of choice. You’ve recorded two CDs on Leo Records. The first with drummer Dan Pell titled Breathe if You Can (2008) and more recently Bright Yellow With Bass (2017) recorded with bassist Blue Armstrong. What is it about playing duo that you find musically appealing, or even liberating, for that matter?

HW: Solo playing is something I enjoy as well. I have about six albums worth of solo material that I recorded over a two-year period that I plan to release at some point. Freely improvised solo work is fun because the sky is the limit.  Duet playing is appealing because it is an intensely intimate interaction; you have to listen all the time, and you have to contribute, whether through sound or silence I do like to play with larger groups, but duets seem to provide the greatest freedom to interaction ratio.

SN: Regarding your documented solo work, how did you come to accumulate six albums worth of material in such a short period of time? Do you just book studio time on a regular basis when you’re feeling inspired? For my past two solo efforts, that’s kind of how I worked.

HW: I have a couple of good microphones, a USB interface, and Logic Pro on my MacBook, so I’ve been able to do the solo recordings myself. Mixing isn’t an issue with one microphone and mastering the soprano takes some experimentation, but I’ve found some suitable plugins that help. I set up my gear in my kitchen and don’t worry about ambient sounds too much. The train roars by our house regularly, so listeners will be able to hear it on some of my solo albums when I release them. Dan Pell and I mixed and mastered “Breathe If You Can” together. We recorded that album in his basement with one overhead microphone on the drums and one on the soprano saxophone. Even with just two microphones involved, mixing and mastering becomes a more complicated process.


SN: How did you and Blue Armstrong become musical collaborators?  And what is it about his approach that makes him ideal for duo collaborations?

HW: Blue brought free improvisation to Montana when he moved there from Michigan. He started playing with a number of people in Montana who I met before I met Blue. When I was playing tenor primarily and leading my group Blue 7, I was a serious composer of jazz heads and it took a while to hear what was happening with free music, but once I began to understand it, it became my favorite means of playing. Blue listens intensely and responds instantly to the situation; those are necessary traits for playing free improvisation. I also like to play with musicians who are nice people, and he’s a great person.

SN: Is there an improvised or creative music scene in Butte, Montana? Just from the fact that Lacy appeared there tells me that there is a community there with sophisticated taste.

HW: In and around Butte there are a number of good improvisers. I hope to be releasing a quartet recording soon on Leo with trombonist MJ Williams, violinist Nancy Owens, and Blue Armstrong on bass. It will be a fully improvised album like my other two Leo releases, but the quartet provided an interesting set of new challenges and adventures. I saw Lacy in Helena, which is about sixty miles from Butte. In the 1980s and early 1990s, a promoter in Helena brought in the Art Ensemble of Chicago, Ned Rothenberg, and other great players. Unfortunately, that scene disappeared before I became involved; however, MJ is trying to revitalize it. She is promoting shows in Helena again, which is very exciting.

SN: On your CD Bright Yellow With Bass, you and Blue were effective at making each track sound different, which is not easy to do, when all the music is improvised. Did you discuss concepts or musical direction ahead of time, or did you just allow the musical chips fall where they may?

HW: It’s all improvised and I believe that it is either in the order we recorded it or nearly in the order. We didn’t discuss the music before playing, and we hadn’t seen each other or heard each other in about six months before we recorded the album. Because we live far from each other, we don’t get to play often. During the time between our meetings, Blue explores his bass and I my soprano. Then we come together and fit our new ideas together. It’s always surprising to hear the great new ideas that he has each time we meet.

SN: Yes, it’s great when you can come together with a like-minded person and discover new ideas together.

Now, let’s talk about Heath Watts, the scientist.  I know that you have a Ph.D. in geochemistry. Unfortunately, I’m not smart enough to have a conversation with you about your scientific work, but I am wondering if you see a connection between conducting scientific experiments and playing music? Many scientists are pretty passionate about music. We all know Albert Einstein was pretty serious about playing the violin. Pianist Jean-Michel Pilc worked as an aerospace engineer becoming a distinctive voice in jazz. I just purchased a book called The Jazz of Physics by theoretical physicist Stephan Alexander, who is a professor of physics at Brown University and a tenor saxophonist. And I think it’s pretty common knowledge that Vijay Iyer studied physics and mathematics at Yale. So you can start to see the pattern.

