#jerry coker

[the-first-man-is-a-cat]

A Few, Wintry Flowers in the Summertime Heat, Jerry Coker (undated)

[sgurumiyaji]

本日のおはジャズ「Modern Music From Indiana Univ.」Jerry Coker '56

ジェリー・コーカー。殆ど知られてませんが、クレア・フィッシャーのビッグバンドで信じられない程コンテンポラリーな素晴らしいソロを演奏してたので、ずっとソロアルバムを探していたのです。しかし、あまり表立って演奏する事なく、大学で教授をやってたらしく、検索しても彼が書いたインプロビゼーションの教則本しか出て来ません。

で、漸く見つけたのがコレですが、CDも含め海外から高額で取り寄せるしか無かったのですが、漸く円盤組合で見つけました。オリジナル盤が1300円！さすがマニアックの極地。誰も興味がないとは思いますが、これ逃したら一生出会う事は無さそうです。

内容はコーカーが率いる4ブラザーズ・タイプ(3テナー&1バリトン)のアンサンブルに時々、トロンボーンやトランペットが入るという編成。完全にクールジャズです。

裏ジャケにソロ・オーダーが分かりづらく書いてありますが、恐らく彼の弟子の若手を起用したと思われ、スタイルが全く同じなので、現時点では全く見分け(聴き分け)がつきません。そして、平等にソロ回��をするので、彼自身かなり控えめです。「ザ・教育者」って感じで、しかも基本的にアンサンブル中心。彼のソロを聴きたかった自分には不満が残りました。貴重なコレクションには違いありませんが。

ただ、演奏が不味いわけでなく、それぞれクールジャズをしっかり体現した良い演奏ではあります。彼の兄弟のジャックがピアノ弾いてたり、ウエスの兄のモンク・モンゴメリーがベース弾いてたり、興味深い所も有ります。

[tomoleary]

Voice For Children Signed "Cartoon Jam" Print (Stabur Graphics, 1986)

“This panoramic print features perhaps the largest number of cartoon licenses granted for one project, as well as what might be the most cartoonists participating in one cartoon jam for a commercial print. The scene also features the first licensed appearances of Walt Disney and Walter Lantz characters co-starring in the same piece. It's a veritable ‘orchestra and choir’ of characters singing for the welfare of children as the ‘Voice For Children.’

“Signed by: Stan Lee, Charles Schulz, Walter Lantz, Jim Davis, Johnny Romita, Milton Caniff, Mort Drucker, Jack Kirby, Bill Keane, Mike Royer, Moebius, Sergio Aragones, Hank Ketcham, Kelly Freas, Bob Thaves, Jim Unger, Jack Hannah, Don Dougherty, Jerry Van Amerongen, Leonard Starr, Arnold Roth, Tom Batiuk, Mike Peters, Harvey Kurtzman, Al Jaffee, Morrie Turner, Mel Lazarus, B. K. Taylor, Marty Murphy, Dean Young and Stan Drake, Russell Myers, Jim Meddick, Dick Locher, Mort Walker, MacNelly, Johnny Hart, Fred Lasswell, Paul Coker Jr, Irwin Hasen, Ray Salmon, Dick Browne, Will Elder, Bud Sagendorf, Dick Moores, Joe Martin, Jack Davis, Bob Foster, Judd Hurd, Frank Ridgeway, Al Williamson, Bernard Kliban, Bill Mauldin, and more.

“And featuring these characters: The Amazing Spider-Man, Captain America, Ms Peach, Mama, Wizard of Id, B. C., Nancy and Sluggo, Robotman, U. S. Acres, Gasoline Alley, Dondi, Conrad, Broom-Hilda, Mama, Wee Pals, Luann, Animal Crackers, Terry and the Pirates, Wright Angles, Dick Tracy, Family Circus, Benchley, the Neighborhood, Charlie Brown, Peanuts and Snoopy, Beetle Bailey, Hi and Lois, Hagar the Horrible, Groo the Wanderer, Cathy, Mickey Mouse and Donald Duck, Popeye, Blondie, Woody Woodpecker, Little Annie Fannie, Mr. Abernathy, Little Orphan Annie, Dennis the Menace, Herman, President Ronald Reagan, First Lady Nancy Reagan, Buddy Hackett, Snuffy Smith, Garfield, and Alfred E Neuman.”

Source

[projazznet]

Feelin’s is an album by saxophonist Teddy Edwards which was recorded in 1974 and first released on the Muse label. Teddy Edwards – tenor saxophone Conte Candoli – trumpet Dolo Coker – piano Ray Brown – bass Frank Butler – drums Jerry Steinholz – congas, percussion

[sheetmusiclibrarypdf]

Herbie Hancock: An Analysis of His Improvisional Style (1/3)

Herbie Hancock: An Analysis of His Improvisional Style (1/3)Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Change-runningDigital/Scalar PatternsResolution3-b9Bebop ScalesEnclosuresCESHTri-tone SubstitutionHarmonic Generalization/SuperimpositionBar-line ShiftsSide-slippingPhrasingHerbie Hancock - Live in Concert 2006Jazz sheet music and transcriptions download.References

Herbie Hancock: An Analysis of His Improvisional Style (1/3)

Jazz music is often described as a language; in the same sense, improvisation between members of a small ensemble is referred to as a conversation. Just as children learn to speak their native language by imitating older competent speakers, young musicians learn to speak jazz by imitating seasoned improvisers. Like any language, there is a bank of common vocabulary of phrases and phrase components which are shared among all jazz musicians, and which reflect the historical development of the music. Appearing on the scene at somewhat of a pivotal point in jazz’s history, Herbie Hancock reflects two sides of the coin – he demonstrates both a strong command of “traditional” jazz language, as well as a powerfully explorative, individual voice. This chapter investigates the first side of this coin; the fundamental melodic elements of Hancock’s style which reflect the wider jazz language. In his book Elements of the Jazz Langauge (1991), Jerry Coker describes constructing a list of 18 devices he found through his research to be common among the solos of a wide range of jazz artists. Chapter 1 of this study discusses a few of these devices – the ones that metaphorically “provide us with the less-important, but needed aspects of the language - words like “the”, “is”, “by”, “for”, “a”, “an”, etc.”19 In other words, it examines the essential building blocks of creating an improvisation in a jazz context. Given Hancock’s uniquely individual style, these devices are often hard to find in their purest forms – they have a tendency to sound dated and cliché. Change-running Change-running is a jazz colloquialism for chord-arpeggiating. It is a technique frequently used among jazz musicians, as it strongly outlines the harmonic functionality of the chord or chord progression in question. All three of the previous figures demonstrate Hancock’s use of change running, with similar phrases being found over similar progressions. In Figure 1.5, Hancock uses numerous examples of change running.

