My latest project -- promoting jazz to the next generation

[Rock Salad]

I was trying to get my neighbor's kids in music by letting them come over and play and they were just starting to settle down and play pieces (not just rocking out "free jazz,") when they divorced and moved. My kids have instruments and maybe they will find someone their Mom is ok with to teach them.
I was taught and encouraged and played my first shows with a kind neighbor back when.
Good deal PauFerro! No ideas how to grow the non-profit, but maybe your motivated kids will do it for you. You did say the one is getting big audience reaction.

 

[PauFerro]

I was trying to get my neighbor's kids in music by letting them come over and play and they were just starting to settle down and play pieces (not just rocking out "free jazz,") when they divorced and moved. My kids have instruments and maybe they will find someone their Mom is ok with to teach them.
I was taught and encouraged and played my first shows with a kind neighbor back when.
Good deal PauFerro! No ideas how to grow the non-profit, but maybe your motivated kids will do it for you. You did say the one is getting big audience reaction.

Yeah, it's timely. For the last 3 years this non-profit I started has done an OK job of attracting money through events, often involving music, but we've spent most of it on an art box project -- those roadside utility boxes that people can paint with art or cover with car wraps. I think we are a bit funned out of that project as we've painted every single box within our focus area. Time for a new project and I think this is it.

I look at experiences in the teen years as the hinge on the gate. The hinge is small, but its movement guides the outer edge of the gate in a wide radius. Most of the cats I have played with normally point to high school as the place they got started in jazz, except guitar and piano players who often learned independently or took lessons. The wind players, and even some of the bass players all got started in high school.

I think there is a "bug" that gets you in small jazz combos. The small jazz combo creates a more personal identity for the players. They get to pick a name, the players tend to be more visible individually, and there is greater freedom to play music the group really loves. Throughout life, small groups can find rehearsal space relatively easily.

I remember as a teenager, the key to our success as a jazz combo was a) parents with space and patience to put up with the noise and b) teenagers who were passionate about the music and c) the ability for the teens to get to rehearsal. None of us had teachers, we learned from Aebersold and the real book. Our band director helped us for two years, but it was on the group stuff only -- we were expected to figure out improv on our own.

When I look back I realize what a rare chemical reaction I was lucky to be part of.

 

[mrcbass]

Yeah, it's timely. For the last 3 years this non-profit I started has done an OK job of attracting money through events, often involving music, but we've spent most of it on an art box project -- those roadside utility boxes that people can paint with art or cover with car wraps. I think we are a bit funned out of that project as we've painted every single box within our focus area. Time for a new project and I think this is it.

I look at experiences in the teen years as the hinge on the gate. The hinge is small, but its movement guides the outer edge of the gate in a wide radius. Most of the cats I have played with normally point to high school as the place they got started in jazz, except guitar and piano players who often learned independently or took lessons. The wind players, and even some of the bass players all got started in high school.

I think there is a "bug" that gets you in small jazz combos. The small jazz combo creates a more personal identity for the players. They get to pick a name, the players tend to be more visible individually, and there is greater freedom to play music the group really loves. Throughout life, small groups can find rehearsal space relatively easily.

I remember as a teenager, the key to our success as a jazz combo was a) parents with space and patience to put up with the noise and b) teenagers who were passionate about the music and c) the ability for the teens to get to rehearsal. None of us had teachers, we learned from Aebersold and the real book. Our band director helped us for two years, but it was on the group stuff only -- we were expected to figure out improv on our own.

When I look back I realize what a rare chemical reaction I was lucky to be part of.

Couldn't agree more. It was a combination of an outstanding HS music director and HS Jazz band that took music out of the "just another class" category and planted the "want to be a musician" seed. I studied in college as well, but got distracted (imagine that!) and moved away from it as a formal pursuit. But music and the creation of it has been an important part of my life for nearly 50 years.

 

[PauFerro]

Quick Update -- had the tweens over for their third or fourth rehearsal (can't remember now). This time the parent of a sax player played drums. Turns out this parent plays with the layer of musicians above me in my town. They are the top names and resident artists at our local university music programs. People I know I shouldn't call for gigs because it wouldn't be appropriate.

In fact, I paid $20 to see them perform at a local theater two months ago.

In his work he is a producer for some really big entertainment and movie companies and names you would recognize in the entertainment business. I was actually really surprised at his resume and also his musical depth. We ran the rehearsal together each contributing to the flow and advice, but he was very respectful of my role as the "band director".

He prepared his son for the rehearsal with the heads to the six songs on which we are focusing. Apparently his tween son's teacher is the musical director for a show that runs at a local theme park, again, a name you would probably know. Amazed at how the kid learned the heads to five songs in less than two weeks on only 4 months on the instrument.

