Canada’s Interior Provincial Exhibition in British Columbia is renowned for its prize-winning pigs, 10-gallon hats and cowboys being flung from the backs of snorting bulls.

Did I mention classical violin music?

In 2001 the IPE hosted the Festival of the Arts, an all classical, jazz and theatre venue in the heart of the fairgrounds. I’d honestly never been out to the fair before but was hired to emcee and play violin in the new event.

From the moment I pulled into the dusty parking lot full of pickups and horse trailers I knew I was in for an interesting five days. Dressed in a formal satin gown I entered Armstrong’s Centennial Hall as farmers and cowboys watched with curiosity and suspicion. Imagine a decked-out diva playing Mozart in the “Tumbleweed Saloon” and you get the picture. Though the carnies teased me that I’d "gotten lost on the way to the opera house" I smiled coyly: I had an ace up my sleeve.

In the past I’d gotten myself into all sorts of embarrassing gigs where the music did not suit the venue. As a relatively shy and inexperienced performer I was hired to play classical violin at the formal (and final) Royal Canadian Mounted Police Regimental Ball in Trail, BC in 1997. The evening consisted of over 100 less-than-sober Mounties and dignitaries who incessantly requested “Achy Breakie Heart,” a song I was certainly not prepared to play that night.

I was obligated by my contract to play all classical repetoire and it was with much effort I was able to sustain it to the end of my set. Just before packing up I surrendered to play a few fiddle tunes. The crowd went wild and I was thrown from background music to front and center entertainer, a place I was far to shy to want to be.

I left the party just as some resourceful officers at the nearest table discovered their wide-brim hats could also function as frisbees. I couldn’t have felt more out of place!

To keep everyone feeling comfortable in the concert hall each style of music has developed a distinct set of audience protocols.

For example, Jazz modus operandi requires we clap after the solos, whereas proper classical etiquette insists the audience hold applause until all the movements are completed. Folk and country music’s tradition has us clapping with the beat.

By stark contrast there was no clapping permitted in Baroque concerts held in churches during the 1600’s. Always looking for a way around the formality, Antonio Vivaldi’s inventive fans adapted a way of showing their appreciation for the music by shuffling their feet, coughing and blowing their noses loudly.

If stuffy clergy could bring themselves to blow their schnozzes in appreciation, I could modify my performance to make my classical music suit the audience. Along came a considerable challenge: I was invited to play British Columbia’s wacky “Streetfest” alongside fire-swallowers, stilt-walkers and sultry female impersonators.

I couldn’t be shy at this gig so I carefully developed a “circle show” that helped me fit into the zany antics while still doing what came naturally to me. Clad in an extravagant red sequined gown and combat boots I played the overstated role of “Virtuoso Violinist,” a direct poke at classical music’s stuffiness.

Keeping it simple I performed the same set of music I always played, but this time on my 5-string Zeta electric violin, and amused the audience with hilarious true stories about classical composers.

The result was an entertaining educational show that made classical music and it’s history accessible to people of all ages and music preferences. Analogous to protein-rich chocolate-coated ants, it was a sneaky way of making classical music more palatable! Disasters such as the infamous “Mountie Incident” would hopefully never happen again.

Though they squirmed in their seats at first, the farmers and cowboys at the IPE were pleasantly surprised to discover a hidden appreciation for classical music in each of my and other groups’ performances. One such ensemble, the “Stoney String Quartet,” earned the audiences’ admiration and respect for their musicality and familiar backround.

The group of siblings played superb classical music in addition to working on their parents’ farm building barns, haying and processing poultry. It was amusing to imagine the nimble fingers that plucked out delightful melodies under the bright lights of the stage also plucked chickens back on the family farm.

Thanks to receptive audiences the IPE had a Jazz and Classical festival that year where showing appreciation for a great saxophone solo, a magnificent Shakespeare sonnet or a Mozart masterpiece meant yelling “YEE HA” at the top of your lungs!

It sure beat blowing your nose for five days.

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years.