In this example, Hancock also performs a bar-line shift - a device which will be discussed shortly. This figure is also a classic example of a melodic sequence – a fundamental aspect of Hancock’s style examined in depth in Chapter 2. Digital/Scalar Patterns Digital patterns are cells of notes, usually numbering 4-8 notes per cell, that are named according to the numerical relationship of each note to the root of a chord/scale. Accordingly, a digital pattern of 1-2-3-5 in C major would be the notes C-D-E-G. Used in an improvisation, digital patterns strongly outline the harmony of a chord and add solidity of structure to a solo.

John Coltrane used digital patterns extensively to solo through the challenging, fast moving chords in his composition “Giant Steps”:

Hancock also uses digital patterns, albeit sparingly. In Figure 1.8, Hancock plays a digital pattern of 1-2-3-5 (in A major) over the first two beats of the bar.

Similarly, in Figure 1.9 above, Hancock plays a descending digital pattern of 6-4-2-1, then 2-7-6. In a similar sense to digital patterns, scalar patterns are simply patterns derived from a single scale. They are usually longer than digital patterns and use a primary intervallic shape, such as consecutive 3rds or 4ths. Hancock uses these extensively.

In Figure 1.10, Hancock takes an initial two-note motif of a third and ascends it through the Eb major scale. Scalar patterns of this nature have a tendency to sound formulaic; to avoid this Hancock alters the harmonic content of the scale from the middle of bar 3 onwards – a technique known as outside playing which is examined shortly. Hancock’s use of triplets within his melodic lines is also extensively examined in Chapter 2. Hancock uses a similar pattern of descending thirds and fourths in Figure 1.11.

Figure 1.12 below also demonstrates a scalar pattern; Hancock descends the scale of B dorian using a motif of 3rds from bar 2 onwards.

This figure is also another classic example of a melodic sequence. Resolution The term 7-3 resolution refers to the musical resolution accompanying the melodic movement from the 7th of one chord to the 3rd of another. In jazz, this occurs at typical cadence points such as ii-V or V-I.

This type of movement is present through all eras of jazz improvisation, and can be foundfrequently in Hancock’s melodic lines.

In Figure 1.14, the 7th at the end of bar 1 resolves (via a grace note) into the 3rd of the C7 in bar The exact same movement occurs in Figure 1.15 below;

And again in Figure 1.16:

A 7-3 resolution often appears in conjunction with a device known as an enclosure, which will be discussed shortly. 3-b9 3-b9 refers to the melodic motion between the 3rd of a dominant seventh chord and the flattened 9th of the same chord. This is a typical occurrence in jazz improvisation, although its use dates back into classical antiquity:

The first beat of bar 2 of Figure 1.17 is a clear example of movement between the 3rd of the V7 of Dm and the b9, which resolves to the tonic triad in bar 3.

Herbie Hancock also uses this phrase in his solos, as seen in bar 2 of Figure 1.18. Figure 1.19 from the same solo demonstrates 3-b9 movement via two intermediate notes. He precedes both of these examples with a device known as CESH, which will be discussed shortly.

Hancock plays another simple 3-b9 in Figure 1.20, this time also voicing a third below the top melody note.

Bebop Scales Bebop scales are common scales (mostly major, dorian or mixolydian) that have one specific chromatic (non-harmonic) tone added.

Hancock uses all permutations of the scale in a variety of different situations.

Hancock finishes the phrase in Figure 1.24 with an enclosure, a device which will be discussed shortly.

In Figure 1.25, Hancock plays a simple bebop minor scale phrase in bar 2. He uses a similar phrase in Figure 1.26, this time using the bebop dominant.

Enclosures An enclosure is a melodic device in which a target note is approached chromatically by both an upper and lower tone.

In this example, Hancock encloses the A on beat 1 of bar 2 by preceding it with a semitone above, then below.

Similarly, in Figure 1.28, Hancock plays a scalar line before enclosing the Ab in bar 2.

Figure 1.29 shows Hancock enclose the D in bar 2 by a semitone above, then two consecutive semitones below.

Hancock uses three quick-fire enclosures in Figure 1.30 above, the first landing on the 5th of the Ebmaj7 in bar 2, the second landing on the third of the Ebmaj7, and the last landing on the 5th of the Gm7 in bar 3. CESH Pronounced “Kesh”, this terminology comes from the initials of a device called Contrapuntal Elaboration of Static Harmony. It comes in two primary forms, demonstrated below – note the principal of each example applies to both major and minor tonalities.

In Figure 1.31, the tonic note descends chromatically while the other chord tones remain static.

Similarly in Figure 1.32, the fifth of the chord ascends chromatically while the other chord tones remain static. Hancock makes extensive use of the first form of CESH in his melodic lines, as seen in both Figure 1.33 and Figure 1.34 below.

Tri-tone Substitution Tri-tone substitution is the common practice among jazz musicians of substituting a chord (especially a dominant seventh) for a chord of the same type whose root is a tri-tone (augmented fourth) away from the given chord. The process works because the guide tones (3rd and 7th of the chord) stay the same (only in reverse), with the equivalent harmony giving an altered sound. Hancock uses this device frequently, as seen is Figure 1.35 below.

In this example, Hancock uses tri-tone substitution to reharmonize the F7 to B7, before resolving the line in bar 2. A few bars later, Hancock plays Figure 1.36 and uses the device again to change the Gm7 to a Db7 – pre-empting the Cm7 in the third bar by preceding it with its V7altered (Db7 shares the same scale as G7alt).

Later in the same solo, Hancock plays Figure 1.37, clearly spelling out an Ab major tonality over the D7altered.

Similarly, in Figure 1.38, Hancock clearly plays Bb7 (Bb mixolydian), instead of the given E7. Harmonic Generalization/Superimposition Harmonic generalization occurs when an improviser chooses one scale to accommodate two or more chords of a progression. Hancock does this frequently, as seen in Figure 1.39 below.

Here, Hancock superimposes a Bb altered scale over the Gm7 chord, treating the whole iii-bIIIii-V-I progression as the V7altered of the Eb7. Similarly, in Figure 1.40 below, Hancock generalizes the complicated harmony to two basic scales, the first being Fmajor (or D dorian), and the second essentially Dbm. He then resolves the line in the final bar by playing an enclosure into the third of the Fmajor7 chord.