What do you see the connection as being?


HW: You’re certainly smart enough, but science isn’t your area of focus. I think that you’d make a good scientist because as a musician, you find problems that you’d like to solve and you would systematically solve them. If something doesn’t work, you change your plan and work until you solve the problem at hand. Along the way, you discover things that you hadn’t expected. Science is similar, but the questions and problems differ and the path to solving them involves tools that differ from those of music. For example, when you and I played the first time, I couldn’t do slap tonguing—that was the problem I wanted to solve. I listened to the way you did it that day, listened to your albums and those of others who slap tongue, bought some books that described the technique, and watched YouTube videos. A few hundred hours later, I could do it; I don’t sound like you, but I think that I’ve developed my own thing. Humans like to solve problems, whether the problems involve mathematical proofs, understanding chemistry, perfecting a musical technique,  or writing a good poem. Some people solve problems better than others do, and we each work on problems that interest us.

SN: What musical problems are you trying to currently solve?

HW: I’m very interested in developing my altissimo range. There are soprano saxophonists who have developed the altissimo range, but I want to find a way to use it that is unique to me. I can play two octaves above high F and sometimes a little more, but I want to keep working on it to make it something special and interesting. I’m also interested in the notes below low B-flat; I can bend down to low F#, but again, I need to keep searching for ways to make those notes fit more seamlessly into my improvisations. Mastering and incorporating a growing library of multiphonics into my improvisations is also an ongoing project that I enjoy.

SN: Have you ever been working on something scientific and have gotten inspired musically?

HW: What I do scientifically is very specific and it’s usually difficult to see a connection with music, but I do have some ideas. For example, bonds between atoms in molecules vibrate at particular frequencies and we can use those frequencies to identify molecules. I’ve converted the vibrational frequencies of simple molecules such as water and carbon dioxide to musically playable frequencies and the results are interesting. It might be fun to explore this further using larger molecules. What sounds could be made from the vibrational frequencies of a strand of DNA? I’m not sure if anyone has done something similar.

SN: That sounds fascinating. You should post some of those vibrational frequencies you’ve converted. I’d love to hear what they sound like.

HW: Thanks, I think that it could be. I’m still in my laboratory with regard to that project and I hope that I’ll have an interesting breakthrough soon.

SN: Being someone who does not depend on performing as your sole means of income, do you find that to be a hindrance, or do you find it liberating? And the reason I’m asking is that I went into academia is that I wanted the freedom to be singular in my creative efforts. Free-lancing certainly has its advantages, but it does tend to pull you in many directions.

HW: I find it more liberating in that I don’t have to take gigs that I don’t find interesting; however, there are not a lot of gigs available. I spent a couple of years playing Mustang Sally in smoky bars with my blues group. It was fun for a while, but then it becomes work. Not relying on music for my income means that it does not become work and that I can completely control my musical direction.


SN: Back to your new CD, Bright Yellow With Bass, can we expect any live performances from you and Blue?


HW: I hope so. If we can coordinate our schedules, I’d love to do some performances with Blue; we don’t get to perform often because of our locations. I’m always open to new venues.

SN: Is there a track or tracks on Bright Yellow with Bass that’s your favorite? I found that it’s always nice when you tap into a new zone while recording. It becomes this unexpected moment or moments that you get to enjoy for eternity.

HW: I like the whole album. There are always things that I think could be improved in my playing, but it is a good representation of what I was capable of on that day. At about 5’20” to about 6’15” on track 9, non-standard issue, I played some very low sounds that sound to me a bit like a didgeridoo and a bit like a low-pitched shakuhachi. I had never played like that previously, and I haven’t been able to replicate those sounds since then, which is frustrating. However, much of what I played on the album was in the moment; sounds that will only happen once in that way and for that particular recording. I have my clichés, but I’d like to have a larger sonic palette so that I can avoid overplaying them.

SN: Here are a few general questions: What is your set-up?

