Mark Turner on "Hesitation Blues"

“For the last five years or so, I’ve just been trying to figure out: what is the blues and what does that mean to me? You know, you’re in school, you’re a jazz musician, you should deal with the blues and swing, but I think it needs to be personal and meaningful and have some kind of reference that you can touch and hold and do something about – because otherwise I think the blues can be banal. And I’ve heard it, I hate to say, done in that way all too often. And I actually believe the blues to be sacred, like a spiritual discipline, and it needs to be taken seriously.”

-Mark Turner

 In describing the possibility of the blues being banal, I think Turner touches on a more systemic issue in jazz and jazz education: how we approach teaching and learning the music has shifted away from a personal approach with the ultimate goal of self-expression, to using “accepted” approaches and vocabulary that conform to a preconceived notion of what jazz – and especially the blues – should sound like. And arguably, this has fostered the banality that Turner alludes to.

 Though this view can be perceived as inflammatory, it’s not meant to be. Given the shifts in what it means to be a music professional and the opportunities available to musicians today, and the shifting demands and expectations this places on young students and professionals, I believe it’s important to reassess the accepted model(s) of how jazz is taught in order to foster a shift back to personal creativity…which will be a topic for another post - this is about celebrating the brilliance of Mark Turner!

 Turner has been one of the most studied tenorists of the past twenty years, so there is little that I can offer that hasn’t already been said. One of the foremost experts of Turner’s music is Kevin Sun, who in addition to contributing a foreword to Jeff McGregor’s collection of Turner’s transcriptions and essays, has written extensively about him on his blog, A Horizontal Search. Here is an entry where Sun offers an astute analysis of Turner’s playing over the blues (and playing in general), in which he references the cut presented here as a developmental milestone in Turner’s approach.

 This recording of “Hesitation Blues,” off of the 1997 album Warner Jams vol. 2: The Two Tenors, featuring James Moody, though not as mature in conception as Turner’s recent output, still illustrates how he avoids banality to elevate his voice to be one of the most unique in modern jazz. Of note in this solo is Turner’s extensive use of the blues scale, though never sounding contrived doing it; as well as his creative lines that, though being rooted in bebop aesthetics and sounding familiar, are brilliantly conceived.

Please enjoy and feel free to leave comments. -BR

Solo starts at 2:05.

Joshua Redman on "Moose the Mooche"

This cut appears on Redman’s 1993 Album Wish, featuring Pat Metheny on guitar, Charlie Haden on bass, and Billy Higgins on drums. Clocking in at quarter note = 300+, the solo serves as a great exercise in up-tempo playing…which I woefully need to work on.

The solo is 4 solo choruses of B-flat (written C) rhythm changes, plus two choruses of trading with Higgins, in which Redman demonstrates his hard-bop acumen, while throwing in enough chromaticism and harmonic substitutions/interest to never really become monotonous.

Not a lot more to say about this, so here’s the recording (solo starts at about :25) and the transcription.

Enjoy! And Please feel free to share your thoughts. -BR

Mark Turner on "Lady Bird"

In this post I sit down with professional jazz musician/aspiring film critic Mark Turner to get his thoughts on the Greta Gerwig written and directed teen-coming of age dramedy, Lady Bird…

[pause for laughter]

Anyway, Mark Turner is (and has been) a seminal voice on the modern jazz landscape for over twenty years, and for good reason: he’s really good at what he does. His studied approach to harmony and voice leading, coupled with a nuanced tone and advanced rhythmic concept, make him a unique figure in an ever-crowding field of modern jazz tenor players. And all this has lead to me (and thousands of others) having somewhat of an obsession with him -  which I hope to one day turn into more transcriptions and dedicated study to his approach, but only time will tell. In the meantime, though, this relatively short and straight forward solo on Tadd Dameron’s jazz standard “Lady Bird” is at least a start, and really reflects a lot of characteristics of what make Turner such a distinct voice.

This track can be found on SteepleChase’s Jam Session vol. 9, released in 2004, though recorded in 1998, which gives us a glimpse into Turner’s process as he develops his mature style. Please enjoy the transcription and let me know if you have any thoughts!

The recording; Turner's solo starts at 0:45:

The transcription:

If you’re interested in some other great resources dedicated to Turner, I highly recommend checking out the most recent issue of Music & Literature – it contains great interviews with Turner and his peers that help provide a little insight to his brilliance. Here is a link to how to get your very own copy!

Gratitude: more than a Chris Potter album

I’m wrapping up another summer teaching at Blue Lake Fine Arts Camp, and coupled with some other happenings, I find myself a bit nostalgic; so naturally, I'm channelling this into a blog!(?) Anyway, Blue Lake has become one of my favorite places for numerous reasons, but mostly because I have meet great friends and colleagues during my eight summers here, made great music with these people, and thanks to my involvement with BLFAC, have been presented with opportunities that have really allowed me to pursue music as a career. And it’s picturesque and serene (see below) and a great place for some good ole’ self-reflection. With this, I’ve found myself thinking a bit about my path as a musician and educator.

The model of serenity.

The serious pursuit of music is, by nature, largely one of solitude. Between the countless hours spent in a practice room, the prospect of moving away from familiarity and comfort to pursue opportunities, or just the time spent reflecting on personal and professional growth – perhaps while sitting at a Starbucks in the Grand Rapids Mall at 8:30am, because you didn’t have the foresight to check what time stores open – the path to achieving success and fulfillment can feel desolate. But in reality, our journeys wouldn’t be possible without an amazing network of support and the relationships we develop, even if they may seem fleeting. With that, I want to take this opportunity to express my deepest gratitude to everyone who has supported my journey:

To my teachers – thank you for your knowledge, your patience, your perspective, your understanding, and in many instances, taking a chance. I wouldn’t be the musician I am today, nor the person, without all of your indelible guidance.

To my colleagues – at every point in my development I’ve been incredibly fortunate to be surrounded by world-class musicians, educators, and human beings. From Grammy winners, to members of the planet’s most esteemed ensembles, to educators at premiere institutions at all levels, to those who ventured out to forge their own path; the success my colleagues and peers have found is a constant source of inspiration, and I’m beyond honored our paths crossed, even if ever so briefly.

To my friends, new and old – you all have shaped my humor, my taste in music, my understanding of the world beyond a practice room, included me in your life events, and in your unique own ways, supported my dreams and ambitions. It brings me indescribable joy to see the men and women you have become, and the new generation of men and women you are raising. If they ever are interested in learning the saxophone, please refer to my teaching page.

To my students – thank you for indulging in my pedagogical whims, which have helped me become the educator I am today. And thank you for your continued indulgence to help me become a better educator tomorrow (and beyond). When all is said and done, I’d like to think I’ve helped more than I hurt. Now go practice your scales (<--Not a joke).

To my family – you have been, and continue to be, my pillars. I cannot thank you enough for everything thing you have given me, most of all your unconditional love and support. I wish there was anything I could do to even begin to repay you – I hope a sentimental blog post is a good start? I love you all more than I probably ever express.

And thank you all for taking a minute out of your day to read this. Please enjoy the website! I hope to be providing updates regularly, and welcome any feedback you may have. Feel free to reach out to me through the contact page if you have any thoughts, or just want to say hello. -BR