The opposite of generalization, harmonic superimposition, occurs when the soloist imposes their own alterations over the harmony. This mostly occurs over longer chord changes, as seen in Figure 1.41 below.

Here, Hancock continues the Gm7 chord into the 3rd bar, and then implies G# aeolian (G#m7 or Abm7) over the Dm7 and Bbm7, which lasts from the middle of bar 3 until the end of the phrase, when he implies a resolution back to G dorian (Gm7). Bar-line Shifts Bar-line shifts occur when the improviser intentionally arrives at a given chord earlier or later than its specified placement.

In Figure 1.42, Hancock anticipates the change of chord to Db7(#11) by nearly and entire bar.

Similarly, in Figure 1.43, Hancock anticipates the change to D7alt by 2 beats. Bar-line shifting is also often be strongly related to harmonic generalization, as is Figure 1.44.

In Figure 1.44, Hancock stretches the Bbm7 out for another bar and half, before switching to Gbmaj7 – he ignores the Gm7 in bar 3 completely.

Similarly, here, Hancock stretches the initial Fmaj7 chord out for nearly 2 bars, and then anticipates the Dbm7 in bar 4 by 5 beats, before resolving the line in bar 5. Side-slipping Side-slipping is similar to harmonic superimposition, in that it involves superimposing an alternate chord or chord progression over the fundamental harmony of a song; however, side-slipping generally refers to cases where the superimposed chord or progression is a semi-tone away from the original. In Figure 1.46, Hancock superimposes a Bm7-E7 over the usual two bars of Bbmaj7, setting up a II-V progression into the subsequent Am7.

Similarly, in Figure 1.47, Hancock plays two side-slips in a short space of time; the first in bar 2 replaces the pre-existing Cm7 with a Dbm7, and the second in bar 6 replaces Fm7 with Gbm7. Each time, the side-slip resolves back to the original chord.

Chromaticism/Outside playing As the title implies, chromaticism involves simply playing highly chromatic lines through chord changes – which results in not all of the notes in a phrase specifically fitting any appropriate chord scale; the soloist is instead playing in the key of “chromatic”.

All three of the above figures demonstrate Hancock’s use of chromaticism which temporarily disregards the fundamental harmonic progression.

Similarly, in Figure 1.51, Hancock plays a long, chromatically descending line over the underlying shifts in harmony. Chromaticism is closely related to outside playing - which refers to when a soloist intentionally plays notes that are “wrong” – that is, they play melodic lines which do not conform strictly to the set harmonic progression or associated chord scales. In these situations it is the structural integrity of the melodic line which makes it sound “right”. Hancock uses this device frequently.

In Figure 1.52, Hancock briefly ventures outside twice within a short period of time. At the end of bar 1, Hancock plays a digital pattern of 1-2-3-5 in E major, which takes him briefly outside the Gm7 chord. Hancock resolves the line in the second bar, then uses a tri-tone substitution over the C7 before hinting briefly at another outside phrase and then once again resolving the line in bar 3.

In Figure 1.52, Hancock briefly ventures outside twice within a short period of time. At the end of bar 1, Hancock plays a digital pattern of 1-2-3-5 in E major, which takes him briefly outside the Gm7 chord. Hancock resolves the line in the second bar, then uses a tri-tone substitution over the C7 before hinting briefly at another outside phrase and then once again resolving the line in bar 3. Phrasing Phrasing is the manner in which a soloist groups their melodic lines; it is a way of describing a line’s shape and nature, whereas all of the elements discussed previously examine the line’s content. Hancock’s phrasing is strongly reminiscent of that of his instrumental predecessors, in particular that of Bobby Timmons and Oscar Peterson.

Both Figure 1.54 and Figure 1.55 involve blues-orientated material typical of the hard-bop era, and each phrase is of a similar length and nature.

Both Figure 1.56 and 1.57 start with two short phrases of similar length before concluding with a longer line. In summary, Hancock draws extensively from the bank of language and musical devices shared among jazz musicians across generations. However, Hancock also imparts his own unique style onto this language, through his adoption and use of a range of personal melodic concepts and musical devices, or signature characteristics.

Herbie Hancock - Live in Concert 2006

https://www.youtube.com/watch?v=bdEnTbYv008 ● Tracklist: 1. Actual Proof 2. Watermelon Man 3. Stitched Up 4. Maiden Voyage 5. Virgin Forest 6. Cantaloupe Island 7. Chameleon ● Personnel: Herbie Hancock - piano, keyboards Lionel Loueke - guitar, vocals Nathan East - bass, vocals Vinnie Colaiuta - drums ● Herbie Hancock - Live in Concert 2006

Jazz sheet music and transcriptions download.

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[bamboomusiclist]

4/15 おはようございます。Sylvia Striplin / Searchin' UMD7006 等更新しました。

Johnny Hartman / Once in Every Life Bh7012 Rosemary Clooney / Sings The Music Of Irving Berlin cj-255 Rosemary Clooney / Sings The Music Of Harold Arlen cj-210 Rosemary Clooney / sings the Lyrics of Johnny Mercer cj333 Hank Jones / the Hank Jones Quartet Mg12087 Elliot Lawrence / plays Tiny Kahn and Johnny Mandel 3-219 Jerry Coker / Modern Music 3-214 Montgomery Brothers / In Canada 3323 Johnny Hodges / Memories of Ellington Mgn1004 Art Farmer Fritz Pauer / Azure sn112 Art Farmer Benny Golson Curtis Fuller / The Jazztet Real Time C-14034 Father Tom Vaughn / Joyful Jazz CJ-16 Kenny Burrell / Up the Street 'Round the Corner Down the Block f9458 Sylvia Striplin / Searchin' UMD7006 Mel & Tim / Starting All Over Again STS-3007 Circle / 1 Live In German Concert SOPL19-XJ Circle / 2 Gathering SOPL20-XJ Forrest Westbrook Jim West Paul Ruhland Dick Wilson / This Is Their Time Oh Yes Revelation11/Rev11

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[charlottejmusic]

SAXOPHONE PRACTICE DAY 18

16/1/19

Art by Bill Watterson

I went over my allocated practice time again today by half an hour, but it’s fine. Just like every day in week 3 so far I practised exercises, scales, improv and Helin. My video for you today is something I like to call ‘The Noodle Incident’, so called because at the moment I’m just noodling around the chords from Pattern 18 of the Patterns for Jazz book (Jerry Coker, Jimmy Casale, Gary Campbell and Jerry Greene).