HW: I played a Borgani Jubilee Pearl Silver straight soprano on Bright Yellow With Bass using a Soprano Planet Open Sky mouthpiece (0.085) and a Hahn synthetic #2 reed. I played a Keiwerth SX90 black gold on Breathe If You Can using a Pillinger mouthpiece (0.105) and a Fibercell MS reed. I don’t remember which ligature I used on those albums. For the past four years, I’ve primarily used my Borgani with a Theo Wanne Gaia1 (0.085), a Bambú woven ligature, and a Hemke #2 reed. The Gaia1 gave me an extra octave of altissimo; it’s not a perfect mouthpiece, but it does what I require for now.

SN: Are there any soprano saxophonists out there that we may not have heard of whom you’d like to bring to our attention?

HW: There are so many great soprano saxophonists that it’s difficult to choose from among them. I would suggest that people listen to Gianni Mimmo, Harri Sjöström, Paul Bennett, Joe Giardullo, Bhob Rainey, Michel Doneda, and Kayla Milmine among others.

SN: I agree. When I first started playing the soprano exclusively, I felt there were only a handful of people truly devoted to playing the instrument. And I’m happy to say that today this is no longer the case.

HW: Yes. There are many other soprano saxophonists who deserve more attention including Jack Wright, John Butcher, Ned Rothenberg, Evan Parker, Trevor Watts, and Dave Liebman to name a few. I once performed an improvisation with eleven saxophonists in a large resonant hall in Philadelphia under the leadership of Jack Wright (Saxophone Soup) where I was the only soprano saxophonist in the group. I’d like to play a similar improvisation with a large group of soprano saxophonists.

SN: Lastly, any words of advice for young soprano saxophonist looking to carve out a career for themselves as improvising musicians?


HW: Play with others when you can and not just in performance but in private sessions. Practice your soprano saxophone a lot and focus on sound quality as much as you focus on technique. Long tones, interval studies for ear training, overtones (e.g., Raschèr, Sinta, and Allard), and so-called extended techniques (multiphonics, slap tongue, altissimo, etc.). The larger your sound reservoir, the greater your potential to produce interesting improvisations will be. Ten thousand hours is just the beginning, it’s similar the satori in Buddhism. If you put in a certain amount of time, you might be awakened to your true musical nature; you’ll be able to control and experience certain aspects of your playing that you could not without putting in the time. However, I don’t think that it is possible to attain mastery, some people come closer than others, but there is always more to learn.


SN: Thank, Heath. It’s been a pleasure!


Listen here to "Non-Standard Issue"







Purchase Heath's new CD here on Leo Records:





Tuesday, September 19, 2017

2017 Downtown Music Gallery Reviews - Bruce Gallanter


SAM NEWSOME / JEAN-MICHEL PILC - Magic Circle

Featuring Sam Newsome on soprano sax and Jean-Michel Pilc on piano. After five discs of solo soprano sax (!?!), Sam Newsome decided to try something different so he organized a duo session with French ex-pat pianist Jean-Michel Pilc. It turns out that Mr. Newsome and Mr. Pilc have been collaborating for a while with Newsome being a member of Pilc’s quartet (CD on Dreyfus). The duo cover seven well-known standards (Ellington, Monk & Coltrane) but do them in a unique way. Most of the songs are first (and only) takes, hence they sound fresh. “Autumn Leaves” has been covered by just about everyone, but I must admit that I dig this version since the duo seem to jump in and out of the stream, leaving space for the listener to add his or her own central current/flow (ongoing melody or structure). The music is exquisite, without too much embellishment or too many notes when a few will do. After concentrating on playing soprano sax exclusively for a number of years, Mr. Newsome has a wealth of ways to play and alter his approach, coming up with novel sounds for his special sax. He often bends and stretches his notes out, notes expanding and contracting in completely distinctive ways. Their version of Ellington, “In a Sentimental Mood” is sparse and filled with suspense, using as few notes as possible yet somehow most effective. Mr. Pilc spins a thick web of lines on “Giant Steps” when it begins while Mr. Newsome softly adds spiraling notes on top, the tempo increasing as it evolves. Pilc mutes a few of the strings, giving them a slightly bent yet playful quality on “In a Mellow Tone”. At times it sounds as if the duo are heading in opposite directions yet end up back together when we least expect it, especially the two pieces which are freely improvised and move in odd directions. Even when the duo play a bebop standard like “Out of Nowhere”, they seem to spin it in their own way. Mr. Plic does a marvelous job of playing two separate themes with each hand while Mr. Newsome plays those twisted notes on top. Considering that this discs features merely a duo, these two master musicians have found ways to reinvent the many different ways that they can work together in a fascinating, surprising dialogue. Excellent! - Bruce Lee Gallanter, DMG