She currently writes columns for two Canadian publications and has been featured in Australia’s Music Teacher Magazine. Writing allows her to teach people that the world of music is as fun as you spin it to be!

Rhiannon’s business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her commitment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca

Rhiannon is also Founding President of the Shuswap Violin Society which promotes violin & fiddle music and helps young musicians in need: http://www.violinsociety.ca

Having been a guitar player for over 20 years, I am often amazed at the number of guitarists that have never taken the time to learn the notes on their fretboard. I have met guitar players that gig on a regular basis, and yet are unable to find a C# on the 3rd string, an A natural on the 4th string or an F natural on any string! Little do they know that by learning this one simple thing, their playing and enjoyment of the instrument will increase ten fold!

It was while studying at the Guitar Institute in London that I first realised that many players do not develop this part of their playing. This realisation prompted me to want to find a way that guitar players could learn this simple thing with the minimum of effort. Some of them could play every guitar solo Jimi Hendrix recorded, yet couldn’t name one single note!

My feeling was that most guitar players just didn’t want to spend time on something that they felt wouldn’t benefit them that much. Unless their practice time resulted in them learning a flash guitar lick they just didn’t want to know. Always one for a challenge, I decided it was my duty to show these poor souls the light. How would I do that?

I decided to use my good friend, Paul, as a guinea pig. Although he played quite well, he, like countless others, hadn’t learnt his fretboard. I asked him why. His reply went something like this: Why would I want to spend time learning the notes on the fretboard when I could be working on a Jimi Hendrix solo? No, it’s not for me, it just seems like so much effort for nothing. I’d rather learn a new chord shape or a hot guitar lick. I honestly don’t see the point.

Paul’s response was pretty much the same as the other people I asked. Waste of time, one said. I’ll probably get round to it one day, chirped another. Little did any of these people know, familiarising themselves with their fretboard would not only improve their guitar playing it would DRAMATICALLY improve their musicianship!! I set to work on Paul.

I wrote out a diagram of the fretboard with 12 frets and 6 strings. I then wrote in all the notes and handed it to Paul. What do you want me to do with this? he asked. I want you to learn it, I replied. Take it home, study it, and then let me give you a test. He wasn’t overly keen on doing this, but I managed to persuade him. I gave him two weeks to learn it all. He placed the sheet into his guitar case and took it away with him.

It was actually three weeks later that I next saw Paul. How did you get on with the fretboard study,? I asked him. Ok, he replied. Right, let me test you. Paul took out his guitar and placed it on his knee. Ok, an easy one to start. Show me an A on the 6th string. Paul thought for approx 15 to 20 seconds and then successfully placed his finger on the 5th fret. I congratulated him, Well done Let’s try another. Show me where to find an E flat on the 3rd string. Paul’s face sank. He thought about it, and then he thought some more, and then, he played me……F sharp! I was disappointed. Wrong! Let’s try another one. How about D on the 2nd string? This is quite an easy one, but once again, after some thought, Paul failed to find D. Ok, a C natural on the 3rd sring. Once again Paul couldn’t do it. I asked him why. Well, I did try, but it is just too mind numbingly boring. It’ll take ages for me to learn the whole neck, Paul complained. Now I couldn’t let this go. It wasn’t a light hearted challenge any more. Paul was going to learn the fretboard whether he liked it or not.

I set to work on an instructional booklet that would make learning the fretboard easy and fun. I also knew that I had to make it motivational and inspiring. I worked hard typing up the study. In 5 days I had a rough copy. I printed it off and took it round to Paul’s house. Not again, muttered Paul when I handed him the booklet. Just humour me, and give it one more go, I pleaded. He reluctantly agreed. I didn’t want to push my luck too much, so I quickly left and wished him well.

Four days later there was a loud knock on my front door. Ok, ok, I yelled as I rushed to answer it. As I pulled open the door, I found an extremely excited Paul with his guitar case in hand. Test me again, he demanded. He pushed past me to the living room and opened up his case. Go on, ask me any note on any string. I sat down and called out G flat on the 3rd string. The words had no sooner left my lips when Paul was on the 11th fret playing me the requested note. And another, my friend requested confidently. Ok, C sharp same string. Paul played the C sharp. I then asked for a D on the 1st string, an F sharp on the 2nd, a C on the 4th. Paul played each one without any hesitation. What do you think about that? he asked smugly. Oh no, I thought, I?ve created a monster!!!!