It may not sound like much, but I am super proud of myself for this. For years I’ve wanted to be able to improvise on chords, but got too wrapped in overthinking how I would go about starting to practise this. But now that I’ve actually spent a couple of weeks practising some basic patterns every day, I’m realising that it’s not such a big deal. Now that I know I can do it, I can focus on improving, and learning different patterns to practise on. From here I can start making actual musical phrases, changing up the rhythms, and actually create my own music out of this. I can’t wait for DAY 19 now!

[p-c-ba-dcforever]

Something that I think birthday boy Jerry Siegel doesn't get enough recognition for is his contributions to the Legion Of Superheroes! So let's enjoy some interpretations of the Legionnaires he co-co created:

[usualgangofidiots]

The Usual Gang of Idiots

Published Wednesday, August 11, 2021

William M. Gaines, the publisher of MAD magazine, used to take the folks who worked for him on an annual trip to some exotic place. It was a way, he felt, to engender loyalty and productivity and to take a trip with a lot of funny people and then write it off as a business expense. The gent labelled #13 above probably advised him on this.

A lot of folks online have been trying to identify all the folks in this photo taken on one of those trips. As a public service, I sent it to my partner Sergio Aragonés and asked him to help out.

The online folks are theorizing this photo is from the 1960 trip, which was the first.  1960 was when Alfred E. Neuman made his first real bid at the presidency; ergo, the campaign poster and pins suggest that year.  Well, maybe…but Sergio is also certain the man on the far left is Paul Coker, Jr. and Mr. Coker did not have work in MAD until 1961…so maybe this is '61 or '62 in spite of the poster and pins.  It would have to be one of those three years since Sergio isn't in it.  His first MAD trip was 1963 and he was a steady participant after that.

Bill Gaines later decreed that freelancers had to have contributed some specified number of pages to the magazine during the previous twelve months in order to qualify for each year's MAD trip but Sergio says that rule came along later.  (The policy led to a great quip by longtime MAD writer Arnie Kogen when Gaines' mother died.  Someone asked Arnie if he was going to the funeral and he said, "I can't.  I don't have enough pages.")

If you look at the photo, you can see everyone is numbered. Here are his identifications…

Joe Orlando (Artist)

Frank Jacobs (Writer)

Jerry DeFuccio (Editorial Assistant)

Nick Meglin (Editorial Assistant)

Almost Certainly John Putnam (Art Director)

Maybe Larry Siegel (Writer)

Al Jaffee (Writer-Artist)

Unidentified

Paul Coker, Jr. (Artist)

Leonard Brenner (Production Manager)

Unidentified

Unidentified

Sidney Gwirtzman (Gaines' Accountant)

Unidentified

Al Feldstein (Editor)

Bob Clarke (Artist)

Dave Berg (Writer-Artist)

George Woodbridge (Artist)

Nancy Gaines (Gaines' Daughter)

William Gaines (Publisher)

Sergio is reasonably certain that one of the Unidentified men has to be Gaines' lawyer Marty Scheiman, who was credited for years in the masthead where it said, "Lawsuits: Martin J. Scheiman, Esq." Sergio is also reasonably certain that this photo does not contain any of the following people who were contributing to MAD at the time: Don Martin, Wallace Wood, Mort Drucker, Sy Reit, Gary Belkin, Frank Kelly Freas or Tom Koch.  That is, unless one of them is the guy in the Alfred E. Neuman mask which seems highly unlikely.

It might or might not contain Larry Siegel, who was one of MAD's most prolific writers.  MAD's photographer at the time was a gent named Lester Krauss so it's possible he took the picture.  Or maybe someone else did and he's one of the Unidentifieds.  Or maybe he isn't there at all.  Who the hell knows?

Obviously, if anyone knows for sure what year this was or has corrections or additions, send 'em in.  And hey, take another look at the photo.  Doesn't it look like this is a bad, all-male road company of Guys and Dolls and Dave Berg is about to start singing "Sit Down, You're Rockin' the Boat"?

- From Mark Evanier’s blog

[burlveneer-music]

Joel Fairstein – "Umbra" - reissue of 1978 private-press jazz-funk fusion LP (Mad About Records)

Rare Jazz Funk Fusion Lp private label from 1978 Hailing from Knoxville, Tennesee, Joel Fairstein has earned critial praise as Jazz pianist, composer, producer, and studio musician. His first album, "Umbra", an LP recorded at age 24 with eighteen sidemen has since become a sought-after collector item.

First Ever Worldwide Reissue Transfered directly from Mastertapes Piano, Electric Piano [Rhodes piano], Organ, Synthesizer, Producer – Joel Fairstein Bass – Dan Prestwood , Roger Jones, Rusty Holloway, Sandy Garrett Blues Harp – Kirk "Jellyroll" Johnson Drums – Arvin Scott, Eddie Davidson, Michael T. "Backbone" Drums, Percussion – Danny Hill Guitar – Dave G. Young, Jay "Bird" Chalmers, Jay Manneschmidt Percussion – James Pippin Saxophone – Bill Scarlett, Jerry Coker Trombone – David Bradley Trumpet – Stan Harold Vocals – Karen Keith, R. B. Morris

[pelisflis]

Ver Tom y Jerry Pelicula Completa en Español Latino (Gratis 2021)

Enlaces de la pelicula Tom y Jerry

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Sinopsis de la pelicula Tom y Jerry

Tom el gato y Jerry el ratón son expulsados de su casa y se trasladan a un elegante hotel de Nueva York, donde una empleada descuidada llamada Kayla perderá su trabajo si no puede desalojar a Jerry antes de una boda de clase alta en el hotel. ¿Su solución? Contratar a Tom para deshacerse del molesto ratón.