SAM NEWSOME - Sopranoville: New Works for Prepared and Non-Prepared Saxophone


Featuring Sam Newsome on prepared and unprepared soprano saxes. One saxist Sam Newsome sold his tenor sax and picked up the soprano, he became a man on a mission to explore the depths of playing solo soprano sax. This is Mr. Newsome’s fifth disc of solo soprano sax and one might think that he is running out of ideas but this is far from the case. Actually, Mr. Newsome has gone even further this time by experimenting on several levels: overdubbing numerous soprano saxes and altering the sopranos with varied manipulations: aluminum foil, scotch tape, making reeds out of straws and adding chimes or other percussive effects. There are some 22 pieces here and each one explores the soprano(s) in many different ways. Starting with, “The Quiet Before the Storm”, a stark, hypnotic, solemn intro for lone soprano with soft chimes, a great way to begin our journey. “The Doppler Effect” is for three soprano saxes in circular motion, spinning together in a most mesmerizing way. Even better is “Horns of Plenty” for 15 sopranos, interlocking in strong rhythmic patterns. The aptly titled “Hiss and Kiss” is for three mouthpieces, bending and twisting their sounds just right. For Mr. Newsome’s previous CD, ‘The Straight Horn of Africa’, Sam worked on setting up African rhythms by tapping on the keys of the sax. He continues to experiment with similar rhythms here, creating shifting patterns with one of more saxes, interlinking their lines. in “Micro-Suite for Fifteen Sopranos”, Newsome layers a number of slightly bent notes in a most fascinating way, the haze of notes being somewhat disorienting. The are only two songs covered in this collection: one is John Coltrane’s “Giant Steps” for three sopranos played into a piano for resonance, all saxes swirling around one another until they play in unison near the end, all to great effect. Newsome has obviously worked hard at exploring a good deal of extended technique sounds, like using this odd flutter-tongue sounds which have been more common in recent years yet still sound fresh if one goes beyond their superficial use. I dig the way Newsome stacks up layers of bent note lines on “Soprano-ology”, combining alien sounds with something somehow familiar to those who enjoy taking chances, never knowing where things will end up. Sam Newsome has worked hard and created his own sonic world. well-with exploring. - Bruce Lee Gallanter, DMG 


Monday, September 4, 2017

Four "Musts" for Awakening Your Inner Artist

Being and thinking like an artist is no easy task. Not just because of the ability, patience, and courage required, but because you must be primed to receive and deliver your ideas from such a creative head space. Like anything else, this requires a certain conditioning. Below are four "musts" that I've identified that might help you to get closer to thinking and creating from an artist's mindset.

1. Must be a blank slate.
Being a blank slate is so important because you don't want new ideas to be covered by old molds of thought. This will prevent you from realizing their potential. Imagine you're about to paint a picture. You will have a much different relationship with those new images when applied to a clean canvass versus painting over an old one. And sometimes being a blank slate is the willingness to let the former die so that you can be reborn.
 












2. Must be willing to be vulnerable in front of the world.
One of the things that all artists possess is a willingness to bare their souls in front of all. Great artists let it all hang out. Artists like Charlie Parker, Jackson Pollock, and Marlon Brando left nothing to the imagination. They embodied total spiritual and emotional transparency. You have to be willing to show the world your bad as well as your good, and all that's in between.