Paul then went on to play notes all over the neck, calling them out as they sounded. I couldn’t believe it, I knew my fretboard study was good but I didn’t expect these results. Paul was delighted. He thanked me for the study, and also for encouraging him to master his fretboard. He said he now knew what I had meant when I told him how much this knowledge would improve his playing. That study is dynamite, he told me. Maybe he had a point.

Now, a few years down the line, I realise just how true Paul’s words were. The study IS dynamite. I have used it with many of my students and they have all reported results that are equally as impressive as Paul’s. After much encouragement from my students and friends, I have now decided to make it available worldwide. For the small price of ?5.00 (five pounds), you too can experience what Paul did all those years ago, and also what countless other people are experiencing today. If you are serious about being a guitar player you really need to know your fretboard. Visit our website at www.jack-sky.com for your copy of this great ebook. You will not be disappointed.

Improve today – Grab the Fretboard Master!

Peter Jones is the Managing Director of Jack Sky Ltd. Based in the great city of Liverpool, Jack Sky is committed to providing 1st class guitar tutorials to all of its customers. A warm welcome awaits you at http://www.jack-sky.com

American classical music, also known as jazz is a diverse genre of music that stems from native American and African music. Most jazz is inspired by blues music. Jazz first became popular in the early 1920?s in clubs in cities like New Orleans and Chicago.

In the 1930?s Jazz was so popular that there were even white jazz singers. Big bands came into play such as Ben Goodman and Glen Miller, although some viewed them as swing more than jazz.

Jazz led into more conventional methods that made it like today?s pop groups. Only then it was called Be Bop. The jazz music was becoming more loose and more harmonized.

Be bop was not what you would call dancing music, but it was more to actually see the performers. This made each performer strive a little harder to be the best, because without the dancing it really was about the talent.

Of course jazz music was often sad and was about heartache and troubles of life. Most of the music was based off of the performers lives. A lot of performer?s died from drug and alcohol abuse.

Jazz is based off of a classical background and to play it well you have to learn the chords and scales of the songs. It also takes improvisation and an imagination. It can be quite difficult, but for some jazz is just in the blood.

To find additional information about this or about music entertainment visit ? http://musicentertainmentweb.com

http://musicentertainmentweb.com was founded Jakob Culver. He has a background and large knowledge in and about music entertainment.

American classical music, also known as jazz is a diverse genre of music that stems from native American and African music. Most jazz is inspired by blues music. Jazz first became popular in the early 1920?s in clubs in cities like New Orleans and Chicago.

In the 1930?s Jazz was so popular that there were even white jazz singers. Big bands came into play such as Ben Goodman and Glen Miller, although some viewed them as swing more than jazz.

Jazz led into more conventional methods that made it like today?s pop groups. Only then it was called Be Bop. The jazz music was becoming more loose and more harmonized.

Be bop was not what you would call dancing music, but it was more to actually see the performers. This made each performer strive a little harder to be the best, because without the dancing it really was about the talent.

Of course jazz music was often sad and was about heartache and troubles of life. Most of the music was based off of the performers lives. A lot of performer?s died from drug and alcohol abuse.

Jazz is based off of a classical background and to play it well you have to learn the chords and scales of the songs. It also takes improvisation and an imagination. It can be quite difficult, but for some jazz is just in the blood.

To find additional information about this or about music entertainment visit ? http://musicentertainmentweb.com

http://musicentertainmentweb.com was founded Jakob Culver. He has a background and large knowledge in and about music entertainment.

So…just who are you? That is a question that every solo artist, solo musician, and every solo instrumentalist has probably asked themselves down through the years. The ones who can answer that question will find themselves on the road to a very eventful, and interesting musical career.