Informacion de la pelicula Tom y Jerry

Lanzamiento: 2021-02-11

Duracion: 101 Minutos

Genero: Comedia, Familia, Animación

Actores de la pelicula Tom y Jerry

Chloë Grace Moretz, Michael Peña, Jordan Bolger, Rob Delaney, Patsy Ferran, Pallavi Sharda, Colin Jost, Ken Jeong, Bobby Cannavale, Nick Rivera Caminero, Joey Wells, Na'im Lynn, William Horton, Harry Ratchford, Lil Rel Howery, Utkarsh Ambudkar, Tim Story, Somi De Souza, Ajay Chhabra, Patrick Poletti, Janis Ahern, Camilla Arfwedson, Joe Bone, Edward Judge, Brian Bovell, David Nolan, Jude Coward Nicoll, Christina Chong, Daniel Adegboyega, Craig Stein, Edward Dogliani, Josselyn Ospina Escobar, Ozuna, Paolo Bonolis, Haley Bishop, Norma Butikofer, Marc Wesley DeHaney, Kerri McLean, Sophie Holland, Joseph Begley, Scott Coker, Joe Buck, William Hanna, Mel Blanc, June Foray, Frank Welker, T-Pain, Brian Stepanek, Gianni Calchetti, Joakim Skarli, Wong Charlie, Leandra Ryan, Jeremy Ang Jones, Eleanor Fanyinka, Mike Capozzola, Camilla Rutherford, Densil Jones, Fuzuli Khabibillaev

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VER PELÍCULAS Tom y Jerry (2020) ONLINE GRATIS en Español o con subtítulos en tu idioma, en HD –y hasta en calidad de imagen 4K–y sin cortes ni interrupciones es sencillo en las mejores páginas de cine y televisión gratuitas del año. ¿Cuáles son exactamente estas webs? A continuación te detallamos todo lo que debes saber para ver las mejores pelis cuando quieras, donde quieras y con quien quieras. Incluso aprenderás a descargar películas gratis online de forma absolutamente legal y segura este , sin necesidad de pagar mensualmente una suscripción a servicios de streaming Tom y Jerry (2020) premium como Netflix, HBO GO, Amazon Prime Video, Hulu, Claro Video, Fox Premium, Movistar Play, DirecTV, Crackle o Blim, o de bajar apps de Google Play o App Store que no te ayudarán mucho a satisfacer esa sed cinéfila y seriéfila.

¿No te es suficiente? ¿Quieres más trucos? También te enseñaremos a usar los sitios premium de películas Tom y Jerry (2020), series y documentales sin pagar absolutamente nada. Sí, es posible. ¿Y los códigos secretos de Netflix? También. ¿En cuanto a series? Podrás ver series de acción, terror, aventura, telenovelas mexicanas y turcas, doramas, anime y más, mucho más, como las más recientes novedades: Narcos: México, The Sinner 2 y La reina del flow. Incluso te contaremos qué películas están en la cartelera de los cines del Perú, México, España, Estados Unidos, Colombia, Argentina, Español y demás países del mundo. Sí, ¡los últimos estrenos! ¿Por ejemplo? Tom y Jerry (2020), Tom y Jerry (2020), Tom y Jerry (2020), ¡Asu mare 3! y Tom y Jerry (2020) ya están disponibles en las mejores salas. Seguramente en más de una ocasión has buscado en Google "cómo ver Tom y Jerry (2020) películas online gratis en Español" o "dónde ver pelis Tom y Jerry (2020) de estreno en castellano HD".

Tal vez hasta has escrito en el buscador "las mejores Tom y Jerry (2020) películas online completas", "ver Tom y Jerry (2020) películas en Español latino" o "dónde puedo ver Tom y Jerry (2020) películas gratis completas sin interrupciones". No lo niegues. No eres el único. Todos los días, millones de personas intentan ver películas online desde sus computadoras, laptops, smartphones, tablets o cual sea el dispositivo móvil de su preferencia.

Sin embargo, la navegación muchas veces termina en páginas web que no cumplen lo prometido, que aseguran tener los últimos estrenos, pero que solo te derivan de un site a otro, que te obligan a dar clic tras clic mientras te llenan la pantalla de publicidad, para finalmente dirigirte hasta un enlace que no funciona o que demora mucho en cargar. Además, la calidad de imagen en estas páginas informales de cine es muy baja. Y repetimos, informales. ¿Por qué? Porque son páginas piratas, que violan derechos de autor y que incluso pueden representar un riesgo.

¿Sabías que muchos de estos sitios esconden virus que podrían dañar tus dispositivos y hasta robar tu información? En todo caso, muchas veces te obligan a registrarte con tus cuentas de Facebook, Gmail u Outlook (Hotmail) para que recién puedas comenzar a ver Tom y Jerry (2020) pelis en Español latino. Por tanto, te sugerimos solo visitar las siguientes plataformas, legales, seguras y sacramentadas.

Algunas incluso permiten escuchar y descargar música MP3 gratis de tus artistas favoritos. ¿Cuáles son las mejores páginas para ver Tom y Jerry (2020) películas HD online gratis? En sí hay muchas de este tipo, pero para efectos prácticos hemos elegido algunas de las más populares en la red de redes. Ya dependerá de ti elegir la que mejor se adapte a tus necesidades, ya sea por catálogo, por interfaz o velocidad de Internet.

Es decir, la que te permita ver películas gratis en Español con mayor facilidad. Incluso algunas tienen versiones para teléfono si buscas dónde ver películas online móvil. ¿Quieres saber cuál es la mejor app para ver películas online? Esa ya no será ninguna preocupación de aquí en adelante. ¿Qué velocidad necesitas para ver películas online? En estas páginas, con una conexión básica te alcanzará y sobrará.

¿Qué plugin necesito para ver películas online? En la mayoría de casos, ¡ninguno! ¿Puedo encontrar dónde ver películas 3D online? Eso quizá está un poco más difícil. Tom y Jerry (2020) Ver películas online gratis A continuación todo lo que debes saber para ver Tom y Jerry (2020) películas online Ojo, la lista solo contempla páginas online legales, que albergan contenido de dominio público, independiente, liberado por sus mismos realizadores o con licencias como Creative Commons. Es decir, si quieres ver Animales Fantásticos 2 completa en Español o Tom y Jerry (2020), La chica en la telaraña, Overlord, Tom y Jerry (2020) o Tom y Jerry (2020) con subtítulos, puede que te decepciones.

Pero si aún te interesan títulos de reciente estreno como estos, aquí puedes revisar la cartelera de tu país de origen, incluidos horarios y precios de entradas por cine. También descubre los próximos estrenos. Eso sí, ¿sabías que hasta puedes ver películas gratis en YouTube? Puedes suscribirte al servicio de paga de YouTube para acceder a contenido exclusivo que jamás has imaginado. Los tres primeros meses son gratis. Classic Cinema Online es una de las páginas de curaduría de clásicos más populares en la red. El sitio está dedicado por completo a la distribución de películas de libre acceso, liberadas de derechos de autor. Por ejemplo, su catálogo de cine mudo es excepcional. ¿Lo mejor de todo? Puedes ver las películas desde YouTube, por lo que navegar es sencillísimo.