3. Must be aware

Being aware is crucial. Great art is not only a reflection of the times but what artists often reflect is how things could be different or maybe even better. This is why John Coltrane's A Love Supreme could not have been created during the 1940s, or why Albert Ayler would not have existed during the 1930s. There was nothing going on to inspire those types of creations. If we as artists are going to be a step or two ahead of popular trends and modes of thought, we have to be aware enough to know what we're getting ahead of.

4. Must have skills sets
You can be the most creative and innovative thinker in modern times; however, if you don't have the skill sets to bring those creative and innovative thoughts to fruition, they won't amount to a hill of beans. Often times, this is where people drop the ball. I've encountered many who come across as imposing figures on paper, or they may talk a good game; yet, they appear flat when you actually hear them play. This is because they lack the musical, mental, and instrument control to allow their ideas to prevail uncompromised. This takes work. I don't have an answer as to how to make this happen. All I can say is, "Make it happen, any way you can."


 

Tuesday, August 1, 2017

Five (5) Things I Learned from Playing in Saxophone Quartets


Since becoming a soprano player over 20 years ago, I've held the soprano chair in two saxophone quartets. The first was with the Collective Identity Saxophone Quartet, which I co-led with Jorge Sylvester on alto, Aaron Stewart on tenor, and Alex Harding on baritone; and the second was with the Brooklyn Saxophone Quartet (also known as BSQ), which was co-led by tenor saxophonist David Bindman and baritone saxophonist Fred Ho. During the two years that I was with BSQ, both John O'Gallagher and Rudresh Mahanthappa occupied the alto chair.


Even though I loved playing the arrangements, and performing in such a musically self-governing context, it was, however, frustrating always feeling overpowered when we all played together. This was partly due to me still figuring out the instrument, and partly due to the other members not always being sensitive to the delicate nature of the instrument.

I remember saxophonist Greg Osby expressing the same concerns. He also felt musicians could be insensitive to the soprano's dynamic limitations. It's a different animal. And those accompanying a soprano player don't always understand that you can't treat it like a piccolo alto or small tenor up and octave. The soprano its own entity. 

All kvetching aside, I some how figured out how to project. And when I couldn't, I used a mic. And I must admit, it did make me a better player and forced me to push myself beyond what I thought was capable. So I do see playing in saxophone quartets as a very positive experience, and highly recommend that all saxophonists have this experience at least once during their careers. It's like no other.

In fact, here are five things I learned from playing in saxophone quartets that I feel makes us stronger players, no matter what musical context we find ourselves in. 

1. Learned how to be more autonomous when providing rhythm. As wind players, I think we can all agree that when it comes to the rhythmic accompaniment, we tend to be more receivers than givers. This is understandable being that known as melodic instruments. Even though a strong rhythmic understanding is vital to our improvisation, however, applying it from the standpoint of a percussionist only strengthens our understanding of it.

2. Learned to think nonlinearly about harmony. I found this to be particularly true when having to improvise over chord progressions. There seemed to be more harmonic freedom when the chordal accompaniment is being provided by other saxophones versus a piano or guitarist. Harmony seems to exist more as harmonic implications rather than harmonic absolutes. Looking at harmony in this way taught me how to think beyond diatonic harmony and the available tensions. I also learned how to approach improvisation textually and atonally. 

3. Learned how to blend with other saxes. As the soprano player in these groups, it was particularly challenging in that not only did I have to project over these much larger and louder horns, but I had to also find a harmonious blend. Also, the pairing of instruments was always changing. Within one tune it could be soprano/tenor, soprano/bari, soprano/alto/tenor, soprano/tenor/bari, you name it. Each with its own set of challenges. Having to do this was a great lesson in textual flexibility.

4. Learned how to function in non-melodic roles. In both groups, it was a challenge having to provide harmonic and rhythmic accompaniment, especially during some of the more extended improvisations. This forces you to think beyond the linear construct of the saxophone. I found that developing a sonic vocabulary of extended techniques was extremely useful in this setting. 