Who am I?…Who do I want to be?…Who do I sound like?…Who would I want to be like? These are all legitimate questions, and ones that should be asked. Every one has strengths, and weaknesses. We all have our differences. We all have different goals, and the way we want to achieve them.

To find ones self as a person is a great achievement. To find ones self as a person, and a great soloist is a great Blessing. To find ones self as a person…as a great soloist…and to want to share that with the rest of the world is a most honored desire.

It’s not a fact of being proud. No, it’s not a fact of being better than any, and everyone else. It’s not the fact of being able to do more than anyone else, or being in a class of It’s me, and there’s no one else. No…it’s not about any of these things.

Rather, it is knowing that you have something to offer. Knowing that you have something that may help someone. Knowing that it is not only a blessing that you are you, and you know that you are you. But,…knowing that you are blessed so that you may be a blessing to all of the rest of the world.

So…just who are you? how will you perfect your talent? What will you do with your talent? Will you use it to wage war? Or,…will you use it to make peace? Will you think of the fact that any one of your performances just may save a persons life? Or, will you give a darn, and only think you are IT…and there is no reason for you to care?

Finding ones self is not an easy thing. No, it’s not easy at all. It takes a lot of heart, and a lot of grit. It takes a lot of commitment, a lot of patience and endurance. It takes giving ones self completely over to the tools, and ways of perfection. You will have to go through the refining fire. Hours upon hours of epetitiveness, and drudgery. You will need the focus of a microscope. You must have the intense burning desire of a perfectionist.

The mountain in front of you must be just another movable object, and the wide valley just another attainable space. The goal here is to be that great soloist,…that great musician,…that great artist,…that great instrumentalist,…That great vocalist. The goal is to find that person inside of you. The goal is to find, and perfect that talent you have been blessed with. To search your innermost being,…to probe deep in your bowels,…to travel the deep relmes of the mind. To find that spark and turn it into a super nova! To reach beyond the pain,…beyond the wall,… to go beyond perfection. To reach the point where your music is that exact mirror of your soul.

The only lasting way to attain this level that I know of is,…Practice!Practice!Practice!, and Practice some more! If you can see the end result that is possible, if you could just taste the sweetness of what it is like to move the hearts of thousands,…if you could know what it is like to pour music out of your deepest parts until tears uncontrolably flow,…If you could only feel what it must be like to perform for the Creator Himself! To capture the power of the elements,…to hold the secrets of the universe.

I am not kidding, nor am I just writing empty words. I know these things are possible,…I know these things are attainable,…and, I have tasted it.

There are millions of musicians, millions of artists, and millions apon millions of vocalists, and instrumentalists. The fact in todays world is that to many of us no longer have the desire to find out just who we are. Too many of us no longer have the patience to find ourselves. We dont want to spend the time to perfect our talents. And sadly,…We dont give a care about sharing what we are,…who we are,…why we are,…and do not want to help, or give of ourselves to help our fellow man. Yes, there are some who do care, and give of themselves, and give their talent freely from their hearts,…but not enough. Not enough of us.

Too many people have that desire for what I call Quaker Oats Music. Too many people want to do everything Quick,…Fast,…and IN A Hurry! Well, fast is not always better, and, haste does make waste.

My desire for this article is to encourage those who want to find themselves. To touch those who do want to spend the time. To thank those who are giving of themselves until there is almost nothing left,…then they replenish themselves, and give some more. To encourage the young ones who are just starting out. It takes time Bro Dont give up,…just keep going until you reach what ever goal you have set for yourself, and then go the seven miles further. There is absolutely nothing wrong with practicing,…nothing at all. It is an utmost necessity. No,…you dont need drugs to attain this perfection. The energy is within you,…all you need do is tap the source. That source is deep within your innermost being. Look for it,…Yearn for it,…Desire it!

In closing: If I could do only one thing right, let it be music that inspires people to do the right things.