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[anniekoh]

punk placemaking

I have been thinking a lot about space and place, as you do in urban planning, but specifically about Ian Svenonius’s claim “rock as real estate” (2005 in Seattle’s alt weekly The Stranger). Music scenes need space.

Like the terms "arena rock" and "bar band," the term "garage band" implies a relationship with space; in this case, ownership of a garage and hence a homestead. In fact, the term "garage band" is a euphemism as loaded as "inner-city youth," implying the rocker is a member of an atomic family with a suburban split-level and two-car hutch. In practice of course, the garage band can exist anywhere where there is available space or affordable property. The garage scene in America is now principally represented in blighted post-industrial centers such as Detroit, which resembles pre-"gentry" New York in a way. 

The rock band, therefore, in its very essence, declares, "I've got space." Whether it's an invitation for settlement (like early punk) or an advertisement of affluence, the rock-n-roll band cannot be divorced from the idea of real estate ownership and therefore, from conquest.

And then the internet told me to read this.

First California Punk Venues Were Chinese Restaurants Madeline Leung Coleman (Topic, June 2019)

It was 1979, and LA was struggling. The entire country had plunged into a deep recession just a few years prior, and now Chinatown and the city’s downtown areas were falling into disrepair. More recent Chinese immigrants had started moving to suburban enclaves like the San Gabriel Valley...

When Bill Hong said yes to the [music] promoters, he was trying to be practical. He knew the restaurant needed more customers; maybe letting a few young bands play could help bring them in. He never could’ve foreseen that his family’s establishment, the Hong Kong Low located on a small street called Gin Ling Way—would become a focal point for a seminal music scene: West Coast punk.

... Hong’s restaurant—known as the Hong Kong Café to showgoers—was far from the only Asian restaurant to incubate the California punk scene. In the late 1970s and early ‘80s, from Sacramento to San Francisco, some of the state’s most important punk venues were actually Chinese and Filipino restaurants. At eateries like Sacramento’s China Wagon and Kin’s Coloma, or San Francisco’s Mabuhay Gardens, now-iconic bands such as X, the Germs, and Black Flag played some of their most memorable early gigs. The Hong Kong wasn’t even the first place in LA’s Chinatown to host gigs: the restaurant across the courtyard, Madame Wong’s, had already been doing the same for at least a year.

To be paired with the documentary Clockwork Orange County - The 1970's California Punk Scene, for the discussion of how house parties (held when the parents were gone on a trip of course) in middle class suburbia incubated the punk rock bands you listened to in high school.

Clockwork Orange County - The 1970's California Punk Scene  (2010, 75 min)

We Were Feared/A Clockwork Orange County time-trips itself, back to the fast rise in 1977 and hard fall in '81 of old school punkpressario Jerry Roach's controversial nightclub the Cuckoo's Nest in Costa Mesa, where everyone from Iggy Pop and the Ramones to Black Flag and the Circle Jerks performed, the West Coast hardcore punk sound took hold and what you kids now call the mosh pit may have been born. Essentially shut down as a club by the city, the building was later swallowed up by arch-enemy neighbor Zubie's before both were torn down years ago and paved for a Goat Hill industrial site. 2012 Matt Coker’s review in OC Weekly 

Clips from the original version We Were Feared.

[Clockwork Orange County - The 1970's California Punk Scene, on demand at Vimeo]

[ksstradio]

Obituary – Carrol Dwayne Meeks

Obituary – Carrol Dwayne Meeks

Carrol Dwayne Meeks A funeral service for Carrol Dwayne (Meatball) Meeks will be held at 11 a.m. Saturday, September 3, 2022, at Murray-Orwosky Funeral Chapel with Bob Neal officiating. Interment will follow at Greenpond Cemetery with Jerry Cook, Jeremy Cook, Frankie Coker, Ronny Gunn, Don Meeks and Richard Teer serving as pallbearers and Robert Nichols, Bobby Meeks serving as honorary…

[metalindex-hu]

Nasty Savage: Nasty Savage (1985)

Nasty Savage: Nasty Savage (1985) - http://metalindex.hu/2021/01/24/nasty-savage-nasty-savage-1985/ -

A floridai heavy metal mozgalomnak komoly múltja, tradíciója van, mégis, az Amerikai Egyesült Államok déli részén fekvő államot a death metal bandák tették ismertté, akiknek az „öregek” ágyaztak meg. Nem egy centralizált színtérről beszélünk, különböző városokban, de szinte egy időben bontottak vitorlát az úttörő formációk, például a Siren, az Avatar/Savatage, vagy a Nasty Savage.

A Brandonban létrejött Nasty Savage múltja 1982-ig, a Nightmare megalakulásáig nyúlik vissza. Ben Meyer gitáros, Craig Huffman dobos (R.I.P.) és Fred Dregischan basszusgitáros alkotta a csapat magját és ezekben a korai időkben Jerry Lynn Workman személyében egy énekesnő állt a mikrofon mögött. Velük egy időben Dave Austin gitáros a Gangster (ezt megelőzően a Virgin Killer) soraiban pengetett, míg „Nasty” Ron Galetti énekes a Crionic Dogs sorait erősítette. A zenészek jobbára feldolgozások révén mélyítették el tudásukat, komolyabb eredményeket viszont nem tudtak felmutatni: nem készítettek demókat, és élőben sem nagyon mérettették meg magukat.

Dave Austin: „A Gangster egy feldolgozásbanda volt, amelyben ’81 és ’82 folyamán játszottam. Iron Maident, Judas Priest-et, Tygers Of Pan Tang-et, Riot-ot, Black Sabbath-ot stb. nyomtunk. Tulajdonképpen volt egy remek énekesünk, aki soha nem csinált semmit. Valójában ez minden, ami erről az időszakról elmondható. 1979-ben egy másik zenekar, a Virgin Killer tagja voltam, ahol Bent basszusgitárosként próbáltuk ki, de bizonyos okok miatt, amikre nem emlékszem, elutasítottuk. A név nyilvánvalóan a Scorpions negyedik albumáról származott.”

Ron: „A Crionic Dogs-szal csak rövid ideig próbáltam, és úgy emlékszem, koncertjeink sem voltak. Erős lámpalázam volt, amire néhány ember azt tanácsolta, hogy ne nézzek szembe a tömeggel, de nézd, mi történt, amikor végre sikerült kitörnöm a korlátaim közül, és létrejött a Nasty Savage! A Crionic-kal volt néhány jó, saját dalunk, de az egész nem tartott sokáig.”