And to make matters even more interesting, he offered to open up his studio to some kind of hob nob/master class/clinic just for the little tween group members (and myself), hosted by the big names I mentioned earlier. He would append us to the end of one of their rehearsals. Not only great for the kids, but good for networking and resourcing on my end.

I also learned two teaching techniques useful in situations like this. For getting time issues down with the bass player -- he had the bass player sing his part over the count. The bass player learned it twice as fast compared to playing it to the count. Then, when it was time play the part, the bass player did it right the first time.

For helping the tweens improvise, he asked if they could accompany the soloist by playing the roots, and the third, and fifths of each chord under the solos.

I couldn't be more encouraged.

 

[EddiePlaysBass]

Subbed

 

[PauFerro]

Had the two tween sax players join our drummer and pianist for a non-profit gig last night. People generally liked it....

1. One of the kids dressed really cool -- black skinny jeans, 3 piece suit vest, tie, and pin- striped blazer, pointy shoes. The other one showed up with floods, neon pink socks, no tie and a white shirt hanging out everywhere. With sneakers. Given what I know about the parents, I don't think finances were the issue, it was either tween reluctance to dress for the event, or some other issue.

2. Some lack of confidence in when to solo and when to come back into the head on certain songs. But they made it work; there were no train wrecks. The audience, who sat attentive on us during the reception period of the event, seemed really appreciative of them. The one kid had solos for 4 of the songs, up from 2, 1.5 weeks ago. He'd been preparing for this event.

3. One of them forgot his iPad with all the music on it, so they shared. I'll be showing him how to create an equipment checklist in ColorNote app on his phone for next time.

4. They got the set list via ColorNote on my phone, forwarded with the sharing feature. Something else for them to assimilate given what a hassle it is to use printed paper these days.

5. I had to nix All Blues from the set list as, when we rehearsed beforehand, our client looked at us with a look of "something is really wrong there". She was happy with the outcome overall, though, after the event was over.

6. They came prepared with some long notes to complement the keys and bass solos, but didn't seem to get the direction to only start the second time through changes on the solos -- to build momentum. But I was impressed they came prepared, together, to some harmony under the soloist based on the Real Easy Book 3-Horn edition assignment I gave them last rehearsal -- I didn't ask them to have it prepared for this event, but they both had it, in hand.

7. After our rehearsal, with time left before the down note, the two of them were playing the heads to the Pink Panther and Tequila....and doing it pretty well.

8. At the end, they both sought me out, extended their hands, and said something like "thanks for this great opportunity". I was very surprised, this coming from 2 twelve year olds -- the maturity they showed and the appreciation.

9. I do events, and one of my partners, who recently founded a non-profit that promotes the arts to you, is planning to do a Jazz and Art Festival at an indoor venue not far from my home in October. I get the youth jazz musicians, judges and educators there, and she gets the artists there. We both have done a lot of sponsorship sales and grant-writing, so I have high hopes.

10. Found a youth jazz camp not far from my home; plans are to try to raise money to send one of the kids in our group to this camp in the summer. No sense reinventing the wheel -- fast progress can attained by simply supporting other non-profits with the same mission. This 5-Day jazz camp involves a performance at Disney and a clinic by Wycliffe Gordon.

 

[Deadworks]

If you have universities near you it might be worth giving their music department a call and explain what you have going on. They may have some students that might be a good fit to be your additional instructors. That seems like a win-win situation there as those students get experience in teaching while the kids get playing instruction.

 

[buldog5151bass]

Great job. A couple of thoughts, from someone who has been following the thread.

1. Along with the list, remind them to always do an idiot check before they leave home (and after the gig).
2. Nothing like honest thanks from a kid (not just because their parents made them).
3. Have you spoken with the area high school teachers? I know if I were in their shoes, knowing players like this we're heading into my program would make me very happy, and make me want to help any way I could.
4. Not only local college students, but maybe high school ones. Generally they have to do community service every year. Especially if there are any hoping to major in music, you might get more help.

Keep up the good work.

 

[mrcbass]

Had the two tween sax players join our drummer and pianist for a non-profit gig last night. People generally liked it....

1. One of the kids dressed really cool -- black skinny jeans, 3 piece suit vest, tie, and pin- striped blazer, pointy shoes. The other one showed up with floods, neon pink socks, no tie and a white shirt hanging out everywhere. With sneakers. Given what I know about the parents, I don't think finances were the issue, it was either tween reluctance to dress for the event, or some other issue.

2. Some lack of confidence in when to solo and when to come back into the head on certain songs. But they made it work; there were no train wrecks. The audience, who sat attentive on us during the reception period of the event, seemed really appreciative of them. The one kid had solos for 4 of the songs, up from 2, 1.5 weeks ago. He'd been preparing for this event.