5. Developed endurance. As a soprano player, there's probably not a better training ground for building endurance and overall chops strengthening than playing in a saxophone quartet. For one, you're required to play continuously for four to five minutes with few moments to rest; two, you're required to project over three much larger horns. (In classical saxophone quartets this is less of an issue since they tend to play set-ups that give them more dynamic range, especially when it comes to playing at softer volumes); and three, you're required to play a fair amount of written material over an extended period of time, and written material tends to be more demanding on your chops.

Again, these are just some lessons I've learned. I'm sure every sax player would come away with their own unique set of learning experiences. 

So I'd like to conclude with a piece from Collective Identity's first recording called The Mass. This is my original titled "The World According to Shaquana Goldstein." It's an extended three-part suite that clocks in around 12:53, and it features pretty much everyone. This happens to also be the first saxophone quartet piece I ever wrote.  And listening back to it several years later, it doesn't sound bad. With these guys, it's hard to go wrong. And I owe these amazing musicians a huge debt. They were very instrumental in my development. I was fortunate to have cross paths with them. Oh yeah, and this is a kinder, gentler me. I hadn't yet gotten into all the crazy stuff. I was still employable.


Thanks for reading!


Sunday, July 23, 2017

10 Reasons Why You Might Have Problems with Rhythm




As teachers and performers, we often prescribe the metronome as the all-purpose solution to most of our rhythmic and metronomic ailments. In most instances, practicing with the metronome is the best resolve for these matters. But not always. Sometimes these issues result from things we are doing incorrectly, or just simply not doing. 

In this piece, I've identified 10 reasons why you might have problems in some of the aforementioned areas as well as a few prescribed remedies. These are hardly the laws of the land, just a few pointers that have helped me over the years.

1. You have not thoroughly absorbed the material at hand.  Trying to play things before we have thoroughly absorbed them is one of the surest ways towards rhythmic calamities. When creating in real time, there's plenty of room for error, but little room for hesitation. In general, we tend to be more hesitant with things with which we are uncertain. 

2. Playing outside of your comfort zoneTypically when we go for things outside of our musical reach, we tend to get into rhythmic trouble. The solution: Play less, and play what you know. Sometimes it's ok to drive under the speed limit. You don't always have to burn rubber.

3. Don't spend enough time listening to music. Writers understand that if they want to write well, they have to constantly read. As musicians, we tend to forget that listening is just as important as playing. Chances are that if you're constantly listening to players with great rhythm, you'll probably instinctively begin to play that way. Or at least you'll have a clearer understanding of how things are supposed to sound.

4. Need to play more. There's no better way to improve at something than by simply doing it. Playing allows you to assess what you can and can not do in real-time. It also gives you a more realistic perspective of your musical comfort zones.

5. Mentally unfocused. Sometimes our minds are just not in our work. And this is where practicing with a metronome helps. Having constant rhythmic accountability enables us to practice from a more heightening state, which will usually translate into you performing from the same state of mind.

6. Technical difficulty. Let's face it. If we can't technically execute something, it's not going to be rhythmically sound. This is usually the result of needing better instrumental control or just needing to get our ideas better under our fingers.  

7. Uncomfortable with our sound. People often underestimate the importance of sound. Being comfortable with our sound helps us to be more centered. And if you're centered and relaxed when you play, that will be reflected rhythmically, and definitely musically.

8. Thinking too rigidly about time and rhythm. If we're constantly looking at these musical components through narrow and limited scopes, we may never find what works best for us. Imagine that Ornette only interpreted time from the perspective of Sonny Rollins. Or what if Cecil Taylor only viewed time through the rhythmic lens of McCoy Tyner. Neither of them would have experienced the rhythmic liberation that enabled them to change the way we think about music.

9. Practicing with the metronome too much. There is such a thing as over doing it with the metronome. I've certainly been there. In doing so we don't allow ourselves to connect with our own internal clock. More importantly, we don't learn to trust our musical instincts. And ultimately this is our most valuable metronomic resource. 

10. Have not embraced your own unique relationship with rhythm and time. The fact of the matter is that everyone has their own unique relationship with these musical components, as they do with sound, melody, harmony, etc. And we have to learn to embrace this aspect of playing music. Some play perpetually ahead of the beat, some seem comfortable just a little behind it. Some are masters at swinging and playing over complex chord progressions, some make their most profound musical statements during free improvisation. Whatever the case may be, do what you do and be the best at it. Own it!