A két banda fúziójára 1983-ban került sor, amikor Jerry Lynn-t Ronnie Galetti váltotta, Craig Huffman helyére Curtis Beeson került, végül pedig David Austin is csatlakozott hozzájuk; ekkor vették fel a Nasty Savage nevet. Dave Austin: „Kirúgtak a Gangsterből, mert nem volt autóm. Egy helyi partin láttam a Nasty Savage-et, és arról próbáltam meggyőzni őket, hogy szükségük lenne egy másodgitárosra. Már láttak engem a Gangsterrel és a Virgin Killerrel. Jammeltem velük, olyan dalokat játszottunk, mint a The Morgue & Vigilante, és bekerültem a csapatba.”

Ron: „Egy napon, amikor próbára mentem a Nightmare-hez, Fred, Ben és Craig voltak ott. Éppen csak megszabadultak az énekesüktől, aki egy lány volt, amikor besétáltam hozzájuk, de csak pár dalt tudtam, például az Iron Maidentől a Wrathchild-ot. Azt hiszem, háromszor vagy négyszer játszottuk el, beszélgettünk egy kicsit, majd távoztam. Néhány hétig semmit nem hallottam felőlük, aztán egy bulin odarohantam hozzájuk, és azt mondtam: Nos, áll az alku? Akartok engem vagy sem? Azt mondták, gyere át hétfőn, és beszélni fogunk. Amikor hétfőn odaértem, elmondtam nekik az ötletem: a zenekar neve legyen Nasty Savage, én Nasty Ronnie leszek, saját dalokat kell írnunk, és össze kell spórolnunk a pénzt egy demófelvételre. A többi már történelem.”

A zenekar 1984-ben két kiadvánnyal, a Raw Mayhem próbatermi felvétellel és a Wage of Mayhem demóval tette le névjegyét az underground asztalára, ezen kívül pedig Unchained Angel és XXX című dalukkal szerepeltek az Iron Tyrants (World Metal, 1984), illetve a Metal Massacre VI. (Metal Blade, 1985) válogatásokon. Azonban nemcsak ezekkel a felvételekkel alapozták meg hírnevüket, hanem Ronnie Galetti őrült színpadi akcióival is. A pankráció közegéből érkezett énekes a koncertek alatt előszeretettel zúzott össze televíziókészülékeket a fején, korai bulijaik legendaszámba mentek, a későbbi death metal színtér képviselői szocializálódtak előadásaikon. Mi sem jobb példa erre, mint az 1984. október 31-én, a tampai Ruby’s Pubban lezajló koncertjük, ahol a Kam Lee dob/ének, Rick Rozz gitár, Chuck Schuldiner gitár/ének (R.I.P.) összetételű Death volt az előzenekaruk, illetve az sem titok, hogy az Obituary (akkor még Executioner, majd Xecutioner) tagjai gyakorlatilag bálványozták őket.

Ahogy a Metal Massacre-re felkerült együttesek többsége, úgy ők is ennek az anyagnak a révén kaptak szerződést a Metal Blade-től, amely 1985. augusztus 30-án dobta piacra a Nasty Savage bemutatkozó alkotását. Olyan közegbe érkezett a lemez, amikor az undergroundban kialakultak az alműfajok; a gyors, agresszív, sebességorientált zene vitte a prímet, ezt a művet viszont semmilyen skatulyába nem lehetett beszorítani. Történelmi jelentőségét az is emeli, hogy ez volt az első produkció, amely a Morrisound stúdióban készült.

Egy sejtelmes intróból bontakozik ki a No Sympathy, mintegy jelezvén, hogy az akkori standardokhoz viszonyítva itt teljesen más lesz a műsor. A Megadeth, Metallica, Slayer, Anthrax, Exodus, Dark Angel, Voivod, Exciter, Európában a Destruction, Sodom, Kreator, Bathory, Celtic Frost stb.  révén a nagy thrash metal robbanásnak volt szem- és fültanúja az underground színtér, hozzájuk képest a Nasty Savage az árral szemben úszott. Roppant technikás, a progresszív metal határán egyensúlyozó, középtempós muzsikájukat egy visszafogott Mercyful Fate és a Watchtower keverékeként lehet jellemezni. Nasty Ronnie itt-ott falzettekkel kísért hangja, markáns kiállása komoly hasonlóságot mutatott King Diamond-éval, míg a hangszeres szekció teljesítménye szimplán briliáns, bámulatos volt.

A Dave Austin és Ben Meyer alkotta gitáros duó mellett Fred Dregischan basszusgitáros sem számított mellékszereplőnek, hiszen hangszerének, játékának önálló tere volt, úgyanúgy szabad kezet kapott, mint Timi „Grabber” Hansen (R.I.P.), Doug Keyser, vagy a későbbiekben Roger Patterson (R.I.P.), illetve Steve Di Giorgio. Mindez abban nyilvánult meg, hogy a bőgő nem a riffeket követi, hanem szabadságot élvez, egyenrangú partnere a gitároknak, ezáltal az összes tételben parádés basszusfutamok hallhatók, kidomborítva a technikás, progresszív megközelítést. Sohasem értettem, hogy a bárdista páros miért nem kapta meg az őket jogosan megillető elismerést: riffjeik, szólóik alapján a műfaj legnagyobbjai között lenne a helyük. Curtis Beeson dobos egy hajszállal sem marad el társai mögött, finom, elegáns, precíz játékával annak idején kevesen vették fel a versenyt.

Noha összetett, változatos struktúrában gondolkodtak, nem áldozták fel a végeredményt a komplexitás oltárán, mert nótáikat dallamokkal, harmóniákkal vértezték fel, legyen szó a Gladiator-ról, a Fear Beyond the Vision-ről, a Metal Knights-ról (ami 2012-ben a Metal Maniac című filmben volt hallható), vagy a Dungeon of Pleasure-ről – e dalok egytől-egyig a technikás, progresszív (thrash) metal gyöngyszemei. Zseniálisan építették be a lemez közepére a rövid, instrumentális, némileg barokk ihletésű Garden of Temptation-t, míg az Instigator-t a végéhez közeledve egy elborult hangulatú résszel és Ronnie dallamos énekével kombinálják, némi pluszt, extrát adva a darabnak.