Patrick is a blind, jazz saxophonist, his intense, improvive style of playing is both soothing, and captivating to the listener. Patrick owns, and operates a Texas based recording studio: Curse Buster Sound. You can hear, and contact Patrick at: http://www.cursebustersound.com

Peaceful Solution Character Education Program: http://www.peacefulsolution.com

CurseBuster Market Place: http://rocketstart.com/Brown2/default.cfm

From its beginnings as nothing more than a simple trading post on the banks of the Missouri river, to its raucous heyday in the 1920’s and 30’s, Kansas City has retained the independent spirit of its frontier beginnings. Even though an assortment of colorful characters, cowboys, politicians, criminals, and even wagon trains populate the history of Kansas City, you can forget everything you’ve ever heard about it being a cow town. Today, the outgrowth of that colorful history and frontier spirit radiates energetically throughout the city and its populace.

Widely regarded as the birthplace of Jazz. KC’s early reputation as a wide-open, anything goes city captivated and allured the musical performers of the day. It’s central location and ease of access via rail were the other components which induced this musical migration. Kansas City became a haven for musicians and fans alike.

The musicians, who interpreted their experiences in KC’s permissive environment through their music, were also creating the elastic techniques and musical license, which remain at the heart of Jazz today. The hub of this development was the 18th and Vine district. Many legendary musicians, Count Basie, Ella Fitzgerald, Joe Turner and Charlie Parker to name a few, made their way to Kansas City. Their connection to one another and to the Kansas City scene brought about a unique musical expansion which enriched the city’s history and initiated the genesis of Jazz.

Kansas City’s affiliation with Jazz is celebrated daily at the American Jazz Museum in the 18th and Vine District and nightly at clubs and restaurants throughout the city. Live Jazz and Blues are still an important part of the Kansas City entertainment and nightlife scene.

Kansas City’s early sports history, specifically its affiliation with Negro League Baseball, is showcased in detail at the Negro League Baseball Museum.

Also located at the 18th and Vine District, the museum documents the history of Negro League Baseball from its beginnings in the mid 1800’s, to its demise in the 1960’s. If you are interested in this facet of the histoy of baseball, a visit to this museum is highly recommended.

A part-time writer and full-time webmaster, Joseph Patrick, can usually be found managing his full service travel website, http://www.Triptactics.com where you will find the resources to book affordable trips to Kansas City as well as other exciting vacation destinations.

Different styles of music have different sounds. We can all pretty much agree on that point. For example, Jazz uses seventh chords almost exclusively. This, and the kind of chord progressions used in Jazz gives it its unique flavor. But what about new age music? Does it have it’s own special ingredients? Yes it does.

Now, there are no hard and fast rules here but for the most part, new age music is a consonant music. That is, there is little or noharshness going on in the music. No Saxes wailing and what not. Having said that we can eliminate most of the tense jazz chords and their voicing. So what are we left with? Mostly Major and minor chords based on the regular scales and the modes. The chord progressions are simpler and usually start on the l chord. No ll-V-l progressions here.

What about melody? In jazz, we have a soloist who usually plays a lot of chromatic notes. This is rare in new age music because it would create dissonance. New age melodies tend to be softer and more on the spiritual side. Solos, if there are any, are not so much concerned with the expression of the self than they are with letting the music express itself. A subtle but very important distinction. Jazz players may have some ego invested in their performance. New age musicians learn to let the music play them. They learn to become a channel for the music itself allowing it to speak through them. Of course, I’m not saying that this can’t happen in Jazz, but, just watch a Jazz performer and you’ll see what I mean.

Last but not least is rhythm. Let’s do a comparison/contrast between Jazz and New Age music. Jazz has a definite discernible rhythm. It is what makes Jazz Jazz. New age music can have a pattern or an underlying rhythm to the music. It can be used to create trance like states in the listener. Drums are usually a part of Jazz music. Percussion is mostly absent from the New Age sound simply because it would not add to the atmosphere most New Age musicians create. Timing is very important to the Jazz musician. The soloist has the freedom to play whatever he wants as long as he maintains the meter and stays in time. New Age music is more elastic in that timing is there, but is not a master of the player. The New Age player can disregard time altogether. Just listen to Zen flute music as a good example of this.

