In my studies with drumset master Joe Morello we would often use the text by Ted Reed, "Progressive Steps To Syncopation" to develop technique. I like to use it in my teaching because it gives western trained drummers a familiar reference point. For this exercise we will interpret the eighth notes in a jazz triplet feel. The eighth notes are played as open tones and the quarter notes as bass tones. The un-played, but implied, remaining triplets are played as very soft touch strokes. The result is a syncopated melodic line between the eighth notes and quarter notes with the touch strokes serving as an accompaniment. To see an example of me performing this concept on page 38 from the Ted Reed book refer to this link.
Joe Morello Master Studies 2 Pdf 50
A native of New Orleans, this master guitar and banjo player was well known for his humor and storytelling. In 1930 he moved to New York, where he met his wife, vocalist Blue Lu Barker, with whom he frequently recorded. After returning home in 1965, Danny Barker worked for 10 years as an assistant curator for the New Orleans Jazz Museum. He also mentored young musicians through the Fairview Baptist Church Brass Band.
A charismatic figure, master arranger, and formidable trombonist, Slide Hampton holds a place of distinction in the jazz tradition. He is the founder of the illustrious World of Trombones: an ensemble of nine trombones and a rhythm section. In 1989, with Paquito D'Rivera, he was musical director of Dizzy's Diamond Jubilee, a year-long series of celebrations honoring Dizzy Gillespie's 75th birthday. Hampton was born in Jeannette, PA.
One of the major voices in jazz literature, Nat Hentoff has written about and championed jazz for more than half a century. Hentoff began his education at Northeastern University in Boston, his hometown, and went on to pursue graduate studies at Harvard University. In addition to his status as a renowned jazz historian and critic, Hentoff also is an expert on First Amendment rights, criminal justice, and education and has written a number of books on these topics.
Yusef Lateef was born William Emanuel Huddleston in Chattanooga, Tennessee. A virtuoso on traditional jazz instruments saxophone and flute, he also enriches his music through mastery of such Middle Eastern and Asian reed instruments as the bamboo flute, shanai, shofar, argol, and taiwan koto. A major force on the international musical scene for more than six decades, he was one of the first to bring a world music approach to traditional jazz.
Hubert Laws won a classical scholarship to the prestigious Juilliard School in New York City, studying with master flutist Julius Baker. At the same time, he was gigging at night, playing with jazz and Latin musicians including Mongo Santamaria, Lloyd Price, and John Lewis. He is one of the very few to specialize on the flute in jazz, and has become the premier musician on the instrument. In three decades of playing, he has also mastered pop, rhythm-and-blues, and classical genres.
Although a formidable trombone player, Melba Liston was primarily known for her composition and arrangements. Growing up in Los Angeles, some of her first work during the 1940s was with two West Coast masters: bandleader Gerald Wilson and tenor saxophonist Dexter Gordon. During the 1960s, Liston co-led a band with trumpeter Clark Terry, and wrote for the Duke Ellington orchestra, as well as Tony Bennett and Eddie Fisher. Her career helped pave the way for women in jazz in roles other than as vocalists.
Born in Memphis, Tennessee and known, among other accomplishments, for helping break ground for the jazz scene on the west coast, Charles Lloyd is a seasoned saxophonist and flute player. After playing with masters such as Ornette Coleman, Charlie Haden, and Cannonball Adderley, Lloyd formed his own group and, in 1966, recorded Forest Flower: Live at Monterey, which was one of the first jazz albums to sell over one million copies. Lloyd is praised for his unique ability to blend jazz and world music.
Ellis Marsalis was born in New Orleans, in 1934. Although the city was noted for Dixieland and rhythm-and-blues, Ellis was more interested in bebop. In addition to his skillful piano playing, he became the director of jazz studies at the New Orleans Center for Creative Arts high school in 1974, mentoring such contemporary artists as Terence Blanchard, and Harry Connick, Jr.
George Russell was a composer and one of the most important jazz theorists of the latter half of the 20th century. His theories on modes influenced Miles Davis and Bill Evans, leading to the creation of Davis' masterpiece, Kind of Blue. In addition to teaching and lecturing at conservatories and universities, Russell was the recipient of numerous awards, honors, and grants, including a MacArthur award, two Guggenheim fellowships, and election to the Royal Swedish Academy.
Immensely popular and startlingly innovative, Artie Shaw rose to prominence in the 1930s as a swing bandleader, master clarinetist, and boundary-crossing artist, who infused jazz with the influences of modern European composers. Born in 1910, he left New Haven, Connecticut, at age 15 to tour as a jazz musician. During 1938, with a swing band line-up that briefly included Billie Holiday as vocalist, he recorded Cole Porter's "Begin the Beguine," which propelled him to the forefront of big band leaders. 2ff7e9595c
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