![]() Now we have a lot more options! (Yes, I have played "Stella by Starlight" and "Blue Bossa." And played them terribly, I will add.) This was in the very old days when the only studies available beyond the classical world were in the world of jazz. This is a common jazz player's approach and I have spent some of my woodshed time doing this. He makes reference to the practice of playing tunes in all 12 keys. On rereading Dave's article just now I came across something with fresh insight. ![]() However, when I dig underneath and reach into Dave's intention and his searching.well, this is where the rewards begin pouring out. The pieces, and the vocabulary, often don't speak directly to me. ![]() This guy is working behind and inside the form in a way that I find quite rare. At times, even for myself, I have to listen to his recordings "through" and underneath the material to find the goods that resonate. I understand that possibly many of us here may not be fans of Jazz in general and even what Dave does in particular. I have probably mentioned this before, but I will again.Īnd the "I Was Doing Alright" article that speaks to some of the things Dave is referencing: Dave's sense, and practice, of putting intention into a single, simple line goes well beyond his genre and beyond most musicians I know. I had a hunch that Dave's vibe would resonate with some of us here. Great freed back from Alec who made it to the second day of Dave Douglas' workshop in NYC. This post references a recommendation I made about a composer's workshop in NYC led by trumpeter Dave Douglas. seattle municipal chamber orchestra (1)įrom a letter I sent out to my coaching clients.
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