Sunday, July 16, 2017

Transcription and Analysis of Steve Lacy's Solo on "Softly, as in a Morning Sunrise"



Steve Lacy's improvised solo on the Sigmund Romberg and Oscar Hammerstein composition "Softly, as in a Morning Sunrise" was transcribed from the album Jazz Idiom recorded in 1954 on Jaguar Records. It was recorded by the Dick Sutton Sextet which featured Dick Sutton on trumpet,
Ray Anderson on trombone, Steve Lacy on soprano sax, Don Sitterlex on baritone sax, Mark Trail on bass, and Billy DeHay on drums.

Although Sidney Bechet was the first to be prominently featured on the soprano sax, it was Steve Lacy who gave the soprano a home in modern jazz. Unlike many of his peers, he managed to sidestep the complexities of bebop and hard bop. He went directly from Dixieland to more progressive and avant-garde styles of jazz.

The melody of "Softly, as in a Morning Sunrise" follows a 32 bar AABA structure, both during the melody and the improvised solos. The A section is in C min and it modulates to Eb Major for the B section. 

Even though this version of the song is credited as "Softly, as in a Morning Sunrise," there is actually a new melody written for the A sections of the first chorus, but the B section, however, does contain the original melody. Therefore,  this version of the song is only a partial contrafact. Contrafact is a term coined by David Baker which describes when a new melody is written on a pre-existing set of chord changes. This practice was used quite commonly during the bebop era. The other method of interpreting standard repertoire is through the use of a composition technique known as reharmonizing. This is when you take a pre-existing melody and set it to a new harmonic structure. 


The band does, however, play the original melody during the first two A sections on the head out, performed in the contrapuntal Dixieland style, before returning to the contrafact melody for the last A section.


The improvised solo


First two A sections

As shown in the transcriptions below, Lacy's solo is pretty diatonic. For the first two A sections, he primarily improvises of the progression C min / Dmin7(b5) G7(b9) using the tonic harmonic minor scale; however, using the scale's flatted 6th and major 7th, sparingly. 

In fact, the only non-diatonic note used is the sharp 4. And this is primarily used in the context of blues, as shown on bars 6, 8, 9, and 10. This is very idiomatic for this period. Scales like the dorian, mixolydian, and the multiple variations of the bebop scales, were more of a modern jazz phenomenon. Players from this era kept it pretty bare bones. Much of their improvisational acumen was demonstrated through their inventiveness with melody, rhythm, the blues, and often times, awe-inspiring dexterity on their instruments.


B section

During the first two bars of the B section, when it modulates to Eb major,  Lacy improvises on the major scale of the chord, also known as the Ionian mode. In the 4th bar of the B section, he plays F harmonic minor on the E dim. Players often play a G min7(b5) C7(b9) instead of the E min in order to create a more interesting harmonic motion,  thus, create more possibilities during their improvisation. Using the Roman numeral analysis, it would be the #I dim substituted by the ii7(b5) and its related V7(b9).

Last A section

In the first bar of the last A, Lacy emphasizes the major 7th, which at first creates a lot of tension,  but resolves smoothly to the tonic. From there, he continues playing over the C minor using the harmonic minor scale.



The transcription of Lacy's solo appears in concert, Bb, and Eb keys. 





After listening closely to this recording, practice it at different tempos with the metronome clicking on beats 2 and 4. This will help you dig more deeply into the time, consequently, strengthening your swing feel.

Please note that this transcription is absent of dynamics, phrase markings, and articulations. This is intentional.  In order to truly capture the essence of an improvised solo, you have to listen to it, again and again, until you start to hear all of its subtle nuances.  This is when you truly start to understand what improvisation is all about. Jazz is "off the page music." Its essence is not found in what is written, but in what is not.




AUDIO VERSION





And please check out my book Life Lessons from the Horn and my new CD, Sopranoville.

                             CLICK HERE:





















                          CLICK HERE: 




Share

Print Friendly and PDF

Search This Blog

Blog Archive