3. One of them forgot his iPad with all the music on it, so they shared. I'll be showing him how to create an equipment checklist in ColorNote app on his phone for next time.

4. They got the set list via ColorNote on my phone, forwarded with the sharing feature. Something else for them to assimilate given what a hassle it is to use printed paper these days.

5. I had to nix All Blues from the set list as, when we rehearsed beforehand, our client looked at us with a look of "something is really wrong there". She was happy with the outcome overall, though, after the event was over.

6. They came prepared with some long notes to complement the keys and bass solos, but didn't seem to get the direction to only start the second time through changes on the solos -- to build momentum. But I was impressed they came prepared, together, to some harmony under the soloist based on the Real Easy Book 3-Horn edition assignment I gave them last rehearsal -- I didn't ask them to have it prepared for this event, but they both had it, in hand.

7. After our rehearsal, with time left before the down note, the two of them were playing the heads to the Pink Panther and Tequila....and doing it pretty well.

8. At the end, they both sought me out, extended their hands, and said something like "thanks for this great opportunity". I was very surprised, this coming from 2 twelve year olds -- the maturity they showed and the appreciation.

9. I do events, and one of my partners, who recently founded a non-profit that promotes the arts to you, is planning to do a Jazz and Art Festival at an indoor venue not far from my home in October. I get the youth jazz musicians, judges and educators there, and she gets the artists there. We both have done a lot of sponsorship sales and grant-writing, so I have high hopes.

10. Found a youth jazz camp not far from my home; plans are to try to raise money to send one of the kids in our group to this camp in the summer. No sense reinventing the wheel -- fast progress can attained by simply supporting other non-profits with the same mission. This 5-Day jazz camp involves a performance at Disney and a clinic by Wycliffe Gordon.

Steady progress and mature appreciative students. What more could you ask for.

Good job!

 

[Passinwind]

5. I had to nix All Blues from the set list as, when we rehearsed beforehand, our client looked at us with a look of "something is really wrong there".

Playing a modal tune as a straight 1-4-5-ish blues, perhaps?

A couple of years ago the first chair tenor player in the local high school jazz band brought in a really cool horn combo to the open mike I was running at the time. She played drums and I think at least some of the kids were not used to soloing at all. No sign of the HS band director, and he later told me that he encouraged them but left everything to the tenor player. She used to stay after school to sit in with community big band rehearsal on Wednesdays, which are at 7:00 PM. She subbed on a few gigs I played with that band and was still first chair on most of them, unless the 92 year old former band director was also on the gig. Keep up the great work!

 

[IamGroot]

Jazz is going extinct because it requires a high degree of specialized musical ability and because the small gigs that incubated the beginning players have dried up, but mostly because current musical tastes are in a different place.

I love jazz and feel lucky to have gotten in on the tail end largely due to the benevolence of some older players that gave me jobs.

That said, I saw 17 year old pianist Tyler Henderson in a Houston jazz club last week. Phenomenal prodigy with the musical maturity and capabilities of a player decades older. You will be hearing more from this guy.

 

[PauFerro]

Playing a modal tune as a straight 1-4-5-ish blues, perhaps? View attachment 3322054

Actually, it was because one of the sax players hadn't learned his part. That came out in rehearsal today.

I am noticing a few things -- patterns.

1. They forget things -- leave things behind, leave things at home. One kid forgot his music again. Same kid that forgot it for the gig last week. Other kid didn't bring it either, but it was related to his saxophone being broken.

Fortunately, they had the heads memorized, but we lost a full practice of going over 2nd horn parts and solo underlay harmony from the sax players as a result. By the way, what do you call it when the sax players do whole notes under the soloist? Anyone know?

2. Song structure. They keep getting it wrong. I have no idea why -- it's our adult bass player mostly, but everyone makes structure errors. He tends not to use his ears. I am calling out the structure as we perform. I find they zone out into their parts and don't listen. I may have to act as a conductor for their March 30th gig.

3. One kid dropped his saxophone and broke it, but came to the rehearsal anyway (without his music). Sax A moved onto drums for half the rehearsal and Sax B (the guy whose sax was broken) moved onto Sax A's instrument. I moved off drums and played piccolo bass, took solos, etcetera. It was my first time comping chords as well, which I found I was able to do surprisingly well with two and three note chords.

4. Made the guitarist a pedal board and filled it with a bunch of pedals I'm not currently using (volume boost, chorus, distortion). He really liked that, I could tell, and his Dad started asking me how much effects cost, where to get them, etcetera.

5. Music started happening in spots -- there were long patches of solid time, no mistakes, and a good blend of music.

6. These kids can go for two hours without a break. I find myself getting worn out before they do! Largely because it's tedious after playing these songs for so many years and having to spend so much time on structure and not getting lost.