Now, what does all this mean for the aspiring New Age musician? A couple of good things. It means that there is a definite new age sound out there. That it is here to stay and that people like and need to hear it. And it means that there are some guidelines out there for what defines the meaning of New Age music.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/pianolessons.html for a FREE piano lesson!

No wonder we all seek to express ourselves in some way. To achieve success in music we need a band, as a solo career is no longer popular. And now you are between decisions how to choose the band members to share you dazzling ups.

Well, there are two ways out:
1.To involve professional musicians into the project and to divide obligations in advance. The only thing acquired is your own professional skills.
2.To surround yourself with deer friends and start following the path of studying altogether.

No matter which way you will go, just don?t haste. It may happen the guitarist will tear a strip off or the drummer will misfit a drum set. It?s no use shouting on them. We all make mistakes every now and then. First of all try studying few easy songs, like My Girl by Nirvana. But don?t jump into mastering jazz or grind core, as the Suicidal Tendencies, the Red Hot Chili Peppers or the Slipknot represent.

For joint work to be fruitful enough, you should organize rehearsals into two parts, the way, one will be devoted to revising already studied songs and the other one will be used for improvisation, which is of a great value, as the band members study to predict every next step of each other. Its? you feeling every sense of music in the result. You can feel it?s aliveness by letting it through your mind. But the main thing is not to feel down in case everything is not as excellent as you have imagined. It?s much worse to loose pleasure in playing and creating music.

What concerns recommendations of experienced musicians, they are worth listen to, however, keep it in mind, it?s up to you, which of them to choose to follow.

Article source:

Art of Band Creation. Music Babylon is a site with lyrics, discographies, artists’ biographies, music forum and some articles for those who’s interested.

When I’ve had a belly full of the complexities of current events I find a jazz band in some out of the way place and retreat for awhile into melody with a big beat.

For those of you who are turned on by horns, I recommend a small watering place in Cleveland called the Lake Shore Club.

There, Ted Witt and his Forest City Jazz Band hold forth on Saturday nights with the best music this side of New Orleans.

Located through the courtyard of an old motel, it is not the kind of joint you would wander into cold turkey. But, take my word, the surroundings are pleasant, the drinks unadulterated, the prices average, the food good and the clientele well dressed without ostentation.

I was introduced to jazz while stationed at the U.S. Naval base in Key West during World War II. The best honky-tonk in town had a small jazz combo of venerable black players, but the soul jerking notes poured out on those Sunday afternoons after church when the colored folks (their term) conducted a funeral.

No matter what day of the week a black person might happen to meet his Maker, the funeral was held on Sunday. Then the fishermen would be home, no one would lose wages, and the mood of religious contemplation would be deepest.

After regular morning services, lengthened by a substantial eulogy to the deceased, the march to the grave yard began. The coffin rode in one mule-drawn wagon and an assembly of horn players in another. The mourners marched behind in swallow-tail suits, high hats and formal dresses.

The parade to the cemetery was somber and featured plaintive hymns such as Just A Closer Walk With Thee, Old Rugged Cross, Amazing Grace, and Will the Circle Be Unbroken. Now, 30 years later, these tunes nearly break me up as bittersweet memories flood back.

The return from the cemetery, however, was jubilant as the marchers asserted their faith that their departed companion was well on his way to a just reward in heaven. Of course there was When The Saints Come Marching In, Washed In The Blood of Jesus, and Down By The Riverside. But there was also a lot of high stepping to Georgia Cakewalk, High Society and Muskrat Ramble.

It was a meaningful blend of sorrow, reverence, and Christian faith in a better life here after.

Since those days – now gone I am told by travelers to the southern-most Florida Key – I have pursued the blue and golden notes in New Orleans, Nashville, St. Louis, Memphis, and Chicago. For there, in the Mississippi Valley, is the true home of American jazz.

Strangely however, I have found the most creative practitioners of this unique American music in Key West, Cleveland, New York, and San Francisco. One of the characteristics that has made jazz great is its ability to be exported, and to be assimilated by diverse cultural communities.

Where did it all start?

Stephen Longstreet, the jazz historian, says it is best to begin in New Orleans, where the black man became in time a little lighter, and the white man often a little darker.

The French and the Spanish, the African tribesmen often with royal chief’s blood under their heavy muscles – and even the Indian peering in – the long boats from Kentucky, and the Yankee mountain men in buckskin fringes – in for a big bust and swallowing of untaxed whiskey – all wanted music, and helped make it, said Longstreet.

New Orleans mixed it all up, and churned it around, and made it a part of a new nation – that was part of a New World where anything could happen.

Today we call it history. But then it was simple people, wild people, pioneers and men on their way up in a hurry. All sang a lot and stomped around to music.

Whether it was in the Congo jungle of Africa or in the tromped-down grass of Congo Square in New Orleans, it was rhythm that started it all.

Music and dancing, said the white slave masters, made the Negroes too tired to work hard, so the wild people from Africa just clapped their hands at first.

Then they made a drum on the sly and brought it out – when the Master was off somewhere else subduing the passions of his own wild country – to remind them of their native jungles.

An old horn was snitched from some white man’s junk heap, or maybe a rusty old banjo was given by a keel boatman from Ohio who didn’t give a damn about plantations and cotton anyway.

At last the Negro had become part of musical America. He was ready to add a sense of freedom and lusty beat that created a new musical art form peculiar to the United States.

In time, jazz evolved through a variety of forms – spirituals, marches, cake walks, ragtime, blues and swing. But the basic foundation was always twelve 4-4 bars of singable notes.

Louis Satchmo Armstrong was the last of the Golden Generation of jazz musicians. Today we rely on the artistry of Pete Fountain, Turk Murphy, Al Hirt and Ted Witt to carry on the glorious tradition of authentic jazz.

Ted Witt is great on the licorice stick and still belts out a few numbers on the fish horn soprano sax made famous by Sidney Bechet. Ted’s other front men, Emmett Wiley on the slip horn and Dick Petscher on trumpet, are ably supported by John Bittance on bass, Bert Smith at the piano, Al Gutheim on the skins, and Bill Morehead on banjo.

Somehow, when those guys cut loose, such things as the economy, Watergate, and Mideast wars don’t seem all that important.

September 18, 1974 .

Click here to see this article on Lindsey Williams’s website

.

Lindsey Williams is a Sun columnist who can be contacted at:

LinWms@earthlink.net or LinWms@lindseywilliams.org

Website: http://www.lindseywilliams.org with over a thousand of Lin’s Editorial & At Large articles written over 40 years.

Also featured in its entirety is Lin’s groundbreaking book Boldly Onward, that critically analyzes and develops theories about the original Spanish explorers of America. (fully indexed/searchable)

Jazz is a language. Its practitioners are public speakers. Think of what happens when one learns to speak English, Korean or Japanese, for example. The process is the same as when learning jazz. You learn by listening and picking up figures of speech, then you learn to use them in your own personal manner to make statements by putting them together in paragraphs and sentences to tell your story.

If you were to speak publicly, you would want to know the story well (in this case the tune or composition), and you would want to know the vocabulary. You would practice telling the story, work out the rough parts, and then learn how to vary the story in a variety of ways, for example, short vs. long versions, different introductions, and endings, substitute words and phrases, rhythms, moods and pacing, and so on.

As with public speakers such as politicians, you get all kinds of jazz performer: those who are insincere, those who are slick, those who are brilliant and have their own voices and styles, those who are spontaneous, those who use easy to understand vocabulary (soft jazz), those who use complex language (Miles Davis, John Coltrane), those who are mediocre, and those who deliver a memorized or prompted (written) statement.

You get the comparison, so contemplate it in every aspect and you’ll understand. The only difference between an extemporaneous art form such as jazz and the spoken language is the fact that you can’t use it for such practical purposes as ordering a cup of coffee.

The Fastest and Easiest Ways to Learn Improvisation:

ByrneJazz Improvisation Books

ByrneJazz Online Lessons