A bandát alapvetően thrash metal zenekarként definiálták, én azonban nem értek ezzel egyet, már csak azért sem, mert a Nasty Savage sohasem élt például a korai Slayert, Dark Angelt stb. jellemző pusztítással, szélsebes részek nyomokban sem fedezhetők fel muzsikájukban, csupán pillanatokra kapcsolnak magasabb sebességi fokozatba, ahogy az az End of Time-ban is tetten érhető. Sajnos az anyag egyetlen fogyatékossága sem hallgatható el, nevezetesen a hangzás, ugyanis Brian Slagel és Fred McKendree producerek, illetve Jim Morris hangmérnök nagyon polírozott, vékony megszólalásba ágyazta a dalokat, s ebben a kontextusban a lemez elmarad az akkori albumok többsége mögött.

A korongot nem tudták komoly turnéval, kellőképpen promotálni, zömében hazai pályán, azaz Floridában koncerteztek. Ami pedig a határaikon túli fellépéseket illeti, azok közül minden bizonnyal a 1985. november 30-án, a montreali The Palladiumban megrendezett World War III fesztivál (a Voivod-dal, a Possessed-del, a Destruction-nal és a Celtic Frost-tal) volt a csúcspont. Ronnie Galetti: „A WW III egy valóra vált álom volt számunkra. Mi kezdtünk, és tudtuk, hogy meg kell adnunk az alaphangot egy ilyen elképesztő estéhez. Megtiszteltetés volt számunkra, hogy ott játszhattunk. Nagyon jól éreztük magunkat, úgyhogy kellene egy promóter, aki 2021-ben ugyanezekkel a bandákkal összehozza a WW 4-et!!!”

További három, szintén kiváló anyag (Indulgence – 1987, Abstract Reality EP – 1988, Penetration Point – 1989) megjelenése után első ízben 1990-ben dobták be a törölközőt. Ronnie Galetti: „Kiszálltam, mert belefáradtam abba, hogy lehúz bennünket a Metal Blade és a Rotten Records. Nem volt saját menedzsmentünk, és rossz megállapodások születtek. Szánalmas volt.” Rövid periódusokra (1992, 1994, 1995, 1998) ezután is felbukkantak, de komolyabb aktivitás csupán a kétezres években jellemezte a zenekart (2002-2012, és ne feledkezzünk meg a remek Psycho Psycho lemezről sem).

Örömteli tény, hogy 2016 óta újra aktívak, a legendás, klasszikus felállást Ronnie és David Austin képviseli, akikhez a floridai metal mozgalom veteránjai, James Coker dobos, Scott Carino basszusgitáros, illetve Pete Sykes gitáros csatlakozott. Az olasz F.O.A.D. Records tavalyelőtt egy impozáns, 500 példányra korlátozott bakelittel, a Wage of Mayhem + Rarties (1983-1985) címet viselő kiadvánnyal kedveskedett a zenekar rajongóinak, idén pedig új Nasty Savage lemez várható. Azt kívánom, hogy legyen így.

[bamboomusiclist]

1/12  Talking Heads / True Stories  等更新しました。

おはようございます、更新完了しました。https://bamboo-music.net

Johnny Hodges / Hodge Podge lg3105 Louis Armstrong / Story Volume2 cl852 Steve Allen / Bossa Nova Jazz dlp3480 Jerry Coker / Modern Music 3-214 Chris Woods / from Here to Eternity 33100 Stan Getz / Live at Montmartre scs1073/74 Georges Arvanitas trio / Porgy and Bess 20.777 Herb Jeffries / Say It Isn't So bcp72 Frank Sinatra / the Concert Sinatra r1009 Frank Sinatra / That’s Life rlp1020 Richard Groove Holmes / Misty prst7485 David Liebman / Sweet Hands sp702 Julian Bahulas / Son of the Soil tsa001 VA / Finish Jazz '88 fjlp902 Johnny Almond / Music Machine sml1057 Futures / Castles in the Sky bds5630 Talking Heads / True Stories Nico Gomez / Fiesta Brasiliana svs2668 Rare Pleasure / Let Me Down Easy dvche505 Edu Lobo / Edu r765013l

~bamboo music~ https://bamboo-music.net  info@bamboo-music.net   530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700

[charlottejmusic]

SAXOPHONE PRACTICE DAY 8

6/1/19

I know, this post is a lot of days late, as are days 9 to 11, but fret not, they will all be posted today, with a return to regular scheduling tomorrow. Ok? Alright.

Back to the grind on DAY 8, and as it’s WEEK 2, you know what that means? Time to increase my practice routine by 15 min! WEEK 2’s practice routine looks like this:

- 10 min exercises

- 20 min scales

- 15 min improv

Why have I added 15 min of improv, you may be wondering. It’s because creating music is what I’m all about now. I’ve been highly trained as a classical performer, so I’m great at memorising scales and pulling of feats of technical virtuosity. But that’s not what music is about. It’s about expression. And for me personally, I don’t feel like I can really express myself through playing the same pieces that everyone else plays over and over again. That’s why for the past year I have been focussed more on composition. The thing is though, I still LOVE playing the saxophone. It brings me a certain type of happiness that nothing else can. So I’ve decided to teach myself to improvise, as it’s all about listening and creating in the moment. I mentioned on DAY 7 that my level of improvisation at the moment is very low. I find it hard to break out of one rhythm or key.

The ‘patterns’ refer to a book recommended to me by multiple (2) people at college, and that book is called Patterns for Jazz by Jimmy Coker, Jimmy Casale, Gary Campbell and Jerry Greene.

I know right? What an awesome cover! The book contains a hundred and something patterns to practise getting your fingers around, which supposedly gives you a basis for improvising on. I got this book a year ago, with the intention to learn a pattern a day, and have got up to... pattern 17. This is due to lack of practice and also the fact that it takes me longer than a day to nail a pattern. Each pattern is based around a different chord sequence. According to the start of the book, the first half of the patterns is to get you used to playing the patterns in all 12 keys, and then the second half is chord sequences that are actually frequently used in jazz. I’m experimenting with how I practise with this book. On DAY 8 I practised pattern 17 by itself with a metronome - each pattern gives a minimum and maximum tempo - and then tried improvising on the patterns.

At the moment I’m still way too much in my head; you can feel my frustration emanating from the screen in the above video.

So for DAY 9 I created a backing track for my improv, so I could use that to listen and feel, and stop focussing so much on what chord I was supposed to be playing and trying to THINK about what notes would sound good. Hear it in DAY 9’s post, which will be up shortly after the one you’re currently reading.