Going forward I plan to:

a) work with the parents to get Colornote installed on the forgetting kid's phone. The other kid doesn't have a phone. Gonna work with the forgetful kid to develop a checklist in Colornote, and then have the parents remind him to do the checklist before every gig or rehearsal.

b) work more with the Dad (bass) to get his chops up and the guitarist too . I gave the Dad him Building Walking Bass Lines but he doesn't practice much between rehearsals. His son picks up stuff really quick, and needs to learn alternate voicings of basic 7, maj7, m7 chords and to develop a jazz vocabulary on the scales now.

c) next rehearsal we'll focus on getting the song structure right quickly, and then move onto improvisation.

d) Move into a performance configuration. At present, everyone sits in a semicircle around the drums, which I play mostly.

e) Designate one person the leader for structure and solo invitations.

I am finding it difficult having to teach the bass player and the guitarist everything. Lessons are so darned expensive and they aren't putting in the work between rehearsals. They want to meet with me, and I find that a bit draining. They are not underprivileged, just frugal. I guess that comes with the territory.

I can see the day when I have to decide what to do with musicians who don't progress.

 

[Passinwind]

I am finding it difficult having to teach the bass player and the guitarist everything. Lessons are so darned expensive and they aren't putting in the work between rehearsals. They want to meet with me, and I find that a bit draining. They are not underprivileged, just frugal. I guess that comes with the territory.

I can see the day when I have to decide what to do with musicians who don't progress.

When I joined what turned out be my 7 year jazz project I hadn't been doing any reading for a couple of decades. A big part of the attraction was getting free lessons from the keyboard player, who wrote his own charts for Real Book tunes and also provided cheats for the bass lines. When I came into the band it was a sextet and rehearsed twice a week. A couple of players couldn'r read even a lead sheet, and never made any effort to learn. At some point I started booking, and as soon as we pared things to a trio for a few gigs the chaff left on their own, seeing the handwriting on the wall. I was glad that neither the keys/BL or I had to drop the axe, but I guess in some ways I did, by bumping pay past low hobby level and insisting on equal pay for all. The BL and his wife were used to paying the bass and drums and only keeping tips for themselves. So even they didn't progress as much as I would've liked, and without a payday carrot I'm not sure what you can really expect, I guess. Best of luck, and please keep us posted on how things go!

 

[PauFerro]

When I joined what turned out be my 7 year jazz project I hadn't been doing any reading for a couple of decades. A big part of the attraction was getting free lessons from the keyboard player, who wrote his own charts for Real Book tunes and also provided cheats for the bass lines. When I came into the band it was a sextet and rehearsed twice a week. A couple of players couldn'r read even a lead sheet, and never made any effort to learn. At some point I started booking, and as soon as we pared things to a trio for a few gigs the chaff left on their own, seeing the handwriting on the wall. I was glad that neither the keys/BL or I had to drop the axe, but I guess in some ways I did, by bumping pay past low hobby level and insisting on equal pay for all. The BL and his wife were used to paying the bass and drums and only keeping tips for themselves. So even they didn't progress as much as I would've liked, and without a payday carrot I'm not sure what you can really expect, I guess. Best of luck, and please keep us posted on how things go!

That's what happens in bands with adults. I had to cut a couple weaker players throughout the years -- back when I was on the peer based model. And after a while the musicians start demanding higher and higher rates of pay as hauling gear becomes a hassle.

For these kids, they just want to learn and play. The Dad is there for his son and said bass isn't really the instrument of choice, it was just an instrument that allows him to complement his son's playing. I know when I was a teenager I just wanted to perform. We played all over the place -- non-profit events, school assemblies, talent shows, and I loved it.

At this stage it's intrinsic...

 

[Passinwind]

That's what happens in bands with adults. I had to cut a couple weaker players throughout the years -- back when I was on the peer based model. And after a while the musicians start demanding higher and higher rates of pay as hauling gear becomes a hassle.

For these kids, they just want to learn and play. The Dad is there for his son and said bass isn't really the instrument of choice, it was just an instrument that allows him to complement his son's playing. I know when I was a teenager I just wanted to perform. We played all over the place -- non-profit events, school assemblies, talent shows, and I loved it.

At this stage it's intrinsic...

Roger that. I didn't really care about the money that much at first, but pretty soon it got into cutting into pro friends' gigs, and all the rest of the usual things.

 

[buldog5151bass]

I like the idea of appointing leaders for different tunes. That might give them some incentive.

 

[sean_on_bass]

I like the idea of appointing leaders for different tunes. That might give them some incentive.

Along with that, make sure everyone gets to play the melody. Even the bassist and drummer. Knowing how to support players that aren't horns/guitar/piano is